Adobe Premiere Pro CC 2023: Beginner Video Editing

1. Getting Started- What You Will Learn: Hi everyone, Welcome to my beginner Premiere Pro course. One of the most popular Premiere Pro course is available with over 200000 people enrolled and thousands of reviews. My name is Brad and I'm a fitness and adventure of Lager. For over five years, I've produced over 1000 fitness and travel adventure videos using Premier Pro and over 19 publications on Amazon Prime. Years ago, I struggled with Premier Pro. And I've designed this course for someone who wants to make awesome videos without the struggle, without the frustration. This is a course I wish I had when I first started my editor can journey. At the end of this course, you'll be able to confidently and easily create outstanding videos that tells your story to your audience on YouTube, Facebook, or Amazon Prime. You don't need to go to film school. You don't need to watch hundreds of tutorials on YouTube to try and figure it out for yourself. I've done the work for you. This course starts by teaching you the absolute fundamentals of editing, such as how to organize, select, and trim your footage, adding professional background music, adding cinematic color correction and color grading. You'll also be creating a travel adventure video and a talking head video with all of the project files available for download in this course. So if this sounds exciting to you, enroll now, and let's start your editing journey today. 2. Getting Started- Launching Your First Awesome Project: Okay, let's get started and load up Adobe Premiere Pro CC 2023. And let's start our very first project together. So feel free to follow along with me. This is exactly what you'll see when you open up the software for the first time. We've got a few options down here. New team project, open team project, a few other options here. Just ignore these options. This is for more enterprise level projects. We're just going to go over here to where it says New Project and click on that. And we're going to give our project a name under Project Name Here. We're going to title this 2 minutes Vacation. You'll see here Project Location. By default, it wants to store the project in a very difficult and hard to find place. I would suggest that we change this to somewhere that's a little easier to find. I like to put things on my desktop. Click on Desktop there, and then click on Select Folder. It's going to my desktop here. I can easily find it. Then over here we've got options to create a sequence name. By default, our sequence name is sequence 01. For now, I'm just going to leave it as is. You can change it here if you want, but we can also change it inside our project once we've created it. For now, I'm just going to leave that one and then go down here to where it says Create. Click on that and I'm going to create my project. You'll see here we have several panels. We have our source panel. We have our program monitor box. We have our timeline panel. And we have our project window down here. And we have no media yet imported. So this is essentially where we're going to start and essentially build our project from. So in the next lesson, I'm going to teach you how to import your media and organize your media and get started on this amazing project. 3. Getting Started- Import & Organise Footage Like A Pro: Okay, let's talk about how to import our content and organize our footage, which I really believe is important before we start editing our project, it really does make life easier if you organize all of your content upfront. And that's what we're going to be talking about. So on your screen you should see this right now. Pretty much what you are seeing on my screen is what you should be seeing on yours. Over the top P or C Learning assembly editing color. So this is our workspaces panel. So right now we're in learning mode. And on the left-hand side here your see this panel here, which pops up when you in learning mode. So just click on editing and you should see exactly what I'm seeing on my screen right now. So you should see for empty panels. So this is pretty much an empty canvas that we're gonna be working with together. On the bottom left-hand corner he or C, import media to start. So this is where you'll be importing all of your content, whether it be from a GoPro, your drone, your phone, any background music and sound effects, all of that. It's gonna be imported using this window here on the bottom left-hand corner. So this ever waging an import your content, you can either double-click on this window here and your little box will pop up, or you can go Control or Command I on your keyboard. And that will pop up. As such. You can double-click on this window or you can go to File Import as another option to there's several options you can use to import your footage so you can even drag for each into this window directly. So double-click on this window and we're going to look for our footage to import. So if we've got a two-minute vacations or you should be able to find this footage in a link that I've supplied and download this footage and you can follow along with me. So you'll see here a folder called travel footage. Double-click on that. So what I like to do before I even import my footage into Premiere Pro, I like to organize my footage into folders. So if I've got any drone clips, I put all my drone clips into a separate folder for drone as such. And any of my IOS m5 camera Eclipse go into a separate folder. As such, my GoPro clips go into a separate folder or my images. And anything from my smart phone goes into a separate folder just like that. And so by doing that, life just gets a whole lot easier when you're importing and when you're editing your project throughout your editing journey. And you'll see why as we move through the course. I'll give you an example of real projects that I've organized and edited in the past. Just off my hard drive here. And I'll show you exactly what I mean by organizing footage and how important it is to organize your foot each upfront. So we'll go to projects here. So here are some previous projects that I've worked on for myself, for my channel. Go to, for example, the USA road trip series I did back in 2018. Coc here that because I was doing daily videos back then, it's vitally important if you're doing daily videos and I don't do daily videos anymore, but it's important that I had organized my footage on a day-to-day basis into folders such as this, a day one, day two, day three, day four with a date stamp as well. And it's just a brief outline of what happened on that day. So if I double-click on any one of these folders, then I'll see photos and RC phone assets and so forth. And any backing tracks or background music go into a separate folder as such. Right? So you'll see all my project files here, any images over here. But this is pretty much how I used to organize my daily vlogs in my previous projects. And of course, any adventures that I went on, I created separate folders for those Philippines, Kilimanjaro flying and so on and so forth. So you don't have to do the same thing as me, but I do highly suggest that you organize your footage in folders with date stamps and create separate folders for different types of footage that you films. So let's go back to our desktop and two-minute vacation travel footage. So see here I've got a folder for travel footage of it, a folder for sound effects, and another folder for background music, right? So I do suggest that you create these separate folders. Okay, so we're gonna import our travel footage folder into Premiere Pro now. And so you'll see here within travel footage, we've got our subfolders here, Samsung phone images, go pro, EOS him five camera and drone. And what we're gonna do is we're going to import travel footage, the folder, and watch what happens when you do that. Premiere Pro will automatically preserve the folders that you've created and will preserve them within the software CRC here, the same folders, which within the software called bins. These are called bins in Windows there, called window there called folders. So you don't need to create these within Premier Pro. Premier Pro automatically creates them as bins within the software. So we'll see here Samsung phone, GoPro, you'd see all about Go Pro clips in here. If we click on up. Okay, so in the next video we're gonna talk about the workspace in general. So we're gonna talk about these four windows, and then we're gonna talk in more detail. The project window here. 4. Fundamentals- A Quick Workspace Tour: Okay, so let's go on a quick tour of our workspace here in Premier Pro, we've put our two minute vacation project. We've imported our travel footage that I've supplied in this course in our project window down the bottom left-hand corner here. And it's, you should see for windows like this, if you're not seeing this and just make sure that you've clicked on editing at the top here in our workspaces panel, or go to window workspaces and click on editing over here, just so that you're seeing exactly what I'm seeing. So pretty much you can adjust these boxes by just moving a mouse in between the boxes here where it changes and you can just click and drag the boxes as such to make them smaller or bigger. And so this is completely a personal taste thing. It's up to you. You can just resize them like this. And also you can move these boxes around. So if you want, you've got Source panel or source monitor up here. You can click and you can drag this and move it somewhere else so where the color changes here. And if I release my mouse as such, I can move that panel to this location here. If I don't want it there, I can click and drag it and move it somewhere else. But you can pretty much do this with any of the workspaces panels here in the software, you can just click and move them around as such. So if you want to move the timeline to some random location over here, we can move it up there, but it's not a good idea. But if you want to do that, you can. And if you want to change it all back, you can just click on window workspaces and click on reset to save layout. If you want, you can make any one of these panels enlarged. So when you click on a panel, you'll see the blue line around it. It just means that you've selected and highlighted that current panel. And if you hit the tilde key, which is above the Tab key, it will enlarge that particular panel. So this is super helpful if you're working on huge projects. And you've got a very long timeline and you wanna just view the entire timeline on your screen. You can just use the tilda key to make it enlarged. Overhearing the project panel. If you click on that, if the tilda key, that's how you can enlarge the panels as such, very, very helpful shortcut key to use. You'll see here at the very top you've got the workspaces panel over here. So see learning, Assembly, editing, color, and so on. So these are the different modes or different aspects of the editing journey. So if you're wanting to first get all your footage together and assemble your footage into a very simple story on your timeline. Some people usually click on assembly. It just means the project, our panel is enlarged. It just gives you a much bigger area to work with all of your footage in your project panel. It's up to you. I usually don't use the assembly personally. I just click on editing and I use editing when you're ready to do color adjustments or color correction and color grading, you can click on the color panel. It gives you this panel here for the metric color when you are ready to add effects and audio and so on and so forth to your project, you can just click on the respective selections at the top here. But for now we're just going to stick to editing. And it's going to bring us these four panels here, which you should see on your screen. And you see these three lines here that sound little menus. If you click on that, you've got several options here for each of these panels and close them. You can undock the panel and move it around, right? This has so many things you can do. And if you want, you can always click on window workspaces and reset to save layout. And that would take you back to where you were. Decide that down here you've got your toolbox. So this is these are our tools now to be honest with you, not going to be using all of these tools, but we'll talk more about these tools as we move through the tutorial series. 5. Fundamentals- Exploring the Project Panel & Source Monitor: Okay, let's get into some detail about our project panel and our source monitor box. And so on your screen right now you should see down here where you've imported the footage as per the previous video or two, we're gonna have 40 to import it down here. And so if you haven't already done so, just import some footage and follow along with me. So we're gonna talk more about this project panel down here. Some of the features of it, some of the things I like about it and how I use it, and how that relates to the source monitor box over here and these two boxes tied together. And you'll see that more and more as you work on your own project. These two boxes are tied together. And the timeline window and the program monitor box. These two over here are also tied together. Very hard to see that now because this the first time you working with the software, but trust me, you will see the relationship as you move through the project. So the first thing we're gonna do, I'm gonna show you how to create some bins in the project window down here. So as mentioned, we imported these folders into Adobe Premiere Pro. We'd already created these outside of the software. If we go over here real quick, two-minute vacation travel footage. So we already created these folders over here. We imported them into Premier Pro and Premier Pro imported them as bins. So I just need to also let you know that if you delete, for example, if I click on this image here and I delete it, It's not going to delete the original file, just ice to freak out. Sometimes I used to think when I first started my journey with Premier Pro 40 years ago, that what I was deleting things within this project window, that I was also deleting the original files. That's certainly not the case. So you don't need to freak out about that. If you double-click on that window. And we'll just re-import that again. Two-minute vacation travel footage. Click on images. That's our image there. So we haven't deleted the original file. We're just going to import that again. So now we'll see we've got our bins here. So if you need to create a new bin, or you need to do is run your mouse over here, click on new bin and call it whatever you like. So we'll call it background music. So all of your background music and go into the background music been double-click on that. It's empty or double-click on this box. We're going to import some background music, and I'll show you where that is. So background music, We have a couple of clips there were just import all of that. Or those twos enough actually will import the next one. Tropical islands will import that to. So these are the background music clips that we are going to be using. So here's the up arrow, this just takes you back. So back to the beginning. If you hit it again, it takes you back to the start at the very top of the hierarchy. So double-click. Now, you've got different options down here. You can view your footage in a list view or an icon view or a free form view. So if you click on ListView, it just gives you the same footage and same content, but in a list format, if you click on it, it will give you some information about those files. So for drone, I've got all my drone clips here. I've got the frame rate that they were shot in. And if I scroll across, it gives me more information about those clips. So to be honest with you, I don't like working in list view. I like to work in icon view personally because I can see all of my clips in icons such as this. And one really cool thing about working in icon view is you've got this feature called the harvest scrub. And so if you just take your mouse and you just hover over the thumbnail, you can see that you'll get a little preview of that clip. And it's really, really cool. I like it. And you can do that with any one of these clips here. And also another really cool option that I liked is free form view. I don't use it all the time, but it's very handy if you're working on pretty big projects and you need some way of organizing your footage in some kind of a storyboard. So if you click on free Form View, click on this window here, and then hit the tilde key, which is about the Tab key to enlarge it. Watch this. I can organize my clips in a free form view. Just close that error message by just clicking and dragging the thumbnails as such. And I can organize the thumbnails into little groups. So if for example, I want to organize all of my Australia vlog clips of code running on the beach here. I've got this beach clip here. This was shot in Indonesia. So I'll take this clip which was shot at Indonesia. This one was in Indonesia, Indonesia, in the USA, and so on and so forth. I can organize my clips in groups to make it easier to build the story on my timeline. You didn't have to do this. I don't do this very often. It's only working on really big projects. But this is an option that you can do as well. If you want, you just click on icon view and it goes back to how it was. And as I said, this panel is enlarged. Hit the tilde key. So if you're working with hundreds of clips, it's handy to be able to see your project panel in an enlarged view. So I hit the tilde key again, it shrinks it down. And so if I want, there's a little scroll here. I can scroll this across if I want to make those thumbnails bigger, smaller. Sometimes, you know, when you import footage into Premier Pro, the ordering is a little bit of out of whack. So what I like to do is click on this and organized by name. And by clicking on that organized by name, it organizes all of my footage by name and I like that also as well. Down here you've got new item. If you click on this, you'll see all these different options for different things that you can create like Adjustment Layers, black Video, color mats, sequences. And for most people that are starting out with Premier Pro, you will usually only be clicking on sequence to create a new sequence and adjustment layers. Usually the only two options that you'll be using most frequently as an absolute beginner. In other videos, I'll talk about other features, but for now, when you click on new item, you can create a new sequence this way, which we'll talk about in a separate video. Okay, so let's talk about our source monitor box and how that relates to our project panel. So as mentioned in when you click on any one of these thumbnails here in the project panel, it will appear in the source monitor box as a preview. So it's really cool that just works like any normal player in most other softwares where if you click on a clip, you'll have the standard options to play. Stop, go back, go forth. You can click and drag this playhead. And pretty much with this window, your mark in points and out points, which we'll talk more about in another video coming up at areas of the video that you want to use in your final product. So we'll talk about marking and mark out in another video. But just quickly, when you're playing back your footage, if you find that it's playing back to slow. And sometimes happen when I'm working on high resolution 4K footage. And sometimes my laptop struggles. If you click on this option here where it says Select playback resolution and drop that down. You'll have other options for plane back at a low resolution like 1 fourth or 1 eighth. So if you've got the option, click on 1 fourth, it just means that it'll play back much faster here in your source monitor box. Also as well. We've got the length of our clip over here. We can also take screen grabs. This is really cool feature exporting frames. So I've done this in the past where I've created thumbnails for my videos and I've forgotten to take a thumbnail photo for the video in questions. So I've gone into the video itself and clicked on this here where it says export frame. And Premier Pro will take a snapshot of that frame. And you can use that frame in your thumbnail if you wish. And so you'll see here you can give the thumbnail and name thumbnail for vlog. You can save it as a BMP or a JPEG or a PNG it up to you. That's the location where the thumbnail will be stored. Say click on browse, a desktop, select folder, click OK. And that, that thumbnail you'll see, hear, or that image will be stored as a PNG file just like that. And I can use that now to create a thumbnail for my video. So that's a really cool feature. The same option is available over here in the program monitor box export frame. You'll see that same option over there. So just keep that in mind also as well. With the source monitor box. Just a couple of shortcuts that I like to use on a regular basis. J, k, l. So if you want to shuttle back, stop and shuttle Ford, use j to shuttle back, K to stop, and L to shuttle forward. And if you, if you press kale or stop, if you hit j, it'll shuttled back. If you had j again, it will move faster and faster. It's a really, really good way to get speed and efficiency with your editing workflow to start becoming familiar with the shortcut keys. And I know you might not be able to remember them, but trust me, when you start working with a lot of projects, the shortcut keys are absolutely amazing and save a lot of time. Also, when you're using JKL, you'll use i on the keyboard and the keyboard to mark in and out points. You'll notice that those five keys are really close together on the keyboard. So j, k to stop, mark and endpoint. So that's where I want to take my footage from. If I hit L to shuttle for k And then oh, I mark an out point and that's the point where I want to use. The shaded area will be the piece that I use in my project. 6. Fundamentals- Creating A New Sequence: Okay, so let's talk about sequence and timeline basics in Premier Pro. And this is where we start to get into some exciting aspects of editing, where we start to build our project from the ground up. So you've already imported your footage here on the bottom left-hand corner. And we've already looked at our source monitor box and how these two boxes, the project panel and the Source panel are linked together. So now we're going to create a sequence in here, which is then linked to our program monitor box over here. So in terms of creating a new sequence, there are several ways of doing it. I like to keep things really simple. And I'll show you how I do it in just a sec. But before it quite that new sequence, I want to point out that I know a lot of people listening and watching to this have created their footage from various different types of cameras and maybe different recording formats and different frame rates and so on and so forth. For example, if I click on the GoPro folder in here and then go to list view. I've got here frame rate 29.97 frames per second. I've got 50 frames. And if I go up and go to my EOS m5 camera, click on ListView. I've got 50 frames over here. And if I go to my drone, click on ListView down here. I've got 4K footage. If I scroll this along, I've got 340 by 2160, which is shot in 4K and shot a different frame rate once again. So one of the common questions I get is, how do I create my sequence with footage that's shot in different frame rates and different sizes. And I've thought about this and I've also play with this over the years as well. To be honest with you, just create a sequence or you need to do is just create a sequence that most represents all of the footage that you've filmed. So if you've shot mostly in 50 frames, then create your sequence at 50 frames. If you've shot mostly 4K footage, then create a sequence that's 4K, right? So for example, in this case, with the footage that I've supplied in this course, I've got 16 GoPro clips, seven drone clips, and too, smart phone clips. So I've got more GoPro footage shot at 50 frames that I do. 4k footage shot from my drones. So what I wanna do is create a sequence that's boat based around the settings of my GoPro. So what I'm gonna do is the easiest way of doing it. I'll just click on icon view. If you right-click on the clip, one of the GoPro clips, and you'll see the option here where it says new sequence from clip there. If you click on that, it's going to create a brand new sequence based on the properties that were used to film the original source clip. So this is our new sequence. If you go to sequence up here, click on sequence settings. You'll see here time-based 50 frames, a second frame size 1920 by 1080 or 16 by nine square pixels, and so on and so forth. We got our sample rate, 48 thousand hertz For our audio. These settings was what was used to film the original GoPro clips. So Premiere Pro, we've just told Premiere Pro too, create a sequence that's based on that. And it will automatically drop in that clip that we've asked to credit sequence from. It also names the sequence over here, the same name as the clip that we've right-clicked on. We can always change that name or show you how to do that. So if you look down here, you'll see a little icon there. It's it's hard to see because of the because of the thumbnail itself. But you see that little blue icon that says sequence. That's how sequence file. So if we click on this and click on this again, we'll rename this to two minute vacation. It's going to be the name of our sequence. So we've just renamed as sequence file. And up here at reflex as two minute vacation. What I like to do is I like to take my sequence file. I'm going to hit Control X or command x on Mac. That's going to cut it. I'm going to move up and I'm going to paste it Control V or Command V on a Mac. And it's going to move my sequence out here. I like to keep my sequence file separate from the rest of my footage and the rest of my, my content. I like to make it easy to access. So when I double-click on it, it will open up over here on the right. Now something to keep in mind. And this is what freaked me out when I first started, was by accident. I closed my sequence files and I've done this on several occasions in the past by hitting the x there. And I used to think that I deleted my sequence in it really freaked me out. I spent hours and hours of time. And then I was I couldn't find my sequence file. And I didn't realize that I actually closed it and you can just reopen it again. So if you accidentally close you sequence, Don't worry, you haven't deleted it, you just double-click on it again and it will reopen for you. 7. Fundamentals- Timeline Editing Fundamentals: Okay, so let's look at the timeline editing basics and take some of the footage that I've supplied in the course and drop it into a timeline and make something little interesting. And this is where the course gets a little bit interesting because we're going to tie together all of these windows that I've brushed upon in the last couple of videos. So assuming that you've already created a timeline or a sequence file. So we've got two minute vacation, which we credit in a separate video, in a previous video. If you haven't already credit you sequence, make sure you go and watch the previous video and create that secrets and come back. So we have an empty sequence with our play head here, which I've just clicked and dragged. And we have our program on. It's a box which is showing black. And we have a source monitor box and our little clips. So let's get to it. So I'm going to double-click on this clip here. And of course we've got the preview of it showing up in the source monitor box. And all you need to do when you're wanting to select clips to use in your video project. What you need to do is just take the playhead, just click and drag the play head and pick the point that we want to select, right? So to say, for example, we want to mark this point here is our end point. So we are the click here where it says mark in. And then we drag this play head over to the rides and we have a look at our fourth age. And then we decide that we want to mark this point here as our mock out point. So I click this shaded piece here is what we've selected to use in our project. So if you want, you can also make changes. If you run your mouse over here, the cursor will change to a bracket. And if you click and drag that in, you can change the end point just like that. And same on the other side, you can change the out point by clicking and dragging where that bracket is red, just like that. So this is the piece that we're gonna use in our timeline. So all you need to do is you can either click on Insert right down here, or override. Write one or two options. And we'll talk about these two options and just a moment. For now, we're going to click on Insert timeline. We got our play had set up hearing our timeline window. What, what happens? We have our playhead here. If I click on insert. So wherever the playhead is marked in our timeline is where the clip is going to be dropped onto a timeline. And as you can see, Premiere Pro has dropped that shaded piece right there into our timeline just like that, right? And the playhead stopped over here at that point, right? If you want if you decide that you want to trim this clip that's on your timeline and you can click on it, drag it around, drag it right, drag it, left it up to you. If you run your mouse over the edge of the clip, the bracket will change. You'll see the bracket direction changes. So. Now the arrow is pointing to the left. If I click and hold my mouse down, watch what happens. I've just trimmed my clip on the right-hand side. I can also drag it out and clip it back in. I can do the same thing on the other side. I can clip it in or I can clip it out as such, right? So essentially what I'm doing is I'm changing the marquee in and mock out points on the same clip, but just doing it on my timeline as opposed to doing it up here in the source monitor box, right? So I'm going to drag that clip and make it flush with the edge of my timeline at the very beginning there. So I'm going to show you a couple of things that you can do. I'm going to click on the play head. I'm gonna drop the playhead here. I'm going to find another clip. And I'm going to demonstrate this on a couple of clips and then I'll let you do this in your own time. So I'm going to double-click on, I don't know. I'm going to double-click on this clip here, my girlfriend, and she'll show up here in the source monitor box. I'm going to take my play head must scrub tool. I'm going to mock in, can either mark in or my keyboard by pressing I. I can hit the L key to shuttle Ford, K on my keyboard to stop. And then I can press on my keyboard to mark out so I can do everything on my keyboard without using my mouse. So it's up to you when you're making a lot of projects and you get into the hanging of the whole editing thing, then you'll find that using the keyboard shortcuts will become the next best friend. You know, I use the keyboard shortcuts all the time and I don't even use my mouse. I'm just demonstrating one option too. So you can either use your mouse and drag the play head around and then click with your mouse, mark in and then mark out. Or you can just exclusively use keyboard shortcuts of I, L, K, O. And then I can either use comma if I want to insert or full stop or period to overwrite. Watch what happens though if I drag my play head this way and instead of hitting insert, I hit overwrite. See what happens. Premiere Pro has taken this clip here, this piece here, and it's overridden, the first clip that I dropped into my timeline. If I hit control zed, well commands at for Mac to undo. That's a really good corporate keyboard shortcut. Just keep that in mind. You've got controls it or commands ed to undo. Watch what happens if I hit Insert instead. So by hitting insert wherever the play head is located, it's going to insert that clip and it's going to push this clip along. It's going to push all your clips along. It's not going to overwrite. So hit undo again. Remember where the playhead is? Once again we hit insert and we just drop that clip in there like that. Okay, so a couple of things I want to talk briefly about the program monitor box, and then I'll talk some about some of the functions and features inside our timeline window. So if you're running a really slow computer or laptop and you'll playback speed is really slow. You can hit the drop-down here where it says Select playback resolution. And you'll see a number of options here where it says full, 1.5 quarter, 1, eighth, and so forth. Now, you might only have three options enabled. Now by default, full is usually selected. If your playback speed is really slow, then you can speed it up by clicking on the drop down and just clicking on 1.51 quarter. And you'll playback speed will be much, much faster. Usually if you're using for-each that's recorded in 4K and or high bit rates and you're running a slow laptop, then I suggest dropping it down to one quarter. Just keep that in mind also as well. If you're wanting to create some thumbnails for the footage that you've, you've shot. Then you can actually use your playhead here, click on Export frame. And wherever the play head is located on your footage will be where premia proble export a still shot. So if I click on that, it will take this frame where the playhead is located and we'll make a picture file or a still frame or a still image out of that and I can call it whatever I want. So thumbnail image. For YouTube, I can select the format, JPEG, PNG, BMP, or TIF. It's your choice. I can browse to choose a location to store that still image, such and hit OK. So it's the same. This button here is the same as over here on the source monitor box where it says export frame. Same thing here as mentioned in click on that, export that frame and have that as your thumbnail. So that's a really cool feature that I use on a regular basis when I'm creating thumbnails for my YouTube videos. And just like a normal play, you've got to play option. You can stop it so you can use the space bar on your keyboard to play, stop, play, stop. These options here you got step forward one frame. So frame, one frame at a time, for one frame at a time back. Right? So pretty self-explanatory these options here, right? If we go back to a Timeline window, this is where all the action takes place, right? So as mentioned, these two windows are inextricably linked together like brother and system. So this is the output window. Just think of this like a TV screen where the end product is going to be displayed in the program monitor box. So your end product will appear over here in the program on into box. And your Timeline window is the working area where you're going to do all the work to put your project together. And as mentioned before, you've got these play heads here, which you can move left and right, and the play head here. And the programmer toolbox is linked with the play head here in the timeline window. They are both linked together. Just a couple of other things as well. We've got a video tracks here, so v1, v2, and v3. So video track layer one, video track layer to video track layer three. And same with our audio tracks are a1, a2, a3. Now, if you want, you can add additional video tracks by right clicking and clicking. Add track that will add V4 and The five and so forth. You can do the same thing with add tracks to audio layers. But typically is an absolute beginner. You really not going to be using any more than three to four video and audio track layers anyway, right? So you can just delete the ones that you're not using just to keep things nice and tidy. Right-click and delete as such. Okay? Delete and okay. Alright, so we've got three audio tracks and three video tracks. Also to keep in mind as well when you're selecting footage to import into your timeline window, make sure that source patching for both v1 and v2 and a1 are turned on. Sometimes I get questions from students that when they're trying to import clips from their source monitor box into, into their Timeline window. That it's only importing the video component and not the audio. So what I mean by that, if I hit the down key on my keyboard, the play heads kinda move, right? So what should I hit the down key again? The play heads kinda jumped to the end of my clip, the up key, it's going to jump to the beginning of my clip. So that's just a really quick way of moving between your clips on the timeline. So what I mean by that is if I, for example, click on this Kilimanjaro footage here. If I play this back, you'll hear that there's an audio as well as video, right? If I click on this option here, it says drag video only. But if I click on that, you'll see that there's audio associated with this video. If I click on the video icon there, it will take me back to the video, and so on and so forth. Now watch what happens if I turn this off. I've turned off Aden for audio track patching. Watch what happens if I tried to insert this piece into my timeline? Watch what happens if I hit insert? So one of the common questions that I've received from students over the years is complained to me that they're not able to, they're not able to import the audience. It's only dragging the video. And the reason being is because the A1 is turned off. And so if you just click on that, the Turn it on, watch what happens now? It drags in both the audio and the video. If I turn off V1, watch what happens. Only the audio component drops in, not the video component. So i'll just delete those ones. So that's a common question that I've had to answer over the last couple of years or so and I've been meaning to make a video on it. So I thought I'd cover that. It's pretty important to make sure that was sourced, patching, inserts and overwrites V1 and A1 are turned on or you can turn on V1 here and a1 there and watch what happens. So by default, Premiere Pro is going to drop our clip onto our video track layer two and our audio track layer two down here, because source patching is set over here and over here. So I'm going to change that back to the default. I'm going to delete this one. And we're going to take your play head back to the end of our first clip. So just a couple of features with Adobe Premier prose timeline. What I'd like to do is I'd like to expand out my tracks so I can see the thumbnails of my clips. So if I double-click over here. It'll expand out the video track layer and I can double-click on any one of these video track layers to expand them out. If I double-click again, it'll collapse them as well. So double-click to expand, double-click to collapse. Same thing with the audio tracks. Double-click to expand, double-click to collapse. And, or you can click right here and drag it down to expand that track out. As such, you can click here and drag it up to expand that track out to give yourself a preview of those thumbnails of the video and also the audio wave form as well. It's really important that when you start working with background music in your videos, that you're able to see the wave form very clearly because if it's collapsed, you can't see it and you can't work with it. It's very difficult to work with. So you can double-click. Or alternatively, you can hold down the Alt or the Option key on your keyboard, use the scroll wheel on your mouse. And that will do the same thing. Personally, I prefer to just hold down the Alt key, use the scroll wheel. That's what I do. It just makes a lot easier. It's up to you. Also, what you can do is you can zoom in and out of your timeline itself. There's a bar down here, little, little scroll bar here. If you click on the end here and drag it to the left, it will zoom in. If you click and drag it to the right, it'll zoom out. So very handy if you're working with very big projects, you know, 30 minute, 4050 minute long videos. It's handy to zoom out as such. Or you can just click anywhere in this timeline window, just make sure that there's a blue line around the window. Just means that you've selected that window and hit the tilde key, which is above the Tab key. And that will make this panel enlarged. And so if I'm personally working with videos that are, you know, 15203040 minutes long. I like to have my timeline open up on a big screen like this. And if I want, I can just hit the tilde key again and that will make it smaller. Alternatively, I can click on the program model to box, hit the tilde key to make it bigger, hit the tilde key again. I can go over here to my project window, hit the tilde key to see all of my clips in an enlarged format. So the tilde key is a very handy shortcut to keep in mind. Ok, so let's continue along with our timeline. So we have our play head here and we can just scrub our footage like that. Or we can also use JKL shortcut keys on our keyboard inside the Timeline window. So l to shuttle Ford or compress L Again, I can press k, j, j shuttles back and again, and k will stop. I can also use spacebar to play and stop the footage in my timeline window as well. Okay, if you're the cool features that I like about the timeline here. And Adobe Premier Pro is this little feature here called snap in timeline. It's also the shortcut key on your keyboard. So S will turn it on to make a blue S alternate off. So watch what happens if I turn it on? Watch what happens if I zoom into these two clips on my timeline? Like this. Watch what happens. I'll take this clip here, move it to the right. And if I bring it back to my first clip, it's going to snap in place as you can see, right? So that's what we're talking about with the snapping feature here. This is super handy to ensure that you don't have any frames that black in your projects. So that's a really, really handy feature if you turn it off, watch what happens? Right? There's no snapping at all. So it requires a much greater degree of precision to try and get that clip as close as possible to the first clip there. You get the idea. So I like to keep it turned on that my clips are always going to be snapping in place. Also as well. I'm going to drag in a couple more clips and I'm going to show you how the play head works. So I'm gonna take this clip here of me running on the beach. I've already marked in in point, right? I'm going to stretch that out this minute in point. This is my new OUT point. And in this case, I'm only going to drag the video only, right? So if I run my mass IV here, it says drag video only. I'm going to click and drag that over to V2, right? And then I'm going to take another clip of climbing Mount Kilimanjaro. I'm going to mark an end point on my keyboard, which is I. And then market output, which is o. And I'm going to drag video only onto the next video track layer, video track layer three. So I like to think of the playhead like an eyeball looking down on all of your footage. So right now, the eyes looking down onto the first layer, video track layer one, which is our clip here. On the first layer. If I move the eye over a little bit to the right, it's now looking at this clip here, which is stacked on top of the first clip on video track layer two. If I move the eyeball or the play head over to the right, it's now looking at this clip here, which is the Kilimanjaro footage on video track layer three. Now I can make this track invisible by clicking on the eyeball here. So now this track is invisible. The eye from the sky or the play head is now looking straight through this clip, into this clip here. Right? If I make this track invisible by clicking the eyeball here, the eye of the sky or the playhead is now looking straight through these two clips and onto this clip over here, right? So these two clips or these two layers are now completely invisible. All you can see now is me snorkeling. Now I can turn these layers back on. And now the playhead is seeing that video clip and so on and so forth. And again, I can move these clips around left and right. Make sure that you've got the selection tool or the V key on your keyboard, that's a shortcut key. This is your toolbox here, which we'll talk more about in another video coming up. We'll talk more about the features of the toolbox very soon. But the most common tool of the toolbox that you'll be using is the selection tool. And that allows you to select anything inside your timeline. And drag it around and manipulate it. And by the way, any changes that you make to your clips in the timeline window does not affect the original footage that's stored on your hard drive. So you don't have to be concerned that if you delete any one of these clips by clicking on them and deleting them. That you're only deleting them from inside the Timeline window. There's still going to be inside your project panel and they're still going to be on your hard drive. So don't worry, you're not deleting the original footage. And a few other cool features that I like with the timeline window. And then we'll move on to the next video and I'll explain more about the other features in more detail as we move through the course. You can lock layers as well, which is really handy if you press the padlock key here, it'll completely lock this layer. This is super handy when you're using background music and you don't want that background music track to be influenced or affected when you're editing everything else on the timeline. For example, if I go over here and I drag in my background music, which is part of your part of the exercise files for this course I've described in that track into audio track layer two, right? And I've just double-clicked very quickly, double-clicked on that track to expand that out for you. We now have some background music. Now, if I'm editing these two clips here, I don't want to, I don't want to touch this background music tracks. So if I hit the padlock key, it's going to lock that track in a place. I can't click on it. I can't move it around. I can't cut it. I can't delete it until I hit the padlock again to unlock that layer, and then I can manipulate it. I can move it to the right, I can move to the left. I can increase and decrease the volume and so forth, right? So this is a handy little tool that we'll come back to later in the course. I can also mute and solo tracks as well. This is so handy when you're working with multiple audio track layers. And you want to only hear the audio from one particular track. For example, if I play this back, it's playing back the audio from both audio track layer one and audio track layer two. But if I only want to hear that background music and I don't want to hear audio track layer one. I just hit the mute or the M right there, that option there on this audio track layer one that mutes this layer. So it's only gonna play the audio on all of the other layers, which in this case is audio track layer to watch this. So now I'm not hearing the background noise of the waves crashing. Here in this clip, I'm only hearing the background track. Again. If I untick that or select that, watch what happens. I can hear the waves crashing in the background as well as the background music. So we'll talk more about audio and audio mixing in another video coming up in this course. But I just wanted to point that out to you early on in this course. So for now, that's an outline of the timeline and some basic editing we're going to get into the toolbox, which is this little menu over here. And some of the more common tools that you'll be using in the toolbox in the next video. 8. Fundamentals- The Toolbox Basics: Okay, so we're gonna take a quick look at our toolbox here in Premier Pro and some of the really cool features of the toolbox that I like to use on a regular basis. The toolbox is over here, which between our timeline window in our project panel over here to the left. So this skinny little window is our toolbox. And to be brutally honest view, even after four years of editing over ten hundred, fifteen hundred videos now, something like that, I've lost count. I really only use three to four of these tools in any one of my projects. I've used all of these tools at some point, but on a day-to-day basis, I only use three to four. So I'm only going to explain a couple of these tools and then I'm not going to explain them in much detail because as we move through the course, I'll expand upon these tools that makes a little bit more interesting. Rather than me just sitting here and explaining each and every one of these tools which you may not ever use again, right? So the first tool in our toolbox is probably the most common one that you are going to be using, which is the Selection tool, which is the very top of the Toolbox. You'll also notice as well very quickly that each of these tools also have a shortcut key. If I run the mouse over any one of these options, you'll see that the shortcut key is in brackets. So we've got the pen tool, which is a P, P on the keyboard. The hand tool which is H, which to be brutally honest city, I never used that one. I never use that tool at all. Pretty redundant in my opinion. But it's there. We have the type tool which is shortcut T on the keyboard. So selection tool is v0, right, which is already selected. And the shortcut keys, as you're moving through your editing journey, you aren't even click on any of these with your mouse who would just be using a shortcut keys with our selection tool. We've already talked about this in a previous video. It's just a matter of giving you the option to click or select anything on your timeline and drag it around. So we have this clip here. And I've just clicked and dragged around. So this selection tool is allowing me to do that. So that's pretty much the selection tool. If we move down the list here, we've got our tracked select backward tool. And if I click and hold down my mouse, then I've got to offer two options, the tracks like backward tool and the truck select forward tool, right? And you see the shortcut a and the shortcut Shift a to access that option there. If I click on that, you'll see the arrow is now pointing to the left, which means that I've now selected the track select backward tool. If I click and hold my mouse down, I can click on the tracks like Ford tool to activate that option. And you'll notice here if you look very closely at the icons here in the toolbox, you see a little tiny arrow. Which is pointing to the bottom right-hand corner. It just means that that icon is coupled with several other options. So we have slip and slide, those two tools there. And we have the Pen tool. If we click and hold down the mouse, we have three options here. We have the pen rectangle and Ellipse tool, and so on and so forth. So we'll start with, first and foremost will go to our selection tool. I'm just going to add a couple more clips to my timeline here, just so I can explain some of these Toolbox options in a little bit better detail. So I'm just going to randomly take some clips. I'm going to take this clip here that I've selected. You can either use the clips that I've supplied to you or you can use your own, It doesn't matter. And in my source monitor box, I'm just going to click anywhere and the scrub along, I'm going to mark in. So remember, I can either hit I on the keyboard or I can just press mark in, suscribe alone, mock out, or press on the keyboard, which I'll do instead. And then with our play head down here, it's at the very beginning of our timeline. So remember we've talked about this in a previous video. If I just hit Insert, I've now inserted that clip. It's now my timeline. It's now pushed this clip along. So I don't want to clip that, that's so long. So I would just want to trim that down. So we've already got our select tool enabled. I'm just gonna run my mass over the edge of this clip. And I'm just going to drag that back, right and trim it down. So what I'm doing is I'm just trimming this down. I've now creating this empty space. Now there is a tool that you can use that automatically collapses the empty space caused by trimming clips on the timeline. I'm not gonna talk about it right now. I just want to demonstrate something else. So by trimming this could down, I've now created this extra space here. I can right-click here. If I hit rippled delete, watch what happens. I've now deleted that empty space. At the same time. It's rippled this clip along my timeline, it's collapsed that empty space. So that's just something I wanted to show you on the site while I'm dragging and some clips here into my timeline. So this clip here, I've got some shaded piece that I want to take on a mark in here. They mark out, I'm going to use insert. So if I press Insert Bank, just like that. So I can now scroll to the left. I'm using my scroll wheel on my mouse to scroll left and my timeline. And I'm going to zoom out a little bit by holding down the Alt or the Option key on my keyboard and scrolling my mouse to zoom out. Again, I can use this bar down here, so I'm just giving you some revision right now, and we've already talked about this, but revision is good, right, until you understand the fundamentals. So we now have three clips on our timeline. If I scrub these, right, you'll hear the audio playing there. And we describe our timeline and we've got the selection tool enabled. So again, with the selection tool allows me to select multiple clips at the same time called last sewing for to use the proper terminology. And we can move all three clips at the same time. Or we can move all three clips onto the next video track layer or the next audio track layer if we choose. And again, we can expand out this audio track layer by double-clicking over here, right? So that's how selection tool, I'm just giving you some revision. Another tool that I like to use is the rolling edit tool. The rolling edit tool is one that I'll talk about in another video in more detail. And what that means is that if I take my play head and I run it between two clips, and I look at this and go, well, actually, I want to make this clip shorter and this clip longer. But I take my rolling edit tool, I put it between these two clips, and I hold my mouse down and I click it and drag it to the left. And what it's doing is it's making the first clip shorter and the second clip longer at the same time. So if I realize by looking at my clip and I play this back, and when we're actually, I don't want so much of that first clip. I want more of the second clip. I just used my tool the rolling it until or shortcut n on the keyboard and for November, click and then drag it to the left. You'll see over in the program monitor box, you'll see that it will give me two preview images. And you'll see where one frame ends on the first clip and the other frame begins on the second clip. When I release that. This is a very handy tool to use. And if we move down, we've got the razor tool. The razor tool is a very common tool that you'll be using. It's also shortcuts C, on the keyboard, we can just click it. And that just allows you to, as you might imagine, click anywhere to cut the clip, cut and click anywhere else. And then you can delete pieces and portions of your clips. So I can make multiple cuts on any particular clip like that. And then I can go back to my selection tool or V shortcut V on the keyboard. And then I can select what I don't want and press delete. Just like that. Now remember if you make any mistakes with your selection, you can always hit Control Z or Command Z on your keyboard that will undo any mistakes or changes that you've made. And I use this very often myself because I'm not a perfect editor and I make mistakes and sometimes I do things on my all know, and I control Z, undoes that change. So control zed again, controls ed or commands on a Mac commands, it commands ed. So that's the rays at all. It's very, very straightforward, right? Also, if you hold down the Shift key while you've got the razor tool selected, it allows you to cut everything that's on in line with the razor. What I mean by that and all. Demonstrate this by going to my selection tool, going into another clip, taking an endpoint, taking an hour point, dragging the video only. I'll show you exactly what I mean. I'm going to drag it onto V2. I'm going to take another clip. I'm gonna take that piece dragging the video. Only. Watch this. Now. We've got 123 video clips and one audio track. Watch what happens when I take my razor tool shortcuts C on the keyboard. And rather than just clicking on any particular clip and just cutting one particular clip, I'm going to hit undo. Undo. If I hold down the Shift key, watch what happens? You'll see a line with the Shift key held down. A line is now extending right through every single one of my clips. Which then now if I click on the click on the timeline, it now puts a cut through every single one of my clips, right? So this allows me to cut. And if I hit select, I can then select and delete everything that's across every single one of those tracks. So this is a really handy tool that I use every now and again. Hold down the Shift key. I can cut through every single thing that's on every single track, video and audio track in my project, right? Cut, cut, cut. I mean, you get the idea. And if I, if I take the Shift key off, then I'm just cutting into a single track. So undo, undo, undo. And we're back to where we started. So that's moved down. We've got our slip tool and our slide tool. I'm not gonna explain those in this video. I'll explain them as we need them throughout the course. We have our pen tool. Again. We're not going to go into this detail of using the Pen tool, which is usually you'll use the pen tool when you're creating keyframes and that kind of thing and masking. But we're not gonna talk about that right now in this video, the hand tool, I never use it to be honest with you. It just allows you to move left and right through your timeline. I honestly just use the scroll down here or I use the scroll wheel on my mouse. I don't use the hand tool, but you can use it if you like. And then we've got the type tool, which is what you use to create text. So if you click on that or shortcut T for Tango on your keyboard, your cursor will then change. And you can then click anywhere on your video to type some text out. Type text here. And I'm not going to explain the text function right now. It's, it's for another video coming up in this course. If you just hit the selection tool and then click on that little graphic that's created in the timeline and just press Delete, right? And one more thing that I want to share with you is the rate stretch tool and then that's it for this video. So if we just have a look, remember if you're trying to find something, you just click, click down, hold them, hold the mouse down and you'll get the option, but a little menu here. So you'll see here the rate stretch tool is tucked away inside this third icon here. So rate stretch to all that really means is that we want to change the speed of playback for our particular clip. So I'll show you real quick. So if I take the selection tool, drag this clip over to the left, go to my rate stretch tool, click over here and drag it out to the right. What I'm doing is I'm essentially slowing down my clip. So it's going to play back in more slow motion. And if I right-click on this clip and go to where it says Speed and duration. It's manipulating the speed here. So before it was set to 100%. So if I just press 100, watch what happens. Click OK. The clip goes back to the same size as what it was before. But I can either if I want to slow down my clip, slow motion, I can either use the rate stretch tool by just clicking on the end of my clip and dragging it out. Or alternatively, I can right-click on the clip and change the speedup here, right? And because the clip was filmed for go right-click on this clip, go to properties, because this clip was filmed at 50 frames over there. You'll see that here 50 frames. I can slow down this clip by 50%, which means that all playback at 25 frames, which means I'll get nice smooth slow-motion, but we'll talk about that in another video. That is just the rate stretch tool will come back to the rates stretch tool in another video or no, this has a lot of information. Don't worry, we'll come back to it. So that's pretty much all the tools that I use in my toolbox. As I said, there's any three or four that I use. As an editor, you'll only really default back to a few tools that you'll use on a regular basis. Anyway, let's move on and I'm going to talk about the essentials of video effects coming up in this course. 9. Fundamentals- The Essentials of Effect Controls: Okay, let's talk about the essentials of video effects here in this tutorial. And I'm going to show you how to make some basic changes to your video clips in your timeline window and using the Effect Controls panel, which I'll show you in just a second. So right now we've got our playhead here in our timeline. And if I click on this clip, were going our selection tool or shortcut v, i click on that. I might want to make some changes to this video clip. To make it bigger. I might want to change the rotation and so forth of this video clip. How do I do that? So I'll show you over here in the top left-hand corner. We've got our source panel right here. And you'll see over here at the very top of our panel, we have our panel group. We have our source panel which has enabled that allows us to see the source of our footage. But we also have tucked away here another tab called effect controls. So if we click on that, we also have all the options, which you can see right now. I'll show you, if you click on your clip, those options will show up here under effect controls, where you can manipulate any of the video parameters or any of the audio parameters of this particular clip. You can do that within the effect controls. So we've got this clip selected and it's, as you can see, it's got a highlight around it. Well, first and foremost, we've got video and we have audio. So this is broken into two parts. So any parameters that video, we can make changes to any parameters, the audio of that track. We can make changes too. So we can, for example, the audio here. We can, if we click on this little arrow, so that little arrow to very, very tiny. If you click on that, we can then see another arrow. We can click on that. And we have this little thing where we can, we can reduce the volume of OWL audio, right? We'll talk more about this later. It's just create a little keyframe there. Don't worry about it. We'll talk more about how to delete key frames and had a play around with this in more detail later. I'm just gonna touch on it for now. If we go to the video parameters and click on motion and that little arrow, we have all these other options here. So I can change the scale so I can make it bigger or smaller. If you have a look in the program monitor box, I can make it bigger or smaller. So if I want to crop something out that's on the edge of my frame, I can just, I can either click and I can type it in. So 1-0, five and then Enter. Or I can just run my mouse over it and just scroll left and right. So there's different ways I can adjust these parameters. I can also click on the arrow here. And I get a little scroll, a little scroll bar thing, right? I can just do the same thing here. Alright, so I can adjust the percentage by running my mouse over here, or the little thing down here. If I want to change the position, I can then move it left and right. And as such, up and down, right. We'll play it with more of these settings as we move through the course, I can change the rotation. So if I've shot a video on my camera that's a little bit off off tilt. I can then change the rotation of it to make it more aligned in post-production, live by that. And then I can change the opacity. So at the moment is set to a 100%. If I take one of these clips and drop it over the top. Now if I click on this clip, now this clip is selected. And I changed the opacity of the top clip. And I bring that down to say 50%, maybe 30%. You'll see that now there's a blend between the top clip and the bottom clip. You'll see to pretty cool effect. And if you editor right, some really good background music, it's a really cool effect and we'll get, we'll get to that when we make a little project together, we'll try and make something interesting with the blend mode because you've got here the capacity. And if you click on this, you've got here different blend modes that you can play with. And we'll talk about this in another video really called blend modes that you can use to make your videos really interesting. And if you want to reset all of the parameters, all these changes that you've made. You can hit these little arrows here, which says reset effect. And you can actually click on all of them. And that will reset all of the parameters just like that. Now one thing to keep in mind, and this was something that really confused me when I was first starting my, my editing journey four years ago. And that was when I was, you know, I, for example, I'll just delete this clip that's on your screen right now. And I'll show you exactly what confused me. If I was trying to make changes to a particular clip. And I selected my clip and I had my play head over here to the right, but I had this clip selected. But the playhead is over here and it's showing me this clip that's over here. I would click on this clip here. I would go through and make changes to things like the scale and the rotation, for example, and the opacity for example. And I look at it and go, it's not making any changes. Why isn't it making any changes? And it used to frustrate me and I figured this out in the first week or two or something, that my play head was in the wrong position. So I had to move my playhead over here, my R, That's why I was making a mistake. My playhead was not over the top of the clip that I was trying to make the changes too. So it wasn't seeing those changes as I was making those changes. So that's just something to keep in mind. 10. Fundamentals- How to Use Adjustment Layers: Okay, so we're gonna be looking at adjustment layers and how to use them in your video editing projects. I use adjustment layers all the time when I'm editing my videos. And so you might be wondering what they are. And essentially, it allows you to create a layer, a transparent layer above all of your clips on your timeline, where you can put all of your effects and all of your color grading into that one single transparent layer where it'll affect every single clip below the adjustment layer. So if that doesn't really make a lot of sense, that's fine. I'll show you how it works. So first and foremost, we've got a couple of clips here on our timeline, which is part of the exercise files for this course that you can also access and follow along with me just a couple of Troy and clips here. And I'm going to create an Adjustment Layer and put that over the top of all of these clips on the second video track layer. So all you need to do is if you go down to New Item and click on that got to Adjustment layer, and this little box will pop up. So just click OK. Down here, Premier Pro is created an adjustment layer. And essentially it's a transparent empty layer with nothing added to it just yet. So the first thing I'd like to do is I like to rename it. And so I'm going to call it color grading, so you can call it whatever you like, but it just makes it easy to identify on the timeline. So if I drag that over to video track layer two and then expand that out over the top of all four these, these clips, essentially what I've created is an empty Adjustment Layer, which I click on. And over here in effect controls, there's nothing inside it. I haven't added any effects. I haven't added any a color grading to it. So essentially it's doing nothing. If I toggle this eyeball on and off, you'll see that it's not doing anything because we haven't added anything to it yet. So essentially, whenever I add to this adjustment layer, it's going to affect all four of these clips at the same time. The reason for using Adjustment Layers is purely for efficiency and better workflow. Because if I wasn't using adjustment layers, then I'd have to apply adjustments or effects or color grading to each individual clip. And if I come back later on and I want to make changes to my colleague rating, then I have to make those changes. And each individual clip, which just is a waste of time and not very efficient. Whereas if I just do everything inside the adjustment layer, then I only need to make one change that affects everything below it. So we're going to use the example of color grading with this adjustment layer. I'm gonna click on this adjustment layer. Make sure you click on the Adjustment Layer first and just make sure that you've got color selected up here in the workspace as panel above. So we're looking at the same thing. And I'm gonna go straight to overhear on the elementary liberatory colour panel here. You've got basic correction and we're going to skip over that for now. And we're gonna go straight to creative. And I'm gonna explain the color aspects of editing in other videos coming up in this series. So we're gonna go very quickly through this, but we will talk more about color editing later on. So under creative, I'm just gonna select from this dropdown here, any one of these, they call lookup tables. And don't worry, we'll explain or that in coming up in the course, but I'm just going to select M31. And I'm going to demonstrate that we've now applied this color grading to the Adjustment Layer, which consequently has appeared over here as limited color. You would have noticed that this has changed as well. So if I take my play head and move it over my clips, it is now applied that M31 colour grade across all four of these clips. So if I click on the eyeball here to turn it off, you'll see the before and after. So turning it off, turning your back on. So have now applied the same colour grade across all four of these clips. Now, as I said before, if I wasn't using an Adjustment Layer, I'd have to click on each individual clip, select M31, Go to the next clip, select M31, next clip and the same, and so on and so forth. So as you can see, it's much more efficient if I just used a color, if I just use an adjustment layer. Now, if I take one of these clips and I move it above the adjustment layer, you'll see that it's no longer affected by the adjustment layer. So the adjustment layer only affects all of the clips that are below it on the timeline. So if I put, you know, Eclipse here, everything below it is going to be affected by the Adjustment Layer. Also as well. What I like to do when I'm working on bigger projects is alike to lock my adjustment layer in place. So you'll see the padlock icon here. So if I click on that, it locks this adjustment layer in place so I can't make any accidental cuts or movements or anything like that with this layer. So if I click on it, I can't move it. If I take my cut or raise a tool and I cut these clips, I'm not going to accidentally cut into my adjustment layer. So I like to padlock my Adjustment Layer and my background music as well. So I'm just going to unlock that now. I can also move this adjustment layer around. And you'll see as I play, as I move my play head, you'll see that the effect only comes in when the playhead moves over the top of the adjustment layer. So I can apply the adjustment layer halfway over2 clip. If I wish. I can also stack adjustment layers on top of each other. So I can have one adjustment layer for just my color grading. And then I can create a new adjustment layer for all of my effects. So if I go New Item adjustment layer, click OK. And I'm going to call this one affects. And then I'm going to drag this one over to my timeline and I'm going to expand that out. And then with this adjustment layer, I can put all of my effects in her home. So if we click on these two arrows, go to effects. Okay, so I'm going to use the crop effect and I'm going to drag this over onto this adjustment layer. And by doing that, you'll see over here that we've got this crop effect added into our effect controls inside the adjustment layer. So what I'm gonna do is I'm going to change the value of top two. Some value like 7.5. I'm going to crop the top by 7.5 and I'm going to crop the bottom by 7.5. So just added some crop bars top and bottom to this Adjustment Layer. And watch what happens if I move this playhead over this, over these clips, you'll see that that crop has applied to all of these clips. And again, if I turn this adjustment layer off, then the crop has been turned off. And that's evident as I move the play head over the top of the clips. Alright, turn it back on. So right now we've got two adjustment layers here. We've got one for effects and one for color grading. And both of these adjustment layers are applied to all four of these clips underneath them. A couple of things I want to point out with regard to the color grading adjustment layer that we've added. I'm just going to firstly just delete this adjustment layer effects and just stick with the one adjustment layer. So typically, and we'll get, we'll go into more detail when we get into the color editing aspect of the course. But you'll usually always want to do basic correction first. So you'll want to color correct your footage first by going to each individual clip and making colour corrections. And then after that, you'll apply an adjustment layer which will grade, applies a certain colour grade across all of those clips. Make a lot of sense now, but we'll talk about the differences between color correction and color grading in the following section of the course. But right now I just wanted to demonstrate that you can put the color grade into your adjustment layer to affect all of the clips below it. Also as well. If you go back into our project panel, we have our two adjustment layers here. If I take this adjustment layer and drag it over to my timeline, it is now an empty adjustment layers and empty transparent layer with nothing inside it. And so when I fill this adjustment layer with different effects, and then I delete it, then I lose all of those effects that I've added inside that adjustment layer. If I drag it afresh adjustment layer from my project panel over to my timeline, I start over and I have to re-add all of those effects again. Okay, so that is all you really need to know when it comes to adjustment layers. I do suggest that you start playing with these in the early phases of your editing journey. It definitely makes things much more efficient when you're working with bigger projects and hundreds of little clips on your timeline. And allows you to just use a single lamb and span it across all of the clips that you want to effect without adjustment layer. And it makes things a lot easier. So I hope that was helpful and I'll see you in the next video. 11. Fundamentals- How to Use Key Frames: In this video, we're gonna be looking at using keyframes and how to use key frames in your video projects in Premier Pro. And you might be wondering What are key frames and why do I need to be concerned with them? And if you think about videos, you've watched where you've seen videos fade in and fade out, music fade in and fade out. Or you'll see photos that animate on screen or text that animates onscreen. All of that is accomplished by using keyframes in the editing software, whether it be Premiere Pro or different software. So essentially what we're doing with keyframes is that we're causing things to change. We're causing attributes or properties around those clips to change over a certain period of time. Okay, so in front of you we have three clips on your timeline that we are going to be using to apply some keyframes to. We have a little video clip here. We have a still image and we have some text. So if you want, you can access these two clips in the exercise files as part of this course if you want to follow along with me, otherwise you can use your own footage. So first and foremost, that start with ensuring that you've got the effect controls panel turned on. So you will see exactly what I'm seeing. So if you don't see, go to window, go down to effect controls and then you'll see a little tick there. Make sure that's selected. Otherwise, if you still don't say, click on these two arrows here and you'll see it here in the list. So the first thing we're gonna do is we're gonna create some keyframes on the first clip here in our timeline by clicking on the clip and then going over to effect controls. And you'll notice that the play head over here is coupled with the play head down here on the timeline. So just keep that in mind. That when you move one, you'll move the other. So what you'll notice is that pretty much with all the effects in Premier Pro, they have a little like stopwatch, little clock next to them. And that means that you can create keyframes for that particular effect. So for this clip, I'm going to demonstrate the use of capacity. And you'll see that there's a little stopwatch icon here. Now, just keep in mind wherever you put your play head is where the keyframe is going to be created under. So if I click on the stopwatch icon for capacity, permeable will drop a little diamond shape keyframe underneath the play head here. If you look over here in the timeline window, you'll see that you'll see the same keyframe drop there as well. And so if we go back over here, one keyframe on its own doesn't do anything, right? So you need to create two or more keyframes for there to be some kind of animation. Now if I move my play head over to the left and then go over to opacity and change this percentage down to, say, for example, down to 0%. Automatically, Premiere Pro drops another keyframe underneath the playhead and a line is drawn between the two keyframes. So if I now play, watch this, we now have a fade in between those two key frames. So this is called a, these are called linear keyframe. So that means that the change that's occurring between these two key frames is a constant change. So if I slowly moved my play head, you'll see that the percentage over here is slowly increasing at a linear, at a linear rate between those two key frames. Now if I want, I can click on any one of these keyframes and drag it over to the right. And essentially changing the speed at which that fading occurs. So as you can see, we have a linear change between two keyframes that's occurring over a greater length of time. I can move these keyframes around as I wish. Now, if I want, I can create another key frame. And so I can move my play head over to the right toward the end of the clip. And I can click on this percentage and then take it back to 0. And once again, under my play head, another keyframe has been created. So just keep in mind wherever you all keep your, your play head is placed. Whatever change you make to the values is the exact location that that key frame is going to be dropped. But you can then always click and drag that key frame around to find the exact location that you want to put that key frame. So now we have three keyframes for this effect. And you can actually use these arrows here too quickly toggle between those keyframes, or you can just click on them directly. So I'm going to position this key frame in the middle and then this one closer to the end of the clip. I'm gonna play the animation and see what happens. So we have fade in and then it drops off on the last keyframe there. So these are called linear keyframes. As I said before, the changes a gradual and linear change between these key frames. Okay, so now I'm going to jump over to the next autumn on our timeline, which a still image. Now know a lot of people would like to use still images in their projects and give them a little bit of animation, like a little bit of zoom or pan. And you can also do that with using keyframes, and I'll show you how to do that. So first and foremost, Click on the still image on the timeline and then go over to your effect controls once again. And this time we're going to manipulate the scale. So we are going to make this image zoom in a little bit and zoom out a little bit. So if we go over here, we got a little time. We're going to play head here and we have scale. And again we have a stopwatch. So if I click on the stopwatch at little keyframe is being created. And I can move this playhead along. I can then change this scale to zoom in a little bit more. And another keyframe has automatically been created. And again, if I just play between those two key frames, we now have a scale change between those two key frames. And again, I can click and move them around as such. Ok, so the last item on my timeline here is that we have some text and I'm going to show you how to apply some keyframes to this text and give it some animation. So again, I click on the text, I go over to effect controls. And this time I'm going to change the scale of it. So I'm going to click on the stopwatch icon, and it trumps a keyframe here. I'm going to move this along a little bit. And I'm going to change the scale to make it really small and make it disappear off the screen. So by doing that, another key frame has been created. And again, we have two linear keyframes. If I play that back, you see the text gets progressively smaller at a linear rate between those two key frames. Now again, I can, I can move these keyframes closer together to make that change take place faster. Or I can spread them out and make the change take longer over a period of time. Now I'm gonna show you something. If you right click on the keyframe. We have different options. We have Beziers, auto busier, continuous holds, ease in and ease out. So by default, when you create keyframes in Premier Pro, it's gonna drop them down as a linear key frame as you've already seen. But watch what happens if we change the second key frame to a busier. The shape of the keyframe changes from a diamond to an hourglass. And now we have access to these controls down here. You're not seeing that. He might just be seeing that. So just go be here, your seal arrow next to scale. If you click on that arrow, you'll get a drop down and you'll see what they call a velocity curve. So a velocity curve is where we can change the speed at which the effect changes when the playhead approaches that keyframe. That probably doesn't make a lot of sense, but I'll explain it to you in this way. So down here we have some handles. These are called velocity handles. So when you change this keyframe to busier, you'll get access to this velocity handle, which allows you to click and move this around. And as you can see, we can manipulate this so that when the playhead approaches this keyframe, the animation or the speed changes. Watch what happens. Just like that. So what we've done is as the playhead is moving toward this play head, toward this keyframe here, you'll see that the scale is increasing and then it drops off very quickly when it hits the keyframe. So increasing, increasing, and then rapidly disappears. So that is how you use a Beziers keyframe. It gives you more flexibility with your animations just like that. And if I want, I can create another key frame. Over here. I can just change the scale. And by default, another Beziers keyframe is being created. And watch what happens now. There we go. So there's almost unlimited options and unlimited things you can do with keyframes. You can move them around. You can also delete them as well, so you can click and delete them as such. And so that's essentially the basics of using keyframes. So definitely play around with this. And as I said, the options are limited. And if you have any questions, let me know. Otherwise, I'll see you in the next video. 12. Fundamentals- How to Trim & Cut Footage (5 Ways): So I'm going to show you five ways of trimming and cutting of footage inside of Premier Pro. And I'll move through this fairly quickly. The first one is a razor tool. This is one of the most basic tools to use inside the software. And over here you'll see in our toolbox we have the razor tool, which is shortcut C on the keyboard. You can click on it there or you can press C on the keyboard. And that essentially just allows you to just raise any part of your clip or footage on the timeline. And then using the selection tool, you can select any one of these and just delete them, right? So the razor tool is very, very straightforward. That's essentially how you cut your footage. What I also like to do with the razor tool is if I have multiple clips, which I'm just kinda stacking here to say, for example, I've got multiple clips on Cy5 video track layers. And I want to cut right through all of these clips at the same time, rather than just getting my razor tool and then just kinda clicking and then just click on each one of these clips all the way down. I can just undo all of that, hold down the Shift key that draws a giant line, as you can see, quite a long vertical line. And then if I hit the razor tool, it automatically cuts straight through everything on that line. I can also use my play head here to kinda help guide my cut. So I can use my playhead, drag it over here, and then just cut at that point, get my play head, move it back and then cut at this point, right? So you can use your play head there as well to kinda help you guide where you put your cuts. Otherwise, that's how I use the Razor Tool, the photo, a little of those. The next one I want to show you, that's also very, very basic and you'll be using it all the time is the Selection tool. So you'll be going between the razor tool and the selection tool quite frequently, which is shortcut V on the keyboard and C on the keyboard for cut. So C and V will toggle between the most common tools that you'll be using. And essentially with the selection tool, you can then take your mouse and go to the edge of a clip. And you'll see that the cursor will change to a bracket and it's a red bracket that allows you to then trim the forage in or you can pull it out and trim it out. When you trim your footage out, you'll get to a point where you won't be able to pull it out any further, right? So we'll get to that point there where we hit what we call a trim media limit. So that this question a couple of times actually, I might just touch on this now. So if you look closely at that message, it says trim media limit reached on Video 1. It just means that there's no much normal for each left, right? This is all we have. So we've reached the limit or their footage. We can't trim it out any further. We can trim it in. Right. But we can't trim it out any further than our trim media limit. We can also trim our footage on the other end of that clip as well by just taking a selection tool and where the bracket bracket changes red, we can then trim air footage like that. It also creates this gap here, which is very easy to remove. Now I mean, of course you can just right-click and go ripple delete. But there's definitely a more efficient way of removing that space, which moves on to the next one, which is ripple. Delete the third one I want to show you, which is where we take our selection tool. And all you need to do is hold down the Control key. So I'll just zoom in here. If you need to zoom in, you just use the little things down here to zoom in and zoom out. Or you can just hold down the Alt key, use the scroll wheel on the mouse and that will zoom in as well. So we get our cursor and we move our cursor to around this point here, right here where the bracket changes red. Now you're going to hold down the Control key or the Command key. What I press the Control key, you'll see it changes yellow, right? But make sure that the cursor is around this point of the clip, not over here. Not too far away. You need to be around here, somewhere. Right there. Okay, right there. Hold down the Control key, changes yellow, and then we now activate the ripple edit feature, where we click and drag that clip to trim it. And watch what happens. We've now trim that clip and automatically that gap has been closed. I'll zoom out so you can see that more clearly. I want to trim this clip here for example. So again, I, the bracket there is right there, read, I hold down the Control key, it changes yellow. And then I just click and drag that to the left and watch what happens. There's no gap anymore because I now hold down the key, make it yellow, which turns it into the ripple edit function. And then I can easily trim my footage and remove that gap at the same time. Another one of my favorite features that I like to use when I trim and edit my footage is the rolling edit tool, which is shortcut N for November on the keyboard, right? So that's right here. If you don't see it, just click, hold down that little icon. You'll see it in the menu here. Which second one on the menus is rolling edit tool and right, and on the keyboard, right, so that's how you activate the rolling edit function. With rolling edit, it just means that we can manipulate the in and out points about clip on our timeline without adjusting the overall length of our sequence. What does that mean? So I take my rolling edit tool, just say for example, I want this clip to be longer and I want this clip to be shorter. Now, the fastest way of doing that is using the rolling edit tool, where I just click in the middle there. And I'll just push that out to the right to make this clip longer and this clip shorter. So essentially manipulated the outpoint of this clip and made the outpoint of this clip longer. And I've made the unclip, the endpoint of this clip shorter by using the rolling end, sorry, the rolling edit tool. And it does two things simultaneously. I can also switch that back the other way to make this clip shorter. So this is a really cool function. And it doesn't change the overall length of the project, right? By using the rolling edit tool to really handy fast ripple tool that I like to use on a regular basis. And the last one I want to show you is the Slip tool. And so with the slip tool, this is where we can adjust the source in and out points. So for example, just say, I want to slip this particular clip. I don't want to adjust the overall length of this sequence at all. I want to keep it this exact same length. But I want to, I want to change the source in and out points that I've selected for the clip in the middle. So what does that mean? I'm going to delete these couple of clips on that, demonstrate it. So we've got this clip here in our source monitor box, and I've already marked an in point and an outpoint. Whoops, of mocks and end point and an outpoint already this is the shaded pace. And I want to drag that into my timeline Qu, I'm going to give this a color. I don't know, civilian, cool. And then I'm just going to duplicate this clip here. All right, So just say for example, I don't want to change the overall length of this project. I just want to change the in and out points that I've originally selected for this clip here, over here. I want to change these in and out points, but I don't want to have to just delete this and then go over here and create new in and out points. I want to slip it instead, waltz, this clip is still on the timeline. I just go over here to where it says Slip tool, which is Shortcut Y on the keyboard. Click on that, take my cursor, and then now I'm just going to click on this clip. And then I'm going to shuffle it and change those in and out points. As you can see in the program monitor box. You can see the before and the after as I change in slip that clip there. And just a matter of looking at my program monitor box saying or I want the news source in an app points to B and then just releasing it. It is that simple. I don't need to delete this clip on it. It doesn't change the overall length of my project. So I do suggest playing with the slip tool. It's very, very handy and you will be using it at some point in your editing journey. So they are the five ways to trim and cut your footage. There are a couple other ways, but I'll show you those in the intermediate course. Thanks for watching and I'll see you in the next video tutorial. 13. Fundamentals- Source Patching for Inserts & Overwrites: So you might be going through your videos, editing your projects, and you realize on the timeline that there are all these little blue boxes here on the left-hand side. When you run your mouse over some of them, it says source patching for inserts and overwrites and you kind of click around, you're not really sure what they do. And then over here you've got this column. And when you run your mouse over them, you know, you have these little blue boxes and you're not sure what they do, but they look the same. They look the same in terms of function to the source patching boxes over here. So they're actually completely different. And so I'm going to explain in this video and the next video the differences between source patching, which is over here, these little blue boxes, and track targeting, which are these blue boxes over here? I know the same because they've got the same color code. I think Adobe's should give these slightly different colour. So it's a big confusion point, but I'm going to jump straight into it and explain source patching in this tutorial and how it works. So firstly, I have a little clip here set up. I've got some clips here in my project window. And over here we have our source monitor box. Now, the source patching option here, if you run your mouse over the blue box, it says source, source patching for inserts and overwrites. So that's a big key word. This here, what you have selected here in terms of your source patching is directly related to your source monitor box over here. So we have our original footage and you've already learned that we can select in and out points here to select the footage that we want to bring into our timeline. So we mark in and out points, we have a shaded piece. Now we have our playhead selected down here in our timeline window. And over here we have two icons, insert and overwrite. Now, whichever box I have selected here. So we have V1 and A1. So just to clarify, we have audio track layer 123 and video track layer 123. But in this case, we have in terms of source patching with essentially telling Premiere Pro where to insert or override our footage from the source monitor window onto our timeline. So we're telling Premiere Pro to drop the selected footage over here onto video track layer one and audio track L1. So watch what happens when I select, insert. It drops the footage onto v1, A1. Watch what happens if I select v1 here. So this is video track layer two and audio track layer two. And I select the same option of insert. So now telling Premiere Pro to patch our source footage onto video track layer two and audio track layer two. And if we do the same thing here, insert. And if we just click video track layer to audio track layer two. So you get the idea. So that's essentially what that is. So one of the biggest issues that students come across, I've noticed is if you de-select both of these, right, and turn them off, and you try and insert or override. Watch what happens. Nothing happens because Premiere Pro doesn't know where you want that selected piece of footage to go onto your timeline. So you've selected the in and out point and you haven't told Premiere Pro where you want to patch that source footage and audio. And so you just clicking like or nothing's happening. But the common one that I get in terms of a question. And I've actually made a separate video in the FAQ section is you might have one of the selected, so you might have video track layer one. And you've de-selected audio track layer one, and then you select, insert or override and had only brings in the video track. And you're like, well, where's the audio? The audio is not going into my timeline. Or the other way round, which is you might have audio track layer one selected here. And you've de-selected video track layer one here for your source patching. And you do the same thing and you're like, well, where's the video? There's no what's going on? And this is really weird. Like there's definitely video here. Like I've imported my video. I can see it here on my source monitor box. But when I go to him soda or override, it's just my audio, like where's the video? And so when I was first starting my video editing journey 4.5 years ago, this was a problem that I came across personally. And so I think almost every editor will tell you that they've been through this before. And this is the exact reason why So make sure source patching for inserts and overrides is selected v1 or A1. And you're telling in this, in terms of this column here, who telling Premiere Pro where to drop your footage. And so if you actually de-select the source footage to say we just click on the sequence here and we de-select it. You'll notice that they're disappeared completely. So it's only when you select some source footage that you'll get the option to say right now, I can't click anything because I haven't selected any source footage. I've got my this is my sequence file that I've selected here. But when I select any one of these source files, you'll see automatically that these will pop up. So they'll disappear, then they pop up again. So once again, this here, this column here is directly linked to your source footage. So that is essentially how source patching works. I hope that clarifies it. In the next video, we'll talk about track targeting and how that works and how to use it. 14. Fundamentals- Understanding Track Targeting: Okay, so let's talk about track targeting in this tutorial, the previous video, we talked about source patching and how it's completely different to track targeting and subtract targeting. Once again, is this column here of blue boxes. And you might be wondering, well, what's going on here, like what happens when I de-select sum and select some others. And so there's specific functions within Premier Pro that are directly tied into track, targeting. And in terms of practical use as a beginner, the copy and paste function is the one where track targeting becomes very handy. So let's go through and demonstrate. I'll take a couple of clips and I'll just drop them onto my timeline as such. And I've got just dropped into clips there. And that was a function of source patching V1, A1. And so consequently, the video and the audio dropped onto the first two tracks there, V1, A1. So you learned that already. However, you might want to copy and paste some clips in your project. And so it's usually as easy as right-click on a clip, go up to copy. Thank you. Play head, and then go Control or Command V to paste. And that pasted on your timeline. And where it paste on your timeline is a direct function of what you've selected four track targeting. So we have V1, V2, V3, we have all of these selected. All of these are highlighted. So when you have all of these highlighted, Premiere Pro will automatically default to track targeting on V1, A1. So whenever you paste clips on your timeline, it's gonna paste to, if you've got the V1 A1 track selected, It's gonna paste on those tracks first. If I deselect these and go Control or Command V, it's going to paste to V2, A2. Like that. If I de-select V2, A2 is now going to preferentially pays to v3, A3 if I de-select you so you get the idea. So way of telling Premiere Pro, whenever we copying and pasting, we're telling Premiere Pro that we want to paste the clips on which ever track we're targeting, which is what we've highlighted here. Now, as I said before, if you've got multiple tracks highlighted, It's going to pace to the bottom track first. So you might have a situation where you've got some clips here on your timeline, V1, A1. And you wanna paste on the track above and the audio track below. So you don't want to see right now, if I hit control V or command V to paste and it's going to override over the top of what I've already got there. Now the reason why it's dropped, it's pasted the way it has now is because I've got V1 selected for track targeting, an A4 selected for track targeting. So that's why this has happened. But all I have to do is just undo that first. Is I just de-select V1, A1, and just select a2, v2 as a minimum. And then just paste it and it just drops the clip straight over the top. And I might want to deselect these ones and go for A3, V3. So you get the idea. So that is one very useful function when you're using track targeting is copy and paste, telling Premiere Pro where to paste your clips. And as I mentioned, and I like to remind everybody that track targeting and source pouching completely different than not even related. They look the same, but they're completely different. So I'll show you another example of where track targeting is used. It's more or less going into intermediate territory. But let me just get these clips in our space, them out here. So there's a function in Premier Pro called Go to next, go to Previous. And that won't make a lot of sense. I have to demonstrate. So let me get some clips here and space them out on the timeline. And I'm going to show you how it works. Now as I said, this is more for intermediate editors. So if you're looking at getting more serious into your editing, definitely stick around and watch this because it will come in handy for him. Okay, so we'll just drop this down here. Okay, so I've deliberately clustered my clips so that they're on different audio tracks and different video tracks. So you might have a project that looks kinda like this. Not exactly like this, but something where you've got, you're using multiple video tracks, multiple audio tracks. And you want to quickly and easily and efficiently jump from one clip to the next on your timeline. So typically, and I haven't probably shared this already, but if you use the up and down arrows on your keyboard, or just highlight all of these just to demonstrate, right? So if you use the up and down arrows on your keyboard, the play heads going to jump from the beginning of one clip to the end of that same clip. If I hit the down arrow again, it's going to jump to the beginning of the next clip, to the end of the same clip. Beginning of the next clip ended the same clip. So down, down, down, up, up, up, up. So I'm essentially quickly and efficiently jumping between clips on my timeline, right? It's a handy feature when you get into bigger projects. However, the reason why it is jumping between clips from the beginning of one to the end of the other. And it's doing if each clip that I have in my timeline is because I've got track targeting selected for all of the video tracks and all of the audio tracks. Watch what happens when I tell Premiere Pro to target only v1 and A1. So I'm just kinda turn all these off. Remember, source patching, nothing to do with this. Completely separate. I'm telling Premiere Pro just to focus on v1 and A1 C, You'll notice now when I hit the up and down arrows on my keyboard, Premiere Pro is only going to jump the playhead to those clips on the timeline that I'm specifically targeting over here. So I've got V1 A1 targeted. So when I hit the up arrow, it's now jumping to the clip that's on V1 A1 and again V1 A1. But what's this? It now skips all of these clips because they're not on V1 A1, so these clips are not targeted. So I'm just going to bounce around and demonstrate it one more time. So this clip here is on V1 A1 and V1 A1. But then it was skipped all of those clips in the middle because they're not targeted. And then it will jump to these ones over here. So that's a second function of track targeting in Premier Pro. It's specifically linked to the goto. Next, go to previous edit. And the first one we've showed you which is copy and paste. There is, there is another one called frame matching. But we're not gonna go into that. It's more intermediate level. But yeah, that's essentially track targeting. So I hope that clarifies what track targeting is. And you can turn these on and off, and you're not hopefully not confused anymore between the differences between Track targeting and source patching. If you have any questions, let me know. Otherwise, I'll see you in the next tutorial. 15. Fundamentals- The J Cut and L Cut: All right, Welcome to the J cut. In this video, I'm going to show you how to perform a very simple Jacob or L cut on your videos to make your videos have more flow and to seamlessly transition from one scene to the next to help your audience transition into a sane or to transition out of a scene. So I'll explain that in more detail as we continue with the tutorial. But the L cut is essentially the opposite, which I'm going to demonstrate to you in just a second. But essentially just a bit of background GI cuts and L cuts are used all the time in movies and vlogs. They used everywhere at once. I demonstrate this to you, you're going to see it in pretty much every movie that you watch. It's common with changes in scenes, with dialogue and things of that nature to make a conversation on screen kind of flow from one person to the next. And I'm going to show you how to do it. And the reason why it's called a j cut or an LCA, is because of how it appears on the editing timeline. So in this example here, I've actually changed the clips to cut it to make it easier to see the CEJ. So we've got here two clips here, a timeline with some background music. And so you'll see here that we've had our first clip and our second clip with the audio is cut to give it a very distinct J look. And what that means is that as you're watching this, these two clips, and I'm going to mute the music. He, just to make it simpler to see what you're saying is that as I, as you watch these two clips, you're actually hearing the audio from the second clip before you see the visuals of the second clip, and I'm helping the audience to transition into the next scene. I'll show you. Yeah. So it's very subtle, but essentially for about three seconds or two seconds or so, you're actually hearing the second scene before you see the second sane one more time. Yeah. So that's a j cut and I'll show you how to do a j cut in just a second, and the L cut is just the opposite. But with the music that I've used here, I've actually helped drive home the GI cut to emphasize the build-up and to really empower the audience to move into the second scene. So we've got the music buildup, and then we've got the audio from the second clip, and then the visuals come on. So that's the L, that's the J cut. And the L cut is just the opposite. Essentially we have the audio from the first clip, which kinda helps the audience to kinda exit out of the same. And that continues on into the second clip. So I'll play this back. And this is, so this is an example of a no cut. So it's a nice smooth transition out for the end of this video by using a very nice L cut. And as you can see, we got the audio which continues on. Well and truly after visuals for the first clip. So that's an elk up. So I'm going to show you how to do both in this video. And so I'll give you a very simple example using two different clips. So I've got one here for snorkeling and one here where my girlfriends dancing in the rain. And so there's nothing wrong with just a straight cut where we cutting very cleanly from one scene to the next. But sometimes if you, especially if you're making travel videos, it's nice to have some clips kind of work together and flow from one scene to the next without that harsh cut. For example, this is a harsh cut going from snorkeling to the rain. So I'm going to show you how to do the j cut and Neil cut. Well, you need to do is what I like to do this different ways you can do this. You can, first and foremost, you can lock. So we have here two clips here, and there's a padlock over here. And what we can do is first, we can either lock the video, Elia will lock the audio layer and then shift the other one, sorry, lock the video layer first. And then I'm going to take my rolling edit tool or shortcut N for November and the keyboard. So I'm gonna take that tool and then I'm going to get down to the second audio track lay here. And I'm just going to shift. Now I can shift it either way. If I want to create a j cut, I'm moved to the left. If I want to make a L cut, I move the audio to the right. Or you can do it with the video layer. We can lock the, the audio layer and we can just shift the video layer. As such. We can move to the left or move to the right. It's up to you. And let's play this back. So now we have a j cut here. As you can see, we have that distinct GI there. And if I unlock the layer and play this back. So as you can see, we have the rain. We can hear the rain before we see the visuals, but then that's quite harsh, isn't it? So what I'd like to do is incorporate a nice transition there so that rain transitions a lot nicer. So I go over to the Effects panel and I might use constant power, for example. And I'm not just dropped that over the top there. So one more time. So that's essentially how you do a j cut. And if you want to do an L cut, once, once again, you just shift other the video track or the audio track in the opposite direction to get a nice L cut. So that's essentially how you do J cuts and L cuts. I do recommend that you play around with this. It's very easy to use. And next time you watch a movie, see if you can see the GI cuts and the old cuts being used. And you'll be surprised that more frequent than what you think. So otherwise, if you have any questions, let me know and I'll see you in the next video tutorial. 16. Fundamentals- Applying Simple Transitions Between Clips: In this video, I'm going to show you how to apply simple transitions between your clips in your project here in Premier Pro. And I have in front of you a couple of clips that I've dropped onto the timeline which you can access in the exercise files for this project, for this course. And saw that a couple of drone clips here, just here on the timeline. So before I show you some of my favorite simple transitions in this video, I want to show you an often underrated transition in my opinion, and that is the simple or straight cup. So essentially I have all these clips here on the timeline. And as I play this back, you'll see that I'm simply just cutting straight from one flip to the next. And so this is just a normal straight cut, a normal simple cut. And so you can totally get away with creating projects where you're not using any fancy transitions and you're just using a straight cut from one scene to the next. So often underrated, but this keeps your projects relatively clean and streamlined and no less distracting when people are watching your videos. But let's have a look at some other transitions that you can use over in our effect effects panel over here on the left-hand side. So if you don't see that they just go up to the top here where it says window and then go down two affects. Makes sure that there is a little tick them. If you still don't see it, click on the two arrows here and then go down to Effects and make sure that's selected. So you'll see that over here on the left hand side. So just keep that in mind for the moment. I want to show you quickly the fastest way that you can apply the default transitions in Premier Pro. So if you go to between two of your clips here on the timeline and right-click and see what it says, apply default transitions. If you click on that, Premiere Pro will automatically apply the default transitions between your two clips. And in this case, if you click on it, we have got the cross dissolve that's been applied here to the video portion and the audio portion. We've got constant power. Ok? So these are the default transitions which you can change, which I'll show you how to change in just a second. So it just saves you going to each of your clips and then, you know, manually dragging over the transitions, you can just right click apply, default transitions, right click apply, and so on and so forth. So I'll just hit control zed or commands or to undo on a Mac. Alright, so that's how you apply the default transitions in Premier Pro. Now if we want to go into add our transitions manually, we just go over to the effects panel over here on the left. And you'll see that there's audio transitions here and video transitions here. So two folders for both audio and video. Now we can click on the little arrow here and see what our options are crossfade. Inside there we have three options. So Premiere Pro, by default comes with three audio transitions, constant gain, constant power, and exponential fade. So I'll explain what these mean in just a second. So we have three options there. And then for video transitions, we have a lot more options. So I'll let you go through and play around with the different options. But to be honest with you, the ones, the transitions that look the nicest, even when you're watching documentaries on Netflix or wherever. The transitions that are typically used. The simplest transitions, so a zoom and wipe and slides. I mean, if you remember Star Wars, the movie, The editor was famous for putting in radio wipes and clock wipes and so on and so forth. But I don't suggest you do that, but you can play around with wipes and slides if you wish. But I don't use those transitions myself. I like to use if we go into dissolve. So all I do is cross dissolve, as you've already seen before. We apply that as a default transition before between these two clips. If I play this back, that's our cross dissolve right there. As you'll see over here, there's a little blue box around cross dissolve, which means that this transition is the default transition. We also have to black and dip to white, which are two of my other favorite ones that I like to use. So if you click on DIP to black and drag that over to between these two clips here. And play this back. You will see that the, you'll see that in the first clip it will fade out to black. And then the second clip will appear. So it'll first dip to black before moving into the next clip. And this is quite a nice transition. I like this one. And if you pay attention to documentaries on TV, you'll notice that sometimes the editor will use dip to black when applying transitions. Dip to why it is also used as well. It's a nice clean transition that I like to use. And you can actually quite simply just take any transition and applied over the top of a previous transition and it will automatically override that transition. So again, if we play this back, you'll see that it'll dipped to white first before moving into the next clip. So if I want, I can change the default transition from cross dissolve to dip to black simply by right-clicking on it and see where it says set selected as default transition. I can click that. And the little blue box will now move from cross dissolve down to dip to black. So when I, if I delete the transition, which you can easily delete you transitions by clicking on them and pressing delete. Clicking over here, delete and delete. If I now right-click, apply default transitions. Now dip to black is the new default transition for video transitions. Okay, so once again, I'm going to take cross dissolve, drag that over between these two clips here. And if I want, I can click on that transition, hit Control C or Command C on your keyboard. And I can go to the next cut between the two clips and hit Control V or command V to paste it. So this is a quick and easy way of copying and pasting. Transitions between your clips is just using control C to copy on your keyboard or Command C, and then moving over and then pressing Command V or control V to paste it, right? So that's also very quick and easy way. And once again, if I want to delete transitions, I just click and delete them as such. If I want, I can also make the transitions longer. So as you can see, if I play that back, it's quite a short transition there that cross dissolve between those two clips. If I double-click on this transition, this duration box pop up, pops up so I can change the time in here to make this transition longer. Or I can zoom into it on my timeline by clicking down here on this bar, dragging it to the left to zoom in. And the bracket will change on my cursor. So that I can extend that out to make this transition take place over a longer period of time. So if I play this back now, you'll see that that cross dissolve takes much longer to move into the next clip. So again, I can shorten it down to make it short, shorter. Or again, I can extend that out. So that's how you change the duration of your transitions between clips. And the last thing I want to talk about some of the audio transitions. So as mentioned before, if we go back to audio transitions on the left-hand side, we've got three options, constant gain, constant power, and exponential fade. Now, essentially, with a constant gain, the audio volume fades at a constant rate. So it's a linear change. So if we, for example, just drag this, we'll click on this and drag this over. So this makes more sense to you. And drag it between these two clips here on the timeline, we now have a constant gain transition on these two audio clips. If you have a look over here, there's a little thumbnail that represents what is happening in the transition between these two clips. The actual volume from the second clip is increasing at a constant rate, while the volume on the first clip is decreasing at a constant rate. So from here up to here is a constant change. And on the first clip is changing from here down to here, down to 0 at a constant rate, if we decide to use constant power or exponential fade. These are, these two transitions have pretty much the same. They use a logarithmic function or an exponential change in volume. If you click and drag on, show you what I mean, and I'll drag this over to the audio. So constant power, if we click on that, it's more or less an exponential fade. So you'll see here that there's a huge change in the volume of the second clip. And then it levels off where there's not much of a change. And then on the first clip, the volume, as you can see, there's not much of a change but then drops off very quickly. So I'll let you play around with these two here, constant power and exponential fade. And by default, constant power is set as the default transition in Premier Pro, but again, you can change to exponential fade. So that's how you use simple transitions in Premier Pro. And as mentioned, there's simple cut between two clips is usually the most underrated transition, which you can really get away with in your projects. And your projects will look really smooth and professional. Otherwise, the cross dissolve the dip 2y and dip to black. And then constant power for audio transitions are usually all you need to make really nice high-quality videos in Premier Pro to hope that was helpful. And I'll see you in the next video. 17. Fundamentals- How to Use Blending Modes: So all of those little clips that you saw in the introduction, there are just different examples of different types of blending modes I've used inside Premiere Pro. So I'm going to show you how you can add a really cool stylistic effect to your videos, make them a little bit more interesting inside Premiere Pro, using these different blending modes. So I'll get straight into it now we have a little, couple of little clips here on the timeline. And we've got some text over the top of the video. And all we're really doing with the blending mode is we're telling Premiere Pro how we want these different elements to interact with each other. So if you have a look on my timeline here, I've got text over the top of this video clip. So a blending mode is really just telling Premiere Pro that I want the text here to interact with the video in a certain way. So I'm going to show you how to do that in a second. The next little clip here we have the same text over the top of a different video clip of my girlfriend there. And it's interacting differently, again, a different type of blending mode. And the next one I'm going to show you is the film grain. So we have some film grain over the top of this video clip. So that's the film grain there and that's interacting with the clip underneath it. And then we have the next example here where we have two video clips stacked on top of each other. And I'm using a blending mode to tell Premiere Pro to interact with these two clips a certain way. And then the last one I'm going to show you is the light leak effect. So if we were to just make that one invisible, you'll get to see what the light leak looks like on its own. And I can give you access to free downloads for light leaks after this video or in the resources section. So you can play around with this yourself. So if we turn that back on, I'm going to show you how to make a really cool light leak as well. Okay, so let's go back to the beginning now if we don't use any kind of blending mode, then we'll just have quite simply just text on top of video, which is fine. But you might want to play around with blending modes because sometimes it can make your video is a little bit more stylistic and interesting. For example, if I click on this text, lay here, go into effect controls. Then go down to where it says opacity and then blend mode. This is where we change the blending mode. We're going to be talking about in this tutorial. So we hit the drop-down there. We have all these different options here. And they're all organized in different categories, right? So not going to go into detail, but I suggest playing around with these different blending modes and just see what works best for you, right? But in this tutorial, I'm going to give you a couple of examples. So I'm going to click on Normal. And so there is no blend applied. So there's nothing wrong with having just plain text over the top of video. But the problem is they're not interacting and they kind of look like they're isolated. And I don't know. I just I think it looks better when you have the text and the video interact in some way. So if we play this back, there's no blend applied, but we need to apply a blend. So make sure whenever you are applying a blending mode, make sure you apply it to the top clips, right? Whether it be the top texts layer or the top video clip, if you apply it to the bottom clips, it's not going to work. So you're blending mode always works from the top down, not from the bottom up, if that makes sense. So make sure you click on the top clip first. Then go to Effect Controls. Go down to blend mode, hit the drop-down, and we'd selected, I think we selected overlay, right? So you can select different options like soft light and hard light, right? Which takes us back to where we were. And you get the idea. So linear burn, right? If we play this back, looks quite nice, doesn't it? I like that. Now, I also like to play around with the opacity of the bottom clip. So if I click on the bottom clip there and then go to Effect Controls, go to opacity. Now, originally it was a 100 percent. Now if I play this back, can't really see anything, right? But if I drop the opacity down to make that bottom clip darker than that text becomes more prominent. So really the, the effectiveness of your blending really comes down to what blending mode use select and what capacity you pick as well. So I do suggest playing around with both the blending mode and the opacity slider to get a nice little sweet spot there, right? So this is purely creative process. So if I play this back, it's quite nice. So you can see a bit of a silhouette. There are people training in the background. And the text is nice and clear. And if I click on the text, I'm using linear burn. Okay, That's move on to the next example. So I essentially using the same text, but I'm just using a different blending mode. So click on the text layer. Go up to Effect Controls go to subtract, sorry, click on this drop-down menu. And in this case I'm using subtract. So this category of blending modes are called the Difference category. So if you click on difference there, it'll take the difference between the two clips. Again, you can play around with this. We'll move on to the next one. So this one's a little different. So I'm actually using film grain in this example, which I do talk about in another video. But I'll show you what film grain is. So I'll just turn the background layer off. Actually, I'll turn the background layer on. I'll click on the film grain, and then I'll set the opacity to a 100 percent. So this is what the film grain looks like without any adjustments. So this is just a video layer, a video clip rather, where you can add a little bit of a vintage look to your video clips. If you kinda shooting a little bit of his nostalgia video, you know that you want to add a little bit of a vintage effect to that film grain is a really good way of doing that. Now of course, there's, you know, you can't really see the clip underneath. So we need to click on this film grain and we need to adjust the blending mode or the opacity slider for this one. So if you drop the opacity down, then you'll start to see the clip underneath the film grain, right? So typically I like to set the opacity around 30 to 50 percent, right? You'll see here as we slide it up closer to a 100 percent, you'll see. So that's a little bit too harsh, but that's my personal opinion. You have a play around with this yourself. There's actually film grain that you can download in this course. This exact one you can download in this course in the resources section. I'll just drop this down and you can play around with this yourself. So that looks a little bit better. Okay? So that's an example of blending film grain into your clips to give them a nice vintage look. Let's go to the next example. Okay, so we have two clips here. And so if I just make the top one invisible, the top layer invisible. So you're only seeing the bottom clip here, right? And we have a clip on top that I've dropped on top there, which is just people running, right? So essentially what I wanna do is I want to blend these two clips together. So I go to the top clip and then I go over to Effect Controls, Dan opacity. Now originally that was set to a 100 percent and blending mode I've set to screen. So the screen is another blending mode type that I like to use. This is the one that's saving them. So you've got these couple of categories here, which is, this is the subtractive category. This is the additive category, right? This is the complex category, the difference category, and the HSL category down here, right? But as I said before, just go through, have a play around with them. So if we go to lighten by that back, right? So it looks pretty good. But my favorite one, click on this, go back to screen. So I like this one. And then what I do, as I said before, is I adjust the blend mode and then I adjust the opacity as well. So always adjust the top clip. Remember, so click on the top clip, set the blend mode to screen, and then we're going to drop that opacity back a little bit. Now for me, this is purely stylistic. I've got the main subject, my girlfriend, he had training in the clip and I want the effect of people training in the background, Connor running through her, if that makes sense. Right? So and I've obviously manipulated the opacity slider, so it's not a 100 percent because that's super bright. You can barely see the main subject. So bring that opacity down to about 20 percent. They're right, around 20 percent, 23 percent pie that back. And you see we have people running through her in the background using the Screen blend mode. The last one I want to show you is the light leak. Now this light leak you'll be able to download in the resources section of the course. And you just take the light leak and I'll just reset it back. So this is what the light late looks like. Okay. So just kinda leaks in his nice little effect. You'll see this in a lot of waiting videos. And that's what it looks like without any blending applied. And then underneath it, we've got some people training here at unit 2007. And I want to blend these two together. So we click on the light leak Here, we go over to Effect Controls, go down to blend mode. And then again, we can either adjust the opacity or we can just select the blend mode or any combination of a blend mode and opacity together. So that's have a play around. So we've got the screen. And then if we play this back. So it looks pretty good, but I like to keep things pretty subtle. So I might just click on that and then drop the opacity down as well. So I like to drop that down to say 40. And let's play this back. So we have a nice little light leak there. And that's blending in nicely with our video. And again, we can just play around with the blending modes. So what else do we have? We have linear burn that's have a play around with that. Okay, so anyway, I'll let you play around with this. I hope this was helpful if you have any questions, let me know. This is an absolute introduction to using blending modes in Premiere Pro, and I'll see you in the next tutorial. 18. Fundamentals- Understanding Workspace Panels: So I'm going to go into a little bit more detail about understanding the Workspace Layout in Premier Pro. I've already covered some of this already in the previous videos, But I'm still getting questions from students about some of the smaller details of the Workspace Layout in Premier Pro and how some of the smaller details fall into play. So I'm going to go into those details in this tutorial. So firstly, as you already aware, we have four major panels and Premier Pro. So we're getting a source monitor box here. We have a program monitor box here, Timeline window, and our project window down here. And when you click on these windows, you'll see that a blue box will surround that window down here, over there, and down here. Now what you can do, and as I've already alluded to, is that you can click on any one of these panels. And you can hold your mouse, click your mouse button down and drag them anyway you want around Premier Pro and move it somewhere else. So if you want, you can move the program monitor box somewhere else. Or you can move effect controls, for example, you can click and drag that down here. And we're highlights purple, you can release it and it will show up down here. I can move metadata from here down to the bottom here. I can move audio clip mixer down here as well. And so I can quite easily move things around. So if I want, I can move the timeline window. So you get the idea, right. But sometimes what happens is that students will, they'll move something around by accident. And they'll spend forever trying to go back to where they were. And so you might click on the timeline window and move it up here and go, Oh no, what do I do? I don't want it there. I want to try and bring it back here. And so you try and you try and do it and you can't, you can't really do it and you try to click and move it over here and that it's kind of over Huni, know what's going on or cheese. I've, I've really made a mess of this. What do I do? And so all you need to do is click on window, go to workspaces and go to reset to save layout. And magic. Premiere Pro will restore everything to how it was. So I consider window workspaces and reset to save layout as almost like a get out of jail free card. If he ever close something by accident. Like for example, if you know, I'll just go into this detail now. Any one of these little panels here have like a little hamburger menu, right? So if you click and closed panel and you close a bunch of panels by accident. And you might close the source monitor box by accident, you might close the program monitor box by accident. You might close everything by accident to the point where you have essentially nothing on your permeate pro. Then you can go window workspaces, reset to save layout. And everything goes back to how it was. So it's a perfect little way of going back and restoring everything. Another question that I've received is, you know, how do I minimize the the panel once I've maximize that. So sometimes A student might go into a panel and by accident they maximize it. And they're like, oh, this is great, but how do I go back to how do I minimize this window? And I've made this mistake 5-years ago when I first started. And that happens to, you might open up the project panel, maximize it. So the easiest way to maximize or minimize a panel is by hitting the tilde key on your keyboard. But remember, it will only maximize the panel that you have selected. So if I selected the Source panel, for example, had that little blue box around it, if I hit the tilde key, it will maximize the Source panel. Hit the tilde key again, it will minimize that particular panel. If I create a sequence, sorry, if I opened a sequence and I want to maximize the program on, it's a box. I click on the program wanted to box, hit the tilde key. I can scrub it, right? And then I can hit the tilde key again to minimize it. So I usually use the maximize and minimize option if I want to say my, what my project is going to look like before I export it. And another really cool feature of Premiere Pro is you can actually save a Workspace Layout. So if you have multiple people working sort of in your laptop through in the same software Premiere Pro. Or even if you have a preferred layout that you like, you can actually go over to window gotta workspaces and click here where it says save a new workspace, click on that and you can create a brand new workspace. So for, for example, for me, I have my own workspace, Brad's workspace. So that's another really cool way of saving a workspace in Premier Pro. It can also be very difficult to find something in Premier Pro if you're not familiar with how it kind of works. So if for example, down here we go to the project window. Sometimes if you can't find what you're looking for, for example, if you're looking for effects, you might look down here and go, well, it's not here. I'll have media browser libraries, info. Oh, hold on a minute. There it is. So what Premiere Pro does is it usually hides away all of the other panels inside the two arrows here. So if you can't see what you're looking for at a first glimpse, it's probably hiding inside the two arrows which bring up a separate menu. And so you'll see everything at the top here when you click on it. Otherwise you click on the two arrows here and you can click on effects, and that will open it up here. So also as well, you can move these panels around. So if you click and hold down the mouse, you can kind of drag them around. Anyway, you plays like this. If you are not using any panels and this is another concept as well, is that you should really close everything in not using and Premier Pro because it gets Conda, very, it gets noisy and it looks very complicated and it can run a little bit slow. When you have all of these panels open that you don't really using. For example, the project window here. I'm using it, right? But Media Browser, I don't know why I always use that, so I'll click on that. Click on the little hamburger menu, click on Close panel libraries. I rarely use that. Click on the hamburger menu, close panel Info. Close effects. I used that. Markers. I do use that, but if you are an absolute beginner, you may not use it. You can just close that for now history. I sometimes use that, but for most beginners, you probably not. So I encourage you to go through and just close out the panels that you're not using. So it just makes things easier. And as you can see, those two arrows here have disappeared over here and the source monitor box, we have effect controls which you will use audio clip mixer for the most part, you're probably won't use it, at least not most of the time. Close panel, metadata. Close panel, right? So you've got two panels over here and you can switch these around if you wish. Just like that, just click and hold and move them around as such. And another common one that students do is they'll close the sequence by accident and try and retrieve it, thinking that they're deleted the sequence. So for example, we've got drone to is our sequence here. Sometimes students will close it, think they've deleted it and freak out and send me an email. So typically you'll just have to re-open the sequence inside your project panel here. And that will reopen the sequence there. If we need to open up panels that you've already closed, you can just go to window and you can click over here in the drop-down on all the panels that you've closed. For example, we did close markers, we did close metadata, we did close. So you get the idea, you can just easily click on any one of these panels to reopen them. Or you can just go to reset to save layout. So also as well, up the top here we have our workspaces, panels up here as well. We have learning, so we click on Learning. Premiere Pro goes into kind of like a learning mode so you can watch some tutorials here. We have assembly and editing. And so if you click on each one of these preset layouts, Premiere Pro will readjust all of the panels according to that stage of your workflow. So when you click on editing, Premiere Pro will open up your panels like this. When you click on Color. Then Premiere Pro will open up your geometric color panel over here, and we'll load up, you'll the Mettrie scopes over here. So this is kind of preparing your workspace for the color aspect of your workflow. And then if you want to add some effects, click on that, click on audio, click on graphics, click on, and it goes on and on and on. I don't always use this top menu only because there's a little bit of lag with Premier Pro. When I click to change from one to the next, I usually just stay in editing mode and I just go to window and open up the panels that I need. So if I need to do some color correction or color grading that I'll go down to LA metric color. Click on that and bang it straight there. Ready to rock and roll. If I need to open up scopes, then I can click on the Window menu item and then go down to limit tree scopes. Click on that. And there it is. I have luminary scopes and I can just click and move that around. And it's right there ready for me to work on color. And I can just click here and I can resize my windows like this. Very, very straightforward to do. And lastly, you can also do some drop zone editing as well inside some of the workspace panels. So if we go to the source monitor box, as I've already showed you, you can just write, scrub your playhead here, select what you want, and then drop it straight onto your timeline. Or you can actually just click and drag it over to program monitor box. And here you have a little grid. And if you drop that piece that you've shaded over into any one of these highlighted areas on the grid. Pro will do as you instruct it to. For example, if I, if I drop that shaded piece here where it says insert before, then it'll insert that peace before the next flip on the timeline. Over here it has overrides. So you can play around with this drop zone editing method with Premier Pro if you wish as well. Otherwise you can just drop it straight onto your timeline like this. And the very last thing that I wanna mention is the Quick Export option in Premier Pro, which is available if you're running version 14.6 or above, this little icon over here. So essentially once you've finished working on your project here, you can click on this icon and it will bring up a little tiny menu and it will essentially allay too quickly export your project without going through file and export media, right? So this is a fast way of exporting a project. So I'll just close this down. So here you can select the location that you want to export the project to. You can click on a preset so you can go with ten AD PhD. And the down here will give you a summary of what's going to be exported. So H dot H.264, 1920 by 1080, and so on and so forth. And when you click on export, it will just export it out just like that. So I hope this was helpful if you have any questions, let me know and I'll see you in the next tutorial. 19. Fundamentals- Using Title Safe Boundaries (Safe Margins): We're going to be talking about the importance of using title safe boundaries or safe margins when you're editing your videos in Premier Pro. So if you're an absolute beginner, you really do need to know this. And I'm going to show you how to turn these little rectangular boxes on and off and why you should be using them when you're editing your videos. So I'll quickly give you an introduction to these rectangular boxes on your screen. So essentially these are the safe boundaries or the safe margins inside pretty much every video editing software. And it really just means that when you're including all your text and all of your action inside these rectangular boxes. That when your videos being watched on an older TV set or even a new digital projector screen, or even some mobile phone devices. Because even new mobile phone devices, when you click on, for example, zoom to full screen. It will crop the bottom and the top of the frame. And so it just ensures that when you're working within these rectangular boxes, that all of the important information is, is going to be preserved and it's not gonna be cropped off. So in Premier Pro, you can easily turn this on and off by clicking on the wrench icon here and going down to safe margins. And so it's as easy as clicking on safe margins to turn it on and off. Now sometimes I find it a little bit distracting to leave them on if I want to see all of the detail in my frame. So sometimes I just turn them off quickly and I have a quick look of how my project is looking here. And then to make sure that I've got everything inside the safe margins, I turn them back on this note, not that one. I turn on safe margins there. Right. And I just watch my scene and making sure that all of my action, all of my texts are within, inside these two boxes here. So we have two boxes, right? We have our inside rectangular box and our outermost rectangular box. So this is our title safe region. That's the inside rectangular box. So all of your important text, all of your lower thirds. So this down here is a lower third. I talk about that in another video and how to create these really cool lower thirds. So all of, all of your text should be inside this inside box here called title safe. And then the outside box is called action safe. So really they're just talking about all of the action sequences. All of the important action should be framed inside this outer most rectangular box called action safe. So as long as you've got everything inside the two rectangular boxes, you're not gonna have an issue with people watching your videos on an old CRT monitor like this on the left-hand side here. And because of the inaccuracy of these old CRT monitors to display the image within the entire screen. I do remember as a kid clicking on a pressing one of these buttons here and having to realign the screen every now and again, especially if we got really hot, you know, so there were the good old days, but even with newer 4K TVs, for example, they use a technology called overs scanning. And the process of over scanning, which can be disabled. Actually causes the image or the video to be cropped as well. And as I mentioned, even phones by what modern mobile phones have a zoom to full screen feature, which also causes cropping. And I know some people talk about it's, the safe margins are not really concern if you're making videos for YouTube. But it still is important and I'll show you why. I'll go back. I'll show you one of my YouTube videos actually. So I'll just quickly alt tab here and sew down the bottom here we've got like a little progress bar here. And so if you imagine, if you didn't use the safe margins and you just put your texts riot wedged in the corner of your frame, then you won't be able to see the text because you've got you've got the little progress bar here, which is going to cover over the top of any text that you've got or any logo that you might have washed up in the corner, for example, like you can't really see much. He just got watched later. So that's why you should still continue to use the safe margins, even if you're making a video specifically for YouTube. And it's also worth mentioning that a lot of people do watch YouTube videos on older TV sets as well. So you have to keep that in mind, but to be honest with you, because I'm making pretty much all of my videos for YouTube now. I actually do strike a bit of a compromise with the text safe region. I do at times drag this down to kind of the action safe area aside. Do at times have my text inside the action safe area because I know that my videos are for YouTube. I know that the progress bar is going to be just below this bottom line here. So people are still going to be able to see that text there. But most of the time I do keep my text up here somewhere inside the text safe region. I'll give you a practical example of where the safe margins have been used. For example, this screen grab from ESPN here, you'll see that we've got the two safe margins here overlaid over the top of this frame. And we've got pretty much all the important information and text that is inside the safe margin. Specifically, we've got this lower third here, which is in orange, that's inside our text safe area and all of this text over here. And only some of it's spilling over into the action safe. But for the most part, they're conforming to the safe margins. It's also worth mentioning that as a viewer over the years of watching TV and YouTube videos, we can all kind of attests to the fact that everyone's used to seeing text displayed a certain way in a frame. For example, if I were to turn these safe margins off and then wedge that lower third right into the corner. Right? Even if you're a viewer and you're not familiar with any kind of editing. If we just wedge that right in the corner there, right? We're all going to admit that that looks a little bit strange. Like this doesn't look right. It really doesn't look right. And you don't have to be an experience editor to know that. It just doesn't look right. Because over decades of watching TV, we're just so used to seeing the lower third or the text kind of framed a certain way. So it makes it feel like the frame is more balanced. And you feel a little bit more comfortable as a viewer when the text or the lower third is positioned around here, which coincidentally is within the safe margins of your frame. So I hope that was helpful. Do keep this in mind if you're using safe margins, if you leave them on and you export your video, these margins are not going to show up in your end product. You can turn them on and off just by clicking there if you wish, but do get into the habit of using them. And let me know if you have any questions and I'll see you in the next video tutorial. 20. Fundamentals- The Ken Burns Effect (Add Movement to Your Photos): I'm going to show you how to add movement to your photos to make them a little bit more interesting and engaging when people are watching your content. It's also known as the Ken Burns effect, named after the documentary filmmaker. And so essentially we're going to be simulating camera movements with using basic keyframes on your photos. So at the moment I've got an empty sequence here in front of you. And I've got a couple of photos over here that I'm going to play with. In fact, I'm only going to use three photos, this little demonstration. And first thing I'm gonna do is I'm going to drag my photos directly over into my timeline as such. And so we have three photos just like that. Now obviously they're not doing anything because there's no animation applied. But we're going to make them more interesting with keyframes in just a second. But before we do, I want to show you one thing. I'm going to select this photo here. I'm going to enlarge my program monitor box. And then I'm going to show you what happens when you drag in photos into your timeline. If I double-click on that, now, we're using a 1920 by 1080 sequence. So that's the frame itself is 1920 by 1080, but the photo itself, as you can see, extends beyond the size of the frame. So what we need to do is we need to set to frame size this photo so that it fits inside our frame. And now we can either do that by clicking and dragging that in so that it kind of fits in like that. Which is a little bit tedious and can take a long time if you're working with lots of different photos. The way I suggest doing it is by right-clicking on each of the photos and clicking here where it says set to frame size. Now you can do that with each of these photos by clicking and then going to set the frame size. And as you can see, we've now set each of these photos to fit nice, nicely inside the frame. And that was a vertically taken photo. But I'll explain to you how to use the Ken Burns effect on these vertical photos in just a second. Now that's the slow way of doing it. But does okay. If you're only working with a couple of photos, but what you can do is go to Edit, go down to Preferences, then go to Media. Click on media. And then you can tell Premiere Pro where it says default media scaling and it says none. You can set that to set the frame size. So what that means is you click on set the frame size, click OK, which I'm not gonna do right now. What that means is that any photos that you add into your timeline will automatically be set just to frame size. Okay, so how do we apply the Ken Burns effect? This is where the fun begins. So we've got our first image selected and we're gonna go over to the effect controls panel over here. And we're gonna do two things. We're going to add keyframes for position and scale. And so we're going to click out little stopwatch icon there on position and for scale. And as you can see, two key frames have been created by Premier Pro. And then we're just gonna move our play head along. And we're going to apply a very smooth and subtle change to our scale. So I'm gonna zoom in a little bit like that. And the key thing with the Ken Burns effect is you want to keep your movements, your camera movements subtle to many people go very dramatic with the zoom in and zoom out. I'd like to just keep it very, very subtle. So we'll make that same, something like that. And then the same thing with position. I'm going to move this around so that we're kind of going to pan and zoom into the Porter's face. These photos are taken during my Kilimanjaro trip back in 2017. So I want to zoom into my Porter's phase, right? And I just move these around. And as I move these around these three values, I'm adjusting these two key frames right here. And so then all I do is I just pay this back and watch what happens. We have a Ken Burns effect, right? So it's panning and zooming at the same time as you can see here. So that's essentially the Ken Burns effect. Now there are a couple of things we need to do. We haven't finished yet. Now, as you can see, as I play this back, at this point somewhere, the animation stops. It stops zooming in, stops panning is because these two key frames need to be pushed over to the very end of the image. This is a question I do get sometimes when people ask like why, why is my animation stopped is because your key frames need to be moved from the very beginning and to the very end of your image. So we want the effect to apply across the entire image. So if I apply this back, that's much better. Smooth, slow controlled. Now, there's a few things you can do to make this a little bit more interesting. As you can right-click on, you can select the keyframes, right-click on them, go to temporal interpolation, and click on, ease out. And then we can go to these two key frames. Right-click, go to temporal interpolation and ease in. And so essentially smoothing it, smoothing out and smoothing in the key frames. So that will, if I play this back, it's fast and then it slows down. But then this photo here, I'm going to show you because it is a vertical photo. So what I like to do, we have black bars here, left and right. So the first thing I do before I apply the Ken Burns effect is I zoom in. I set my scale over here on the left to zoom in a little bit just to remove those black bars. And what I wanna do is I want to pan up. So I want to start my Ken Burns effect from the bottom of my image and I want to pan up to the top. So I'm using my position over here on the left. And I want to start my ken burns around here. And I wanted to end around here somewhere, so I want to pan up. So I'm starting here. The first thing I do is I set my keyframe. So again, click the stopwatch icon for position and scale. I move my play head across and the same thing as before. I then adjust my position here. And I just scale that. I just move that position up to wherever I want this to end. And it's around there somewhere. As you can see, a keyframe has been dropped there. And then what I'm gonna do is I'm gonna add a little tiny bit of zoom, but not much, just a little tiny bit. Okay, and the same thing here. I'm going to change these keyframes to ease out and ease in as such. And then I'm going to shuffle these keyframes so that they start the beginning and end of my entire image and watch this. We have a nice paired up with a zoom. So we have a pan up, a zoom and it also smooths out with the ease in and ease out. So that's essentially the Ken Burns effect. And with some nice background music, you can really tell a nice story with your photos from your travel adventures. So I hope that was helpful if you have any questions, let me know. Be more than happy to help you out. Otherwise, I'll see you in the next video. 21. Fundamentals- My Favourite Keyboard Shortcuts for Fast Editing: So I'm gonna be showing you some of my favorite keyboard shortcuts in this video for fast editing. Shortcuts that I've been using for around four years now and have dramatically sped up my editing workflow. And so you might need to come back to this video time and time again to reference the shortcuts. But over the last four years of producing, you know, 6700 videos, it's something that's really paramount for me to develop fast and efficient workflows by using the shortcut. So I thought I'd share some of those with you in this video. And it might seem like a big deal, but saving a few clicks here and there really does add up to saving time in the long term. So right now that a couple of clips on the timeline here, and I'm just going to demonstrate how I use some of these shortcuts to really speed through my workflow. And so I encourage you to just take a few of these shortcuts away and keep them in mind and use them throughout the video series so you can start practicing them and start creating some habits around using them. So the first one is zooming in and zooming out of my timeline. So right now, we've got a couple of clips here. And what I always find myself doing is holding down the Alt key or the Option key on my keyboard and using the scroll wheel on my mouse. And this allows me to quickly zoom in and zoom out of my timeline as such. Now, of course, if you do this manually, there's a little scroll bar down here. And if you click on the little toggle here and dragged it out to the right and go pull it to the left. It zooms in and zooms out. Alternatively, you've got these little bars up here. You can do the same thing with the tracks, but that's just too slow for me. And so what I like to do is hold down the Alt key or the Option key and use the scroll wheel. And I can zoom in and zoom out very quickly. If I release the Alt key or the Option key, I then go from zooming in and zooming out to actually panning right, and panning left on my timeline here. So if I zoom out, I'm just holding down my old key and then on now panning across my timeline. So with this little scroll bar here, I can click and drag it to the right and to the left. Or I can just use the scroll wheel. And that does the same thing. And also as well, I like to, when it comes to zooming in, zooming, zooming out of my tracks, I like to just do it all with my mouse and the Alt key or the Option key. So I'd use my mouse here on any one of these tracks. Hold down my alt key or the Option key and just hit the scroll wheel and I can quickly expand and contract these tracks. It just saves time as opposed to just clicking in between here and then clicking and dragging it down or collapsing a like that. It's just much easier if you just use the scroll wheel, holding down the Alt key and just moving across the tracks and doing the exact same thing. So that's what I do on Pretty much every edit that I do. The next one I like to use is the rippled trim function. So Q and W. Now this is probably the most used shortcut in Premier Pro across many different editors out there that I've seen using watching their workflows and it's one that I use on every single edit myself. So essentially, if I just expand this out so I can see the thumbnails. Now, if I hit the space bar on my keyboard, I can play and stop. Now, if I take my play head here and I want to chop off the beginning of this clip. I'll take my rays at all selected and then cut it on my timeline. Take my selection tool, select this piece, and then press delete. Now, that's a very slow bunch of clicks and you could save so much time just by using the ripple trim function, which is q and w as a shortcut keys on your keyboard. So I'll undo those couple of actions there. So rather than just going through all of that, you can just take your play head, for example, and then hit the cue key on the keyboard. Which means everything behind the play head is going to not only be deleted, but then it's going to be rippled. Everything ahead of the play heads kinda be rippled over the top of it, just like that. And if I take my play head and rather than just skinny morays, a tool, cut, Selection Tool, select, Delete, and then selecting all these clips, and then drag it over across that gap, which is what I used to do when I first started. It's just so easy if I just use the W key, which means everything ahead of the playhead will be deleted. And then the space created by their delete will be rippled. Just like that. And I'll apply this very quickly. Say hitting the space bar to spacebar allows me to play and stop. As such, I can toggle between play and stop. So I use that as well, the spacebar function. But essentially spaceborne Q, spacebar w to w, Q w. So you get the idea. So this is a huge time-saving factor for me. And another one that I use on a regular basis is the undo function. So for me it's going to be control Z. We will use commands ED, and that will undo the action that you did. So I'm just undoing everything now. Take me back to the beginning. Control zed or commands that to undo and spacebar to play and stop. And also as well the shortcut keys I like to use to activate different tools in my toolbox. C. So C on my keyboard is the razor tool. And if I run my mouse over here, you'll see rays at all and brackets c. So that's the shortcut key. And I talk about the shortcut keys in the video where I talk about the toolbox. But I'm just going through these ones quickly. So as c and the selection tool is v. So if I want to quickly cut something on the timeline, I just press on the keyboard snippet. If I want to select, Get my select tool, because I want to move something around oppressive V on the keyboard allows me to quickly move things around. If I want to chop it, proceeds, cut V, my selection tool to click and move. You get the idea. And also I've got the P or the Pen tool. So press Peggy, that changes my, my cursor to a little pen that allows me to click on the little rubber band tear creates some keyframes. As such. So I can use my pen tool by pressing PI. Or if I were to type some text, I can press T on the keyboard and I can start typing text. I can press or the selection tool over here, I can delete that. So essentially from my toolbox, I've got v, C p for Penn, T for text. So they're pretty much the four quick shortcut keys are used from my key for my toolbox. And then another one that I use on a regular basis is just navigating my clips. If I hit the left arrow or the right arrow, I can jump by one frame. So right now I'm just skipping frame by frame by using my left arrow and my right arrow as such. So I can just go a couple of frames to the right, hit the W key to ripple delete cup of frames, and then the q qi cup of frames, and then press Q again to ripple delete. And then I can use the up and down arrows, which I loved to do. So my play head jumps to the next clip. So I'm hitting the down arrow, down, down, up, up, up. So it just saves actually taking the mouse and dragging the playhead and trying to line it up with the beginning of the next clip. It just saves so much time if you just hit the up arrow and that just jumps to the beginning of the next clip. Or down, right, so up and down. And then I use the right arrow and the left arrow, the jump frames. And then a couple of frames to the right and then w. So you can see how I'm starting a tie all this together. So up and down arrows, left and right to chump frames and then W and Q. Two rippled till they right, so you get the idea. And then spacebar to play and stop. Okay, another one of my favorite little tricks that I love to use here in the software is by reordering my clips. And what I used to do when I first started was if I, if I looked at my timeline, might just undo actually a couple of these changes. There we go. Distance OA, can, there we go. So what I used to do back in the day when I was when I wanted to reorder my clips is that I would take to. So for example, I want to swap these two clips around here. I would select all of these clips. I'd push it out to the right as such. And then I would take the clip here and then move it over to this position. And then bring that, overlap that and select these two and drag it over like that. And then I would have reordered my clips. But that was such an inefficient way of reordering clips. And I found a much faster way of doing it, which I do on a regular basis when I am reordering my clips. Or you need to do is you hold down the Alt or the Option key, or the Control key or the Command key. And the cursor will change. I then select the clip while I'm still holding down the Alt or the Option key and the controller command key. And I dragged that clip across my timeline. And then I release my mouse and it automatically swaps those two clips around without moving anything else. So once again, so hold down ultimate option followed by Control or Command. So speaking, both to Windows and Mac uses here, the cursor will change. And then that allows me to take any clip. And then I can swap it with another clip. And I'll just, and then what I do at this point is I just released my mouse, wants to holding the on those two buttons on my keyboard, released the mouse and it just drops it in place and it's swaps that clip out. So that's a really cool way of reordering clips. I use that on a regular basis. Another one that I like to do is I like to copy my clips by holding down the Alt or the Option key and then just clicking on it and then dragging it with my mouse to duplicate that particular clip. I used to, back in the day, I used to take the clip, hit Control C or Command C, and then just control V, command V to paste it. But that's just so inefficient. So the easiest way is if there's a clip that you want to duplicate because you want to use it for B roll or somewhere else in your timeline, you just hold down the Alt or the Option key, click on the clip and drag it somewhere else. And then release it on your mouse while you're still holding on the altar of the option key and then you can duplicate it. That's a very easy way to duplicate clips. Also as well. This might seem really small, but this can save a lot of time. There's the snap and Timeline feature, which by default is turned on. But years ago, I somehow accidentally, and I didn't know that the shortcut key is s on the keyboard. So watch, when I press S, watched the magnet change color. So blue means that it's turned on, off, means that it's not, it's white. So it's turned off now, so on, off. And so what that means is that when you turn it on, it allows you to snap clips into place on your timeline. So if for example, I am wanting to line these three clips up to this clip here. And I'm going to zoom in just to show you. Just to show you what I mean. Because I'm zooming in now. So I'm going to zoom in. I want to align these clips up with this clip here. Watch what happens when snapping is turned on. It allows me to easily snap those clips directly, flush against that clip on the timeline, just like that, right? So as I get close enough to that clip, it just like a magnet just snaps. Right? So that's a really handy trick to just make sure that you've got it turned on. I know some people like myself years ago accidentally turned it off and I didn't know how because I was playing around on the keyboard. And if you press S without knowing it, and I've just pressed S on my keyboard. Now, watch what happens when I try to align these two clips together. No longer are they snapping together. So it's much harder to, as you can see, I'm just I'm really trying my best here to line them up. Okay. So it's always a good idea to leave Stat being on. So there we go. Snapping is turned on. So that is it there pretty much my shortcut to keyboard shortcuts that I use pretty much in every project in Premier Pro. Feel free to come back to this video if you need to rewatch it, but try and incorporate some of those into your own projects moving forward, it will certainly make your workflow much faster and efficient and you'll be able to make content much quicker. So I hope that was helpful and I'll see you in the next video. 22. Could You Please Do Me A Favour?: I really do hope that you are enjoying this course and getting tons of value from this course. I have a small favor to ask. If you don't mind before continuing on, if you could please leave a short review of what you think of this course so far. I know you haven't finished it. I know you are in the beginning phases of the course, but if you please just leave a short review, one or two sentences about what you're enjoying about this course so far, what you're learning the most about, or even what you want to see improvements for or videos on, please let me know in the reviews because I read all the reviews that do come through and it helps me make more content, that makes it helps me improve the course, also helps me guide the future trajectory of the content. So at all I have to go off. So if you could please leave a short review before continuing with this course, you can always come back and update the review if you change your mind. But before we continue, I just live a short review for me that would be amazing. But I really do hope that sincerely that you are enjoying this course has taken me a lot of time, hundreds of hours to put this together. So thanks again for your time and your investment in this course and I hope you enjoy the rest of it. Thanks. 23. Graphics- The Fundamentals of Creating Text Titles: Welcome back everybody. In this video we're going to be looking at the fundamentals of creating really nice text in your videos in Premier product catalog with what you saw in the introduction just now. So I'm going to show you how to add text had a manipulated how to customize it depending on your particular project and needs. So let's get straight into it. So right now we're in editing mode. And when you click on Graphics at the top here, and when you click on Graphics, the layout is going to change. So you should see exactly what home seeing right now. So you'll see the essential graphics panel open up on the right-hand side. So this is the panel that we're gonna be working in for the next couple of videos. And so keep this in mind, the essential graphics panel. And if you're still not seeing that, just go over to window, click on window, go down to a central graphics and make sure that's tick to right there. And we're all good to go. So firstly, if you're using an old version of Premiere Pro, like 2017 and earlier, then the way to access the text tool is a little different. So you'll go down to New Item. Click on that and you'll see somewhere in the list here where it says add new text. And that's what you'll click on. And a little box will pop up. And then you'll modify and amend your text in that little pop-up box. And I'll show you to file new legacy title. But click okay. So this is kind of what you'll see, right? This is a little box that will pop up and you'll be able to add your text this way. But for most of you watching this, you're probably using a newer version of Premiere Pro. And so I'm going to show you how to add text based on the new version. So there's a couple of ways you can click on the Type tool here in the toolbox and you click on that or you can press T on the keyboard and the cursor will change. And all you really need to do is take your mouse and then click anywhere inside the project, sorry, the program monitor box. And a little red box will be created. And then you can just start typing something. All right, and so that's the easiest way of adding text. And by clicking and typing in some text here over on the right-hand side in the essential graphics panel. And new layer has automatically been created. So over here we have a new layer. And then we have all of the controls that we can manipulate. So we can change the font and the size and the centering and the fill and all that, which I'll show you in more detail in just a second. If I click on my selection tool now, I can then click and drag this anywhere I want. On the screen. This is incredible like this makes it so much easier to work with text now compared to older versions of Premiere Pro, where I started using Premier Pro in 2016. And at the same time on your timeline, there's now a new text layer being added, a new Graphics Layer being added. So we can move this graphics layer around on our timeline. So that's really the fastest way of adding text. But together, I'm going to walk you through adding text and creating texts catalog with what you saw in the introduction of the video. So I'm going to delete all of that and I'm going to start over. So typically, as a rule of thumb, there's a couple of things I'd like to keep in mind when I'm creating text. I like to keep my titles really simple. I find that with my titles, if they're really simple, then I can make a huge impact, a huge statement with my, with my videos. And you'll see that in the next video when I talk about creating cinematic texts titles, which I'll give you a little sneak preview right now. So I'm going to show you in the next video how to create these really nice cinematic looking titles. The texts is very simple, very sleek, but it makes a big statement. So let's get back over here. I'll talk about that in the next video. Okay, so let's create some text. So I'm going to click on my type tool over here, or I'm gonna press T on the keyboard. And then I'm just gonna press click anywhere here in the program monitor box. And then I'm going to start typing. So coal producer and then Enter bread Newton. And then I'm going to click on my selection tool. And then I'm just going to click it and drag it around anywhere in my in my program monitor box. So if you want the actual of the actual videos are part of the exercise files for this course. You can copy these into your timeline and follow along with me if you wish. Otherwise, you can just watch Me and use your own footage. That's fine. So if I click on my text layer over here in my program, I have to box or see all of these options that I can manipulate. So I'll just show you quickly what some of these are and then you can play with the rest of these in your own time. So firstly, we have our layer are texts layer over here. So if I hit the eyeball, it makes that disappear, makes that layer disappear, and so forth. If I move down, I have my alignment tools. So if I click on these here, I can align my texts vertically or horizontally. So if I have it positioned anywhere, I can just click on this one or this one, and I'll move the texts so that it's perfectly in line. Otherwise I can align it top, bottom, left, right. So they're really good tools that I like to use on a regular basis. Otherwise, we'll just take it back to where I had it before. And then I've got my size so I can make the size of the text bigger or smaller by using this option here, does clicking on that and dragging it left and right. Or what I like to do is just use the handles inside my program monitor box. The easiest way, as you can see as I do that, this number changes anyway. I have my opacity slider so I can make it a 100% or 0 are usually live at, at a 100% most times. And then what else do I like to play with? I like to play with the font as well. So depending on the type of video making this kind of clip that I'm showing you is more or less a travel, kind of a little clips. So I like to use fonts that are more travel related fonts. So KG is a really nice font that you can download actually and use it in Premier Pro. I'll go over here, I'll show you this is KG life is messy you to really playful font that you can download from font.com. And I'll give you a link to it. Actually, it's free to use for personal use only. And this is a really nice font if you're making travel videos. This one's also pretty good surfing capitals as well. So Sam cold is actually quite famous for using this particular font. Again, this is free for personal use. So I like to use fonts that represent the kind of theme of video that I'm making. So in this case, I've got KG life is messy. Again, if I look for surfing capital, the one I just showed you, then that's what it looks like. I'll just make my screen big by pressing the tilda key. And that's what it looks like. So very, very playful, very wonder lost, very travel-related. Ok, so I'll continue down. So we got our font that we can pick. And then we've got our different options for our font selection. And here we've got tracking. So if I click and drag that out, tracking is just referring to the space throughout the entire word. So if I want to spread this out or shrink it down to make it nice and tight, I can adjust that with my tracking tool, will come back to using tracking in the next video when we making cinematic titles. So right now, just kinda leave it at that. It looks pretty good to me. Here we've got an option called leading. So leading is just the distance between the text on two different lines here. So if I drag this out, the leading collapsed there, but if I pull this out to the right, the distance between the two lines increases. So I like to leading to be quite tight, just like that. And so I usually pay with leading, usually play with tracking. And what else do I play with and also fill. So if you want to change the text color, you'll do that by clicking here on fill. And you can select the color that you want in here. And if I want blue, I can select blue. To be brutally honest with you, when I'm creating my text, even if I'm creating cinematic films or travel, or really nice travel videos, I don't usually use any other color except whites because I like to keep things simple, stylish and using white as a film. Really, really nice In and the next one here is stroke. Now, stroke is pretty important because if you're using white or white fill color and the background is white, then you're not going to be able to see the text. So with stroke are usually select black as my stroke color. And over here we've got the thickness of our stroke. I usually set the thickness to around between 25. And I'll show you what happens if you don't use any stroke. If we drag this text over here where we have some white in the background, if I turn stroke off, you'll see that the text gets a little bit harder to read. So if I turn stroke back on, it's much easier for that text to stand out. The composition of the text to the background is much, much better. So I definitely use stroke on a very regular basis. I mean, you can make this as thick as you want or as thin as you want. But, you know, I like to keep it quite thin, but also not too thin. And then background can turn this on. Now what's good about the new version of Premiere Pro is that you've got this option called background, which they never had in previous versions, I think 2017 and earlier, this wasn't even an option. You had to create a shape and then put that shape behind the text. But now you have background option here. And then we've got a shadow. We can create shadows behind our text and we can change the angle of those shadows and the thickness of those shadows. And to be honest with you, I never use that option at all. I never used that one. Now show you a couple of things now because we've got our texts, we have two lines of text, but it's within the same layer. What I like to do is I take my type tool and then I just select the portion of the text that I want to manipulate. So just selected that top texts there and I'd like to bring the size of that down as such. So that's what I like to do them. Or alternatively, I can create another text layer like this. So I gotta type tool, click anywhere on the screen, and I can create another layer. And then you'll notice if I click on selection tool, that there's now two layers created here. Now, watch this. If I drag this layer over the top of this one, because this layer is on top of that layer there, this one is going to be on top. If I turn this around and click and drag this layer down, it's now below this other layer. So I can change the order of the layers so that one layer is on top of the other. Alright? So i'll just delete that one and make this one a little bigger. Okay. I'd like to show you something else that I, I usually apply to my text to make my text a little bit more interesting and fun. And that is if I click on my text here on my timeline and go over to my Effect Controls panel over here. If you don't see the effect controls panel, click on the two arrows and you might see it here in the list. I also have access to different properties that I can change the text over here as well. I can change the position of the text by just moving that up and down. Or I can change the scale of it as well. So the same options that I had over here that I showed you here on the right-hand side. Or I can change it with these controls under a lion and transform. I can make those changes under position as well and scale. And also the scale control is over here as well, right? So if we keep going down, I can change the rotation of my text. As such. I can also change the opacity here as well. But what I want to show you that I like to use is the blend different blending mode. So make sure you've got your texts layer selected. And by default, the blending mode is going to be normal. Now, if you set that too, if you click the drop-down, you've got all these different options. I like to play with overlay. And what that means is that the background video kinda blends in with the text. So it's hard to see with this particular clip. But if I move over to the next one and make this text a little bit bigger, watch this. So I've clicked on my text here. I'm gonna go down to blend mode, hit dropped down, and go down to overlay. You'll see that the text is now morphed in and blended with the background. If I play that back, it looks really, really nice if I click and extend this out so that my text covers the next clip. You'll see that the text now in the water now blend together quite nicely. So that's another really cool thing that I play with on a regular basis, is changing the Blending Mode to overlay. You can also try different options as well. Like a vivid and lighten, it's up to you all that you play with that in your own time. Okay, so that pretty much wraps up the fundamentals of creating text in Premier Pro. Again, if you wanted to download some of these fonts and play around with them, you can go to duff font.com and download. Life is messy if you wish, or you can download surfing capital and you can install those into Premiere Pro. If you're not sure how to install fonts, I'm gonna cover that in another video coming up. But as I said before, the general idea of fonts is that you want to pick a font that kinda matches the theme of the video and the project at hand. Otherwise, it gets a little bit too distracting. And it takes away from the message that you're trying to, you're trying to communicate in the videos. So I hope that was helpful and I'll see you in the next video. 24. Graphics- How to Create Stylish Cinematic Text Titles: So I'm going to show you how to create really stylish, awesome cinematic textiles in Premier Pro, like what you saw just before with the introduction. So for me, I like cinematics. I'm, I've always been fascinated by cinematography. And so this is a really fun thing for me to show everybody because it's really not that difficult to apply. If you just understand a couple of basic principles, you might think that it's too hard for you to do and that you are only a beginner. But there's really not a lot that goes into making these cinematic titles. So typically, as a rule of thumb, I like to keep my texts simple, whether I'm creating my text for travel videos or educational videos or cinematic videos, I like to keep my font choice really simple and really minimalistic. So as you can see on your screen right now, firstly, I just want to make sure that you are in graphics. And they've got the central graphics over here on the right-hand side. So as you can see on your screen right now, this text is quite small. It's quite minimalistic, it's not fancy. And it's just plain text on a black background. So you'll be surprised that you can make such a statement, such an impact with your videos just by using white text on a black background. It is so underrated. I see so many people get really fancy with their videography, with fancy 3D animations, with their text and it just gets a little bit too distracting. Whereas if you just use simple text, white or white fill. So if I click on my text here, and then down here, in essential graphics, down here you'll see appearance. The fill color is white. The stroke. It doesn't really matter because I'm using a black background anyway. So essentially I'm using a fill white. And the font is what really makes or breaks a cinematic looking text. So I'm using ailerons. And by the way, any of these cinematic fonts that you'll see in this video. I'll have Acts you'll have access to, to download for personal use, you know, after this video. So I'm using ailerons. Now font choices really important, as I've said before, when you're thinking about the kind of the theme of the video that you're making, the font choice is gonna make or break. In the previous video, you saw that we did a travel kind of clip. And so the font here, KG life is messy. Or surfing capital isn't appropriate font for that type of video. But I certainly wouldn't use that font. If I give you an example. Kg life is messy, right? And then I re-centered out and then play this back. I mean, it just doesn't have the same impact. Now I'm using a combination of background music, which is a very intense cinematic background track, which I unfortunately can't include this track with the course. But I've included a similar cinematic track that you can use, which is free for personal use. Track that I've used for this demonstration I have licensed to myself. But the background music complements the font choice. And if I continue playing, it also complements the grading of this particular clip. So this clip here, which is available in the exercise files for this course, is a clip from Mount Kilimanjaro. But if I turn the grading off and I'll show you what it looks like without the cinematic grading. That's what it looks like. But, and as I explained in the color grading section of this course, you will colour grade your videos depending on the type of video you're creating and the type of emotion that you want people to feel when they're watching your videos. So if I play this back with just no grading applied, you'll see that the text is there. I've got the right font and I've got the right music, but the color grading is off. So no, I'm not specifically talking about cinematic texts, titles and how to create them. And I'll get back to that in just a second. I'm, I've gone off on a little bit of a tangent to explain the importance of putting all these pieces together, of having your music, your font choice, annual grading, all working together to tell a story. So I'll turn this back on and I'll play it back. And you'll see my grading, my font choice, and the background music or fit together. Ok, so I'll show a couple of things with regard to creating the cinematic text itself. So it's pretty much the process of creating text is the same. So you'll click on the text type or the type tool down here in the toolbox. You'll click anywhere in the program monitor box, and you'll just type in whatever you want to type in. So this is a cinematic example. And if the types off the screen there, don't worry about that. You'll see over here that are new texts layer has been created. If I just click over here where it says selection tool. And then what I like to do is I like to always Center my text where I'm creating these kinds of videos. So if I go down to over here, it says align and transform, and then click on vertical center and then horizontal center. I'm going to delete what I created before. And as you can see, it's quite big. So I'm going to shrink it down a little bit. Make it nice and small because that's going to give it a punch. So an a statement, and by the way, when I shrink down my text here, I need to click on these two buttons here, line and transform to center it vertically and horizontally again. Whatever I changed the size, I have to readjust that, right, just like that. And then when I moved down to my font choice, now obviously by default, ailerons is, by the way, one of my personal favorite choices. But there are different cinematic fonts as well. One of my second favorite, or one of my other favorite ones is Bieber's. So if I click on beavers and centered that one. What I like to do once and by the way, after this video, I'll give you a list of cinematic funds that you can download and install for personal use that you can play with as well. So once I've selected BY bus, for example, I like to set my tracking. So here remember we've got our tracking option. So right now the text is quite, it's quite compressed. I like to stretch it out a little bit and you can see the little arrow here. And as I said before, tracking is going to allow us to stretch out the space between our characters and the words. So we get that nice cinematic feel. Remember whenever we make these changes down here, we have to realign and, and recenter our text might bring that tracking up to i usually, as a girl, I usually sedentary a 100 for my tracking. Now, this is just a personal taste thing. And then I'll just set that to being really small and then realign it. So, so far, we have this. So we have static text, it's not doing anything. So what I like to do as a little bit of going above and beyond to create this text, to make it really cinematic, is I like to create a little bit of movement with that text, but very, very subtle. And this is the key when you're editing texts and you wanted to have a big impact. Usually you can create very big impacts by making very, very small changes that is so subtle to the eye, you can barely see it. So I'm gonna click on my text down here in my timeline window. And then over here inside Effect Controls. I've got here scale. Now I showed you before how to create keyframes. If you remember that, I am not gonna go into too much detail because I've already explained how to create keyframes in a separate video. But over here we have the stopwatch icon. If we click on that, it drops a keyframe down there. If I move my play head along, I'll create another key frame here and around. We'll call it a 110%. I can click and type in a 110. So I now have two keyframes for scale. Now if I click and drag this keyframe along, essentially what I'm doing is I'm making the size of this text change very slowly over the course of the Graphics Layer. What's this? So it's such a small subtle movement. But it's much, much better than not having any movement at all, in my opinion. And then what I like to do, and this is just a personal thing, is when I'm transitioning to the next text layer, I like to have a little bit of a nice simple transition. And in this case I'm using two black. Now. I talk about transitions in another video and how I like to keep my transitions very simple. Where I like to use cross dissolve simple cuts, dip the black tip to white, and so on and so forth. So I'm gonna take dip to black that I'm going to drop it between these two clips. So now we have debited black. Watch this. Okay, so I want to show you one more example of where I've used cinematic text before we move on with the series. So over here I have another example and If I play this through real quick, I'm using a different background track. So this background track is actually available in the exercise files for this course. I'm using a different font as well. And a couple of clips. So that's just another simple example of where in this case, if I click on my text layer, I've used the font of maven pro. Maven pros. A really nice font choice. You'll be able to access this after this video. You'll be able to download it and play around with this yourself. And again, I'm using a different type of background music to create a different feeling in the audience compared to the other one that I showed you, which was much more dramatic. Okay, so just as a summary there, when it comes to creating this really nice cinematic texts, look. Again, the few rules of thumb that I like to follow is to keep the font-size really, really small, as I said before, to have a big impact visually. Keep your texts nice and small. I like to keep my tracking quite big. So again, if I click on my text layer and then go over here to a central graphics, click on that. And where it says tracking, if you run your mouse over, it says tracking there. As a rule of thumb, I like to keep it around 300, but this is just a personal taste thing. It's what works for me. Just play around with that. But typically, the tracking is what is going to give that text a little bit more of a cinematic field. And again, once you change it, you just realign it like that. And the next one is always centering your text. I mean, if this text was located somewhere else on the screen, it just wouldn't have the same impact value. So I'd like to center it. That's a personal choice. And also leaving the fill color white. Now, if this fill color is any other color like red or blue, it just doesn't have the same. It just doesn't look right. If I changed it to blue, it just doesn't look right to me. So keeping up white, keeping it simple is usually what I like to do. And also on a black background as well. And if you want, you can have clips behind the text. I do that sometimes as well. But I want the text to really make a statement. So that's why I've used the text on a black background. Over here. The title of this little cinematic piece called Kilimanjaro is against a very simple, not very distracting backdrop. You don't really want the backdrop to be too distracting when you're showing text over the top. And other than that, that's pretty much all I do when it comes to creating my cinematic titles. And last thing is if you want to save, it will go back to our first example. If you want to save this cinematic text as a motion graphic to use in the future projects without having to go through and recreate this every single time. I need to do is just click on the text and then go over to graphics here in the menu, and then go down to export as a motion graphics template. If you click on that, then you can just call it cinematic text example. And then where it says include a video thumbnail, you can just leave it ticked. If you like, click OK. And then if you just memorize that name, cinematic text example, you'll just literally type that into the search and you'd be able to use that as a motion graphic. So I hope that was helpful if you have any questions, let me know and I'll see you in the next video. 25. Graphics- How to Install Beautiful Fonts for Premiere Pro: So you might be wondering how to install fonts into Premiere Pro to use in your own projects. And so a lot of the fonts that we've used in the last couple of videos had been fonts that I've downloaded from duff font and 1001 fonts. And I'll show you those in just a second and have installed those manually. So first and foremost, if you want to use fonts that are not already part of Premiere Pro software, I'll show you one way. So if you go into, for example, essential graphics over here, and if you haven't already click on graphics to the top here, click on the text layer. In this case of a Kilimanjaro, I've got Maven probe. That's the cinematic texts that I've used in a previous video. If I hit the drop-down there, I've got this here where it says add Adobe fonts. If I click on that, that takes me to a website which will allow me to access additional fonts to import them into this dropdown menu here. So it looks like this. This is Adobe fonts. And because I pay every month for Premiere Pro, I get access to Adobe fonts as part of my, my subscription. But if you don't have access to this, then that's fine. You can also download these a lot of really good fonts actually from duff font.com. Just make a note of that. Duff fond.com is a really good site. It's actually where I got KG life is messy from that really cool font that we used in the text for the travel clip. And it gives you a little preview here of what the text looks like, e to the characters and so forth. And then over here it says that it's free for personal use. If you click on that, it defines what personal use means. I'll just close out of that. And then over here you can just download it. And then another website that I like to use is what's called a 1001 free 1001 fonts.com. So over here, 1001 fonts.com is another website I like to use. They always add new fonts to their database. And so I've spent hours and hours clicking through here looking for the perfect font. And it's just a matter of downloading it here on the right-hand side and then installing it. And I'll show you how to install it in just a second. But what's really cool about these sites, for example, a 1001 fonts, as you can go to fond categories here, and you can select from any different category of font. So if you're making a wedding video, you can click on weddings here, sort the fonts based on weddings. So you can just makes it easier to find fonts appropriate for wedding films. If we go back to font categories, there's so many different character, so many different options here. And then if I go back to Dar font, the same thing here as well. You can search here in the search box. So anyway, in terms of how to install it, I've got a couple here to show you. I've got GO sands light, Gotham and a few other. So these are all cinematic type fonts that I'll give you access to download and use in your own personal projects. But they pretty much download, download like this. And then they'll usually come with kind of a license file. So Bieber's being one of my favorite fonts to use when you download it comes with the OTF or open type font and TTS F, which is true type font file TGF. And essentially there is a license file here. If you click on that, it just let's, you know, kind of what the terms and conditions are for using the font. Know lot of people know this, but fonts belong to people. And so they might, there might be copyright on those fonts. You might not be allowed to use those fonts that you want to use. You might need to have a specific license to use that font. And so it's always good habit and good practice, an ethical practice to read the license terms and conditions, which are usually pretty short. But it says here for Bieber's that I am, I am allowed to use this font for commercial purposes, as well as obviously for personal use. So, but there are a lot of fonts out there which you didn't do, do need a license to use for commercial use, but you are allowed to use for private use. So that's just something to keep in mind from an ethical perspective and also, so you don't get into trouble. But these are the fonts and you can just double-click on them. And in Windows, you'll see an install. Here. You just click on Install, obviously already have it installed. So click yes. For a Mac, I believe the process for installing fonts is almost the same process. It will just look a little different to my screen here. And then once you've installed the font, it pretty much applies immediately inside Premiere Pro, you don't need to close the software, reopen it. You can just type in neo, sorry, type in Bieber's, and it will show up automatically. And that is how you install fonts into permanent home. I hope that was helpful and I'll see you in another video. 26. Graphics- How to Edit Incredible Motion Graphics Templates: So I'm going to show you how to use incredible motion graphics in your videos to really increase the production value of your videos where you don't need any technical experience, you don't need to use After Effects, which is another type of software. You don't need to spend a lot of time. You can just download these motion graphics and drag them into your, your projects and just make a few tweaks to customize them to your specific needs. So in this video, I'm going to show you exactly how to do that and where you can get these motion graphics from and download them and how to make changes to them and things of that nature. So on your screen right now, I'm inside Premiere Pro and I just want to make sure we're looking at the same screens. I want you to click on graphics up here in the workspace as Panel. And then essential graphics over here should be on your right-hand side. If you don't see, just go over to window, click on that and go down to a central graphics, make sure there's a tick there. And so in the last couple of videos, we looked at how to add text, how to add cinematic text, how to make our text very cinematic and add that background music. They're very cinematic background music. And I showed you how to work with text layers in a central graphics over here. But now with motion graphics, we're going to be working in this tab called brows. And so I'm going to give you a quick overview of this little browser for your motion graphics. And then we're gonna go into a couple of examples. And now I'm just going to show you how easy it is to customize these motion graphics. Ok, so really quickly, on the right-hand side here I've got a series of motion graphics installed and purchased. And I'm just going to drag this window out. And so if you need to drag the window our just click and drag it out to the left. And down here you can actually make the thumbnails larger or smaller. Just by moving the slider here at the bottom, just allows you to see the motion graphics in a bigger view. So I'll just bring that down a little bit. Right? So as I scroll through my list here, I will show you real quick what I have. So I've got a bunch of YouTube related motion graphics that I can literally just click on and drag strode over onto my timeline. And if I keep scrolling down about social media icons and subscribe icons, and it just goes on and on. I've got lower thirds. So the text that you see at the bottom of videos that introduce the speaker. You can also get motion graphics for lower thirds as well, which I'll talk about in another video when it comes to lower thirds, because I want to dig into that a little bit deeper. And then also you've got YouTube n cards as well, which you can just drag over and customize, so it goes on and on. But I'll give you a couple of examples of how to use these motion graphics. And then I'll show you where you can download them from. And then I'll show you where you can get the free ones from. So because you can buy these and I've bought a lot of these because I have a membership with motion array and invite o elements and so forth. But I'll show you quickly how to customize. Okay, so we have a couple of clips here on my timeline. And again, you can access these clips in the exercise files for the course. And if you want, you can follow along with me. So the first clip, I've already dropped a motion graphic over the top of this clip on video track layer two. And so essentially, if I just play that back, I didn't do any Keyframing or editing for that particular motion graphic. I literally just clicked on it over here and drag it straight over onto my timeline. And if I click on that motion graphic here, all of my options to edit the motion graphic will show up over here. And so I can literally just come in here and change the text. So I can call this Kilimanjaro. And I can change the font right here. I can call it Beavis if alike. And you'll see those respective changes will take place as I moved through here. Make that bold phase. I can change the size of the text over here. I can change the x and y axis so the positioning of the text, if I wanted more to the left or to the right, up and down. And then the source text down here, I can just call it whatever I want on my vacation to Kilimanjaro in 2017. You get the idea. So I can literally make those changes in here. And then I can see those changes reflected over here. And I can just move down and I can make changes to the text. For the second section of that motion graphic. I can do a fade in, fade out. I can turn the background on and off. So it's best if I leave that off, I can change the position of the positioning of that motion graphic here with x and y. You get the idea and just playing around with that here. So that's one motion graphic example. There's also motion graphics where you can apply transitions. So if I scroll up to the top here, and you'll have access to these, I'll give these to you for free. These are transitions that you can apply to your, to your project as well. If I zoom in here, I've already, Drake went over to my timeline. So that's an example of a motion graphic that is for transition. And as you know already, I'm not a big fan of using fancy transitions, but some people like them. And so if you click on that, I have an option here to change the colors of that transition from blue. I can change it to whatever the theme is of the project I'm working on, are going to change it to yellow or whatever, right, purple. And so if I play that back, this is what it looks like. So if you know, if you were to create these manually using keyframes, it would take a long, long time. But I literally just went over to browse, clicked on a transition, and I dragged it over onto my timeline. And typically when using these transitions. You want to drag them sort of in the middle of your two clips that you want to transition from an into. So kinda sits in the middle of those two clips. So that transition works perfectly. So that's another example. And then we have some title motion graphics. So if I play this back, we have a nice little pop-up tidal there. So I put that in there before. And it's really easy. You just click on that. You change the text to whatever you want to call it. So South Africa, you can change the color of the text to whatever you like. So gray and play that back. So you can really increase the professional production value of your videos just by using these motion graphics. And it takes no more than a few minutes to apply. Now I'm gonna show you something as well, which took me a long time to figure out, but it really did take me a couple of attempts to figure out how to make it so that this motion graphic now watch carefully. Now, the motion graphic by default slips up from the bottom of the screen and if I keep playing it, it drops back down again. Now what happens if I have a clip that's quite short, like this one here. But I want to make that motion graphic conform to my clip. What I do is I use the first part of the animation. I take my razor tool and I cut it. And then I keeps that being, I scrub this playhead along. And just before the animation begins to take place, at the end, I cut it again. I hit my select tool, I delete this piece, and then I drag these two pieces together and watch what happens, which is drag these over. There we go. So literally just shortened that motion graphic just by chopping the long piece out of the middle there. So just keep that in mind if you want to conform your motion, motion graphics to any particular clip. And this example here, these are called text blocks. And so there are many different motion graphic text blocks that you can download. And so once again, I just drag this onto my timeline. I click on this here. And then I have a whole host of things. I can change line one, line 234. I can change the text for any one of these lines. And then I can change the color of that line there. So if I play this back, it's quite beautiful. It's nice and smooth and just stunning. And trust me, you can spend hours and hours and hours of time just playing around with these settings and changing the colors around to suit your needs. In fact, what you can do to make these motion graphics customizable to the theme of your project. You can use the eyedropper tool, which is here and the dean click anywhere inside the frame. And that will give me the color. And then now that blew, that blue bar that you see is matching. The blue sleeve of my scuba diving outfit there. So now I've essentially customized this motion graphic to my particular project. And then again, the line length. I can adjust the line length. And essentially it's just a matter of clicking and kind of seeing what happens. And then you've got master scale. So the Master Scale is changing the size of the motion graphic itself. Now, I'll just quickly point this out if we go over to the left here to effect controls. You'll also see that there's a bunch of settings for motion and rotation and things of that nature. So we can change the position of our motion graphic by changing the position slider X and Y. And then we also have scale here as well. However, when it comes to changing the scale, always changed the master scale for the motion graphics. Specifically. The reason for that is because it will not pixelate the text if you make it really, really big by using the master scale. If you use the scale option over here and you enlarge, the text becomes really pixelated when you merge it to the full size of the frame. So use master scale here to adjust the size of the text. Just keep that in mind. But then for position, you can just move this over here using the Effect Controls panel, or you can use the position x, y here. So that is your choice. And then we'll move on to the next example. What's really cool about motion graphics as you can get YouTube packs as well. So if you're a YouTube URL, you want to create some YouTube videos. You can download these YouTube specific packs. And you know, it's so easy, you just click and drag that over to Timeline and click on that and you can adjust the colors of the text. You can adjust the roundness of the box, right? So you want to make it more rectangle or round. You can change, subscribe to something else so you can change the font. So these are Youtube and screens, and this end screen I actually got from a site called mix kit. And I'll show that site in just a second. But literally, these n screens are just remarkable and they're free. And I'll show you where you can download these n screens and other YouTube related packs for free to use and premier probe. So that's an end screen that I wanted to show you. So let's go over to our first then I'll show you mix kit. So mix Kit is an incredible sight. You have video clips like stock video clips, music, Premiere Pro templates which are completely free to use. But specifically, we'll show you the Premiere Pro templates. And you can download these for free. You can import them into Premier Pro and you can do exactly as we've talked about in this video. So if you go to YouTube and you'll get to see that this was at the screen that I just showed you now. And I literally just downloaded that end screen and imported into Premiere Pro. But as you scroll through the choice, you can run your mouse over them and it will play a little preview of what that motion graphic looks like before you downloaded into your computer. And so there's many different options for YouTube is out there. You know, there's just incredible. Your spent so much time to seeing what all the options are. And so in another video, I'll show you how to download and install these motion graphics. But I won't show you in this video. I'll keep it separate. So that's one example of a place you can go to get free motion graphics if you want to pay for some motion graphics. Now, I understand that not everybody is willing to pay for motion graphics. I didn't when I first started, I was playing with the free ones for awhile. But for the couple of people out there watching this that are interested in buying a couple, you can go to Motion array.com, not sponsored, but I've bought some of my motion graphics from motion array.com. And if you literally just go there and go to Premier Pro templates here in the drop down. And I'll show you real quick what they have to offer. And of course, you know, there's a lot of good free motion graphics that you can use, but there are also incredible motion graphics that do cost some money. And that is it. I hope that was helpful. I hope that was informative. And let me know if you have any questions. This is definitely an exciting aspect of the video editing journey. You can really increase the production value of your videos by using these motion graphics in your projects. Without any technical knowledge or know-how, without using any keyframes, without using plug-ins, without using aftereffects. It is just absolutely awesome. I wish, I wish, I wish I had this access access to this back in 2016 when I first started. It was around but it's it's just come a long way over the years, ever since Premiere Pro, open up the central graphics panel, which never always used to be their developers have come along and made these presets for everyone like us to use. So anyway, if you have any questions, let me know and I'll see you in the next video. 27. Graphics- How to Edit Stunning Animated Lower Thirds: Okay, welcome back everybody. In this video we are going to be exploring how to add really amazing animated lower thirds in your video projects. And in case you're wondering what a lower third is, it's that bit of text that you usually see at the bottom of a documentary or a video that you're watching on TV to identify the key people in that video. So you'll see the names and the titles of those people. And that usually shows up in that text known as a lower third. Now, I didn't know that years ago, I was always fascinated by what that text was called. The bottom of the screen is not always located in the lower third of the screen as you're seeing right now, I'm playing back for you. In front of you. It can be at the top and the middle or somewhere on the side. But typically it's a lower portion of the screen. And so in Premier Pro, it's really hard to make these lower thirds if you were to do the manually using keyframes and using tracking masks, and it just gets really complicated. And if you're just starting out your journey and you're just wanting to make really nice professional-looking videos. And you wanna do it by just using motion graphics and literally just a few clicks of the mouse. Then I'm going to show you how to do that in this video. And again, I wish I had this knowledge when I first started out. It wasn't until a few years ago that I learned how to use motion graphics properly with Premier Pro and lower thirds. So, yeah, let's get into it. By the way, at the end of the video, or after this video, I'm gonna give away 15 free lower thirds from rocket stock. And you'll be able to import those into Premiere Pro. After watching this video, I'm going to show you how to modify and customize lower thirds in just a second. So that's use a lower third here for this clip here on the timeline or go to browse. And then I'll select any one of these lower thirds. I might want to use this one actually. I'll drag that over to the timeline and then wait for it to load. Now don't see it anywhere. So click on this asset here in the timeline, go to Effect Controls over here, and then adjust the scale of it. There we go, it's coming back into view. So sometimes you need to adjust the scale when you are, when you import your motion graphics for the first time. And then use the position x and y here to move that around within the program monitor. And then of course, I changed the name and the color and all of that by clicking on it first. Then going over to the essential graphics panel over here to the right where it says text settings. I click on that. And here I can change my name. So I'll do it real quick. And it's so easy, it literally takes no more than a couple of minutes. I'll try and do it with you while I've got you here. So I can change the font to whatever I like and not want to change it to beavers. Because it's one of my favorite ones. And then I might want to make it bold. So all my options for bold and italics and everything else is along here. And I can change that from credit directed to, you know, explorer. Okay? So and again, I can change the font for that particular piece of text right here. I can make it bold or thin, or lights or italics or whatever. And then move down here to color. And I can change the color of the text. I can change the color of the rectangle from purple to something else. And, and I'll quickly show you how easy it is to do it. If I select. Now, what you can do, you can use the eyedropper tool here, or you can use the eyedropper tool over here. If you want to use more or less a theme related color. So you want to kind of keep, and it's a good idea when you're using lower thirds to make sure that the lower third kind of fits in with the branding and the theme of the video that you're creating. Otherwise, it does look a little bit tacky. So I'm using the eye dropper tool and I'm going to select any color that within my frame. That way, the lower third is gonna match in quite nicely with my video project. So as you can see, I'm just gonna go with the color of this shade here. There we go. And then rectangle 1.2. So watch what happens if I select there. You can see it's a bit of a gradient change there. So it's a gradient color change from this color to that color. So if we use the eyedropper tool, I can pick my next color, which creates the other part of the gradient. And it's very, very subtle, but you get the ideas. So if I now skip moving down here, I can change the position of that, of that lower third by manipulating X and Y right here, just by using these controls here. Alternatively, you can use the controls over here in the effect controls panel. So you have position. You can change x and y over here, and you can change the scale over here as well. The rectangle width, right? So I can make it narrower or can make it wider. And the position. So essentially, I can go on and on, but that's pretty much how you do it. It's very easy to customize these lower thirds. And also as well like you've got lower thirds for social media as well. So you can get these little lower thirds packs from websites like motion array in a volatile elements and, and it goes on and on. There's just so many places you can download these from. And as I said, I'll include some free lower thirds for you to download and to play with in your own time. But I'll show you some of those websites now. So overhearing a motion on motion array, here's an example of a lower thirds pack that you can, that you can buy if you want. And I know a lot of people are not interested in buying these things, but I know a few people do or are interested in buying a few of them because there are so many awesome lower thirds that are worth a few dollars to purchase. So again, I'm not affiliated or I'm not associated with this company, but I do by some of my stuff from motion array here. So if I play this back, it will give you an idea of what's included in these packs. Just really, really awesome. There's so many choices, right? And you can pick lower thirds for any particular type of project where there'd be corporate, whether be travel adventure, whether it be short film, documentary. It just goes on and on and on. Otherwise, we'll go back to my, one of my favorite sites here, mix kit, dot CEO, mixed kit. And I've also got an array of free lower thirds that you can download from their website. And so if you go through here, you can run your mouse over the thumbnails here. It will give you a little preview of what those lower thirds look like before you download them. And then literally just a matter of clicking on the download. So once you've picked the one that you like, you just click on it. And then you click on download free template. And then you can just import it into Premier Pro. And I will make a separate video on how to install these lower thirds and motion graphics in another video. So anyway, so I hope that was helpful that pretty much covers off how to install and use lower thirds in your video projects. And again, you'll have access to free lower thirds that you can download and install and play around with. Let me know what you think and if you have any questions, let me know and I'll see you all in the next video. 28. Graphics- How to Install Motion Graphics (2 Methods!): So you might be wondering how to install these motion graphics into Premier Pro. And so there are two ways to install them, and I'll show you both of them right now. So right now we're inside Premiere Pro. And over here we have the central graphics panel that we've been working on for the last couple of videos. And down here there's a little icon that says install motion graphics template. Now, if there's only one template that you want to install at a time, then this is the way to install that template. For example, if we go over to mix kit, a website that I really, really like. And as I said before, you can go here and you can select any one of these motion graphics to download and install. So let's do this together. Actually, we'll just say for example, we want to use this motion graphic here for free from mixed kit. And this is the one that we want to use. We want to use a YouTube end card. So we click on download free template that downloads to my computer here. And just to shortcut it so that we don't waste a lot of time. I'll go back into Premiere Pro once I've unzipped that file, I go back into Premier Pro and then I click on the icon down here. And then I look for that particular it's called Bogart file. And now it sounds really strange, but it's a dot M file. My god, I just call it a Bogart file. So it's a dot morgue file. And so the mixed kit ones download like that. So they're just single files. You double-click on it. And then obviously in my case it says, do you want to do you wanna override it because I've already got it installed. I'm just going to click yes because because I can't. And then I'm going to show you where to find that end card to one of these ones. Okay. I'm not going to waste a lot of time and it's going to pretend that it was this one here. And it wasn't, but I'll just pretend that this is the end card that we have just downloaded. And so it'll download straight into your central graphics panel. And then all you need to do is click and drag it over into your timeline. And then you can customize it and it's that easy. So this method of adding a motion graphic down here using the icon is perfect if you're just adding motion graphics on a one-off basis. But if you download packs from motion or array or different websites like that, and you might, you might get 20 or 30 or 50 or a 100 different, more guards all in the same zip file. It's not practical to go through here and add them one by one. So what I suggest you do is actually when you, when you unzip the file, you will get files or like this. You'll have one folder for all of you, a text, tidal maggots, and another folder with your transition mode guards. And so then you'll get another folder with fonts, which you'll have to install these fonts first before you can use those moguls, because these moguls use these particular fonts. So you really do need to install those fonts first just as a little bit of a tip. But all you need to do is you take the mug shots and you copy them. As such, right-click copy. And then you could paste them into the motion graphics template of Premiere Pro. Now, in the next, after this video, I'm going to show you where to find this motion graphics template for both Mac and Windows. It's a little bit different between the two. But for Windows, it's going to be inside slash app data roaming, Adobe common and motion graphics templates. So this is the folder where all of your motion graphics will go into for Premiere Pro. And Mac has a similar path, a similar location to this. And I'm gonna give that to you after this video. And you're literally just paste in the motion graphics in here. And as you can see, I've got all of my motion graphics in here. And then I've got mashing graphics inside these folders. Just copying and pasting. It is the fastest way of adding multiple motion graphics at the same time. So that's how you do it. Otherwise, if you have any other questions, let me know and I'll see you in the next video. 29. Audio- How to Add Background Music to Video (Auto Ducking): So I'm going to show you how easy it is to add background music to your videos. Specifically, if you're talking in your videos, how to reduce the volume of the background music. And when you finish speaking, how to increase the volume of tobacco music. And so I'm gonna show you how to do that in this tutorial. And then at the very end, I will do a quick recap on how to fade music in and out using the exponential fade effect in this tutorial. So let's get started. Right now, we've got our workspaces in editing mode. If we just click on audio at the top there, all of our workspaces are going to rearrange. And on the right-hand side you should see essential sound. Here, the essential sound panel. This is where we're going to be spending most of our time. And if you don't say Go over to window and then click on essential sound here. Make sure there's a little tick there so that you'll be able to see that panel. Now, let's have a look at our timeline. We have a couple of clips here already from the project files from this course. So you can follow along with me using the same clip so you can use your own. That's fine. So firstly, I want to point out a couple of things. When you're working with audio in Premier Pro, you'll be obviously working down here, a1, a2, a3. So these are the audio track layers down here. Now, it's good practice to double-click on these tracks to expand them out so you can see the waveform of the audio. It's just much easier to work with than if it's compressed like that. So you can either hold down the Alt key or the Option key on your keyboard. Use the scroll wheel on your mouse. Just move your mouse over here to the track. Hold down the Alt key or the Option key, and that's an easy way to quickly expand out those tracks. Ok, so that's the first thing. The second thing is personally, I like to teach editing in a very organized workflow process. So when I look at these audio tracks, I like to think of these audio tracks as being dedicated for a specific type of audio's. So the first audio track or a1, I like to put all of my dialogue on this particular track. Anything talking and that kind of stuff all goes into a1. All of my background music. I like to put that onto a2 and a3. I liked usually dedicated to ambience or sound effects, either or. And then A4, A5, A6 and so on and so forth is usually sound effects. And that's it to have multiple different sound effect layers. But that's just generally how I like to structured. When you work with bigger projects, it's a good idea to get organized upfront. And that way, it's easy to know when you look at your track on a huge screen like this. That, you know, straight away that this particular track here is all of you background music. And here's all of your ambience, right? Or your sound effects and so on and so forth. So that's what I wanted to point out first. Okay, let's get into it. So we're going to add some background music Now, going to drag this over into audio track layer two. And we're gonna expand that out by double-clicking over here. And then we're going to play it back, and we're going to listen to it. We've got some dialogue here, we've got some background music that's played back and have a listen. All right, so obvious problem is that we have good background music. We've got some dialogue going on, but there's a conflict here between these two. We need to be able to drop down the background music so that we can hear what I'm saying in the clip. So the easiest way of doing that is going over to the essential sound panel. Clicking on edit if you haven't already, and selecting all of the dialogue clips. So in this case we just have one. So we'll just select that one. And then what we'll do is clear this. What you'll see is this. Now clip selected here. What you'll do is you'll tag that clip as a dialogue clip. So you just click on that. And then we go to our background music. Click on that and we tell Premiere Pro that that is a music clip, right? So click on music. So now we've labeled the only dialogue clip that we have and we've labeled our background music. We've told Premiere Pro that this dialogue and this is background music. Now what do we do? I'll show you now this is called audio ducking. That's the technical term for it. I didn't know this when I first started my editing journey. And so I was always curious to know how people, you know, decreased the volume of their background music and what that was called, it's called audio ducking. So it makes sense because the background music is going to be ducking below the dialogue in this case. So all you need to do is you click on the background music. And over here it says ducking. If you tick that box, it says he'd duck against and by default, that's already selected. So it says Dark against dialogue clips. So the background music is going to duck against my dialogue. And we have three settings here. We have sensitivity, duck amount and fade. So we'll leave sensitivity at six for now. The duck amount is the amount that you want the background music to reduce BY underneath the dialogue tracks. So this is there's no set amount here, it just depends on the background tracks. So typically, I start with around 25 personally. And then I listened to I listened to it, and then I make changes from there. It just depends on the background music. Sometimes I need to make that background track duck by minus 35, sometimes minus 40 in some cases, but usually I start with minus 25 and then I make changes from there. And then in terms of the fade, will leave it at 800 milliseconds. And then all you need to do is we click on Generate keyframes and watch what happens over here. Automatically. Premiere Pro has created these little key frames here. And it's duct, the background music against the dialogue that's played back there. Yeah, that's much better. Perfect so far, so good. Now we can make more changes to it just by changing these sliders here and then clicking Generate keyframes again. And then Premiere Pro will update those changes. So for example, if I want to hear more of the background music, I just hit the slider and bring it back to the left and maybe make it minus 19. And then click Generate keyframes. And then it's just made that adjustment. If you sold that, let's play it again. There we go. So that's the easiest way of doing what they call audio ducking in Premier Pro. It pretty much Premiere Pro does all the work for you. And if you decide that you move, you want to move these clips down the timeline and you want to update. You want to leave the background music where it is, or you need to do is click on the background music and then click on Generate key frames. And then it'll move those keyframes for you. Watch this. There we go, done. And then one last thing I'll show you, if you want to manually adjust the keyframes, I need to do is zoom in to timeline like this and make sure you've selected your selection tool. And then this little rubber band to you can just click and drag that down and up. And as you do so, the decibels will change. So increasing them here, we're dropping them back, so increasing the volume, decreasing the volume. And also we can click on these key frames and we can also drag them across as well. We can zoom in a little more. We can also drag this one further. This way. We can drag this one to the right. And so you can do this manually. In fact, you can delete these keyframes by clicking on them, deleting them. And you can completely do this manually, which is how I used to teach it. Because this whole auto ducking feature was never was never a feature within Premier Pro until 2018. Prior to that, I was teaching everybody how to use the pen tool. And by clicking on the audio waveform, creating two key frames and either side as such, and then just clicking and dragging down like that. So that's the manual way of doing it. But as you can imagine, this is much, much easier. Okay, so one last thing I want to talk about is fading music in and out. So did obviously make a separate video on this, but I do want to show you how to fade music in and out by using the exponential fade effect. So I'm just going to drag these clips back here. And I'm just going to delete these keyframes here. And just say, for example, your video clip is that long, but you have a background track which is much, much longer. Now obviously you're not going to use the entire background tracks. And what do you do? What I do is I take my rays at all. At all. I press on the keyboard and then I just chop it right at the end there. Just like that, I just snippet right off, take my selection tool and then I delete that piece off. Now obviously there's no fade in and out at the moment of just trot, just chopped down my background track to be the same length of my, my travel video here. And then all I do is I go over to my now, if I click on editing, if we click on editing, it's going to change the work space panels around to make things easy to find. And if we go to the effect, effects panel over here, so click over here on the two arrows go to effects. And then what we're going to type in is we're gonna type in exponential phase. And we'll see it there. We use the search result, the search box here to make it much faster defined our effects. So you can type in dip and then dip to black and white come up. You can type in cross and then cross dissolve comes up. So I use the search box every day, right? So what were we doing before exponential fader lost my train of thought. Who click on this? And we drag it over to the beginning of our background track. And then we take it again and drag it to the end. And then we play it. Okay, so we have a nice little fade in for our background music at the beginning and fade out at the end there. And one last thing is to make it, make the video synchronized with the background track in terms of fading in and fading out, we'll just add a cross dissolve as well. So we click and drag that over. Now also, we did talk about having default transitions in another video. Cross dissolve is already a default transition, so we can even just right-click apply default transitions. And you'll see cross dissolve there. And then all we do is we just click on our dissolve and drag it out so that it's in line with our audio dissolve. We want them both to fade out at the same time. So that's why I've lined up these two here. And then I'll just jump over this side to the same thing. And we've got a nice little fade in and fade out. There we go. And we'll play this back. Done. So I hope that was helpful for you. That is how you do automatic ducking with your videos and also using manual Keyframing as well if you want to do it manually by using your pen tool and just hitting a couple of key frames there, and then just dropping it down like that. And again, you'll be playing around with this depends on the background track that you decide to use. Some, some background music tracks. You need to really, really decrease the volume. Others like this one, you can get away with just having a very small duck, but you need to play around with it. And otherwise, I hope that was helpful and I'll see you in another video. 30. Audio- How to Fade Music & Video In and Out: So in this video, I'm going to show you how to fade music and video in and out in your projects in Premier Pro. On your screen right now we have a couple of clips in the Timeline panel ready to go. And these clips you can actually access in the exercise files for the course if you want to follow along with me, I just have a couple of clips here of Kilimanjaro and one here shot in Indonesia. And I got some background music that I've dropped in as well. And feel free to follow along with me. So there might be situations where you want to fade in both the video and the audio or the background track of your projects. And then get to a point where you get to the end and you wanna fade out the background music. And so the easiest way that you can do this is by using simple keyframes, which we touched on in a previous video. And the Pen tool, which you'll find here in your toolbox, which we haven't talked about in the toolbox video. We didn't really touch on the Pen tool that much. And it's kinda saving it for this video. So we're gonna be using the pen tool than this video. So I've got my background track and I'm gonna play this and I'm going to talk us through my thought process here. So we have our background music and a couple of clips to have a couple of straight cuts here. Nothing complicated. And at this point, so as you can see, the background track is quite long. Okay, it's about a minute and a half, a minute and 20 seconds long. But I don't want to use the entire background track. I just want to make a short little clip and I wanted to sort of cut away and fade out my background music. I don't want to use the rest of it. And you will come across this when you work on your own projects where you're not going to use the entire background track when you're making your own videos. So how you would fade out your background music is by using keyframes. And so, first and foremost, if we go to a Timeline panel here and you click on the wrench icon, I want to make sure you've got a few things enabled. So where it says Show Video key frames, make sure that's clicked and turned on. So you see this little, it's called a rubber band. That little rubber band that stretches across each of the Eclipse. So we want to be able to see that. And if we go back to the wrench icon and click on show audio keyframes. We now have access to a rubber band for our background music as well. And then over here we have our pen tool, which is shortcut P on the keyboard, or you can just click it. And now using a pen tool, we can actually click on the rubber band and create keyframes. Now, we talked about keyframes In a previous video, and we talked about keyframes from the perspective of using the Effect Controls panel. Let me show you real quick. So I click on this clip here, for example. And then Bernie Effect Controls panel over here. I'm going to click and just stretch this over so we can see this little timeline here with our playhead. To remember, we're gonna play let up, play head up there and now play head down here in the timeline window. Then you remember that we created keyframes by clicking on, I'll play head up here. Then we clicked on a little stopwatch, and we'll click it again, which creates a keyframe. We move our play had long. We drop this down to 0%, which creates another keyframe here. We move that along. Since then we've essentially created two key frames with an opacity where the keyword, the capacity drops down to 0. Now that's one way of doing it. As you can see, if you look down here on the timeline panel, we've got our keyframe here and here, which is exactly the same as our key frames up here. However, down here it's a visual representation of the same thing that's over here. If I click on this little arrow, drop it down, you'll see that we have two linear keyframes where a straight line or a linear line is drawn between those two key frames. So what I'll do, I'll undo an, undo our keyframes. What you can do is use the pen tool and then actually click on the rubber band to where you want to drop a keyframe like that. And then click somewhere else on the rubber band as such, and then drag it down. And you'll notice that we've essentially credit to keyframes here visually in our timeline panel. And over here in the effect controls panel. It's represented in this way. So if I play this back, we've now faded out our video track by using two linear keyframes in our timeline panel. So it's much, much nicer having your, If we have a look at our play head here and we align our play head, we have our first keyframe here, which is lined up with the little beat that we heard before. My zoom in that beat in the background music is where I want that keyframe to line up with so that I can begin fading out my video in alignment with the background music. Now, you'll notice that the background music is that it drops off a lot and then it goes back to being very intense again. But I don't want to use the rest of this background music. So I can actually do the same thing by using my pen tool and clicking down here on the rubber band for the background music and actually fading it out. So I've just clicked a keyframe here. And I'm going to click a keyframe. Somewhere else. And I'm going to drop it down to where it says minus 00 or Decibels. You'll see that label there. There's basically dropping it down to minus infinity as sort of means, minus infinity dB or 0. And then if I play this back, I've just faded out my background music And I can click and move this key frame around to get the funder a nice sweet spot there. So if I play that back, it sounds nice to me. Maybe you can drag this over a little bit more. There we go. So we've just faded out our background music and our video for our project. And if we go back to the beginning of our project, we might want to fade in our projects. So if we play this. So by listening to the background music, there's already a fade built into the background music, As you can see with the wave form, it already fades in at the beginning. So I don't need to add an additional fade in with the audio keyframes. That's already built into my background music. However, I want the video to fade in with the audio. So at the point where the music kicks in, I'm going to take my play head and line it up. And then I'm going to click with my pen tool over here. And I click on my, with my pen tool on the rubber band that's in the video here to create a keyframe. And as you can see, there's a keyframe over here, right? And then I'm going to click somewhere else over here. And then I'm going to drop it down. And I'm gonna drop it down to 0 opacity. So now I've created two key frames. And over here we have two keyframes. And if I play that, we now have a fade in with the music and the video. Now if I want, I can make it more in sync by playing around with the position of this keyframe. And I can move this along further. Okay, so that's all you need to do when it comes to fading in and out of your video and background music by using your pen tool and using the keyframes. And if you want, you can just collect, click and delete any of these keyframes here. So you can click and press Delete and then move over to these other keyframes here, click and delete and delete. So that's how you do it. So if you have any questions, let me know and I'll see you in the next video. 31. Audio- The Basics of Editing to Music Beats (2 Methods): I'm going to show you a very basic editing workflow for how to edit to music beads in your videos. And I'm gonna show you two methods in this tutorial. So with like what you saw in the introduction, we're going to recreate that in this, in this video is so we've got here, we've put a background track, we've got some clips, and we have some text over the top. So if you want to follow along with me, you can access all of this in the exercise files for the course. And you can pause the video and you can follow along, or you can just use your own. That's fine as well. So let's get straight into it. First and foremost, make sure that you are in editing mode by clicking up here at the top. And we're going to jump into a fresh sequence. So I'm going to click over here. And right now we have an empty sequence. So the first thing I'd like to do is I like to take my background music and then drag it into my timeline. And I'd like to expand out my audio track. So a double-click over here and expand that out. Or I can hold down the Alt key or the Option key and use the scroll wheel on my mouse that also expands and it collapses the track. And by doing this, I can see clearly the waveform of the music. And I can already see just by looking at the wave form where we have these peaks here, that there's some kind of beat going on there. And I can see that there's some fades and build-ups and so forth. So if I play this track back, so you can see that beat and you can hear the beat and you can see how it coincides with that peak in the wave form. So we want to sink our footage so that it changes at each, at each of these points IAM. So I'll show you exactly how to do it. So the first thing I like to do is I wanna go to my footage that I've also supplied in the exercise files for the course. So I'm gonna go into my GoPro here. And so these are my clips from my travels that I want to drop into my, my video and I want them to sink to the background music. So the easiest way of sinking through Premiere Pro is by going to each of your clips. I'm going to start with the first one. And I select an in and out point for the piece of that footage that I want to use in my video project. So we're already explained how to do in and out points in another video. So I'm not going to explain that again, but essentially it just mark in and mark out. And I go to each one of my clips and I do that for each one. Something like e upon is that piece there. So all of these shaded pieces here, I want them to be dropped into my timeline. So I'm going to. Continue to go through here. So you get the idea. You get the idea. And I'll do that for maybe seven or eight of these clips. And then what I'll do is I'll come back over to my timeline. And then I will use a shortcut key em for Mike on my keyboard to create a marker. And so I'll show you how to do that. I'll zoom into my timeline and make sure you click off your background tracks. So we've clicked on a background track here, make sure you click off of it so it's not highlighted. And then as I play this track, I hit the Spacebar on my keyboard. And then at every B, I hit the M key on the keyboard. I'll show you what I mean. So I'm going to speak out loud as I do this. So spacebar M, M, M, M, M. Pause. Okay, so as I did that, these markers have dropped down on our timeline here. So I've essentially marked out those beats. And I've used the shortcut key on my keyboard, and I've used the space bar to play and pause as such. So now that we've put our markers on our timeline or we need to do. We take our playhead, we take it back to the very, very beginning right here. And we have already marked at afford each year. So we're going to use seven or eight clips. We got 1234567, maybe seven or eight clips. All you need to do is you select the first clip that you want to use and then click on each subsequent clip, some holding down the Control key or the Command key as I click on my mouse. And now I've got seven clips highlighted or selected. All you need to do is you go over to clip, go down to automate, to sequence, click on that, and then this box will pop up. All you need to do is you just select, explain this as we go through. You just select here where it says ordering. If you make sure that says selection order, it's pretty much going to drop onto our timeline what we've selected in order of what we've clicked on with our mouse in our project panel. So just make sure selection order is ticked. And then down here where it says placement, make sure it says at unnumbered markers, click on that method, overwrite, edit, and make sure that you use in and out range. So we've selected out, in and out points for each of these clips. And the downhill, it probably has both of these untyped. Now, if we click on ignore audio, that means that when it drops these clips into the timeline between these markers, that it's not going to bring the audio along with it. Right. So I like to just ticket to ignore the audio. And then all you need to do is click OK, and that's Hadar. So if we play that back. That's it. Premier Pro has automatically sync up our footage to our background music. Just like that. So that's the easiest way of doing it. That's the fastest way of doing it. The second way of doing it is it takes a little longer. But essentially you're creating markers as we did before. But then you are going to each individual clip and you are selecting an in and out point as we've done. And then your drag it over onto your timeline. And then you drop it at one marker and then your trim that clip, that it falls inside the second marker. But essentially you just have to go through, manually, click and drag over the footage and then just drop it between each of the markers. So what I'm doing now is just the manual way of doing it. Right? So you can see that if you're just starting out, this takes a long time. I've been doing this for four years. Some Make It looks pretty straightforward, but this takes a lot longer. So I do recommend doing it the other way. Okay, so just to finish that off, we can drop in another clip here in the beginning of our timeline, just like that. And now we have a complete project. Now obviously we haven't added our text, but all you need to do, and I'll let you do this in your own time, but you get the idea, it's the same concept. You just take the Type Tool and you type some text. And then you format that text, which I explained how to do in other videos. And then you just align your text so that it's over the top of each of your video clips. And then you just duplicate it and do the same for each one. And then you just change the text. So that's how you do it. It's the same concept. So that is essentially the basics of how to edit to music beads in your, in your videos. This is obviously the very fundamentals of it. And so you'll learn over time that, you know, it does get boring after a while. If you're editing to the same beat for a long period of time in your, in your videos. So if you just starting out, this is a great place to start. But then as you go through your video editing journey, you will learn that there needs to be more of a consideration to the story that you're trying to tell. And the pacing of the music with the visuals so that you know, the pacing of the music and the visuals work together. And so I'm going to cut in an example of what I mean by that. And so I did a project recently when I have paste the background music with the visuals. And I'm very proud of it. It came out really nice. But that's something that comes later. And so when you're just starting out, you're editing journey. Just pick out a basic beat and a simple clear beat. And I like to do hard cuts at a very strong beat, but some background music tracks don't have a very strong beat. So you need to feel the music. You need to listen to the music a few times. And then by listening to it, you need to feel what the music is saying to you. And so there might be times when you edit to one beat of the same track, and then later on in the same track, you might edit to a different bait. And so you might edit offbeat. And these kinds of, these kinds of methods will come later when you have a bit more experience. So I hope that was helpful if you have any questions, let me know. Otherwise, enjoy and have fun with this. And I'll see you in the next video. 32. Audio- The Basics of Using Sound Effects: So in this video, we're going to be working with sound effects. And I'm going to show you how easy it is to incorporate some very basic sound effects into your video projects to give them a little bit better and improved production values. So this in itself is a big topic, but I'll just show you some very entry-level basics that by the end of this video, you'll be able to use some of the sound effects that I've included after this video, which you can download. And you can start using them right away and play around with them and add a little bit more interest and production value to your content. So on your screen right now we have a couple of clips on a timeline. And right now I'm in the audio workspace, but we might just go over to editing. Click on that. Because I went, I'm adding some sound effects to my projects are usually just stick with editing workspace on your screen. We've got four clips on your timeline. And I'm going to show you how to add basic sound effects to each of these. So if I this, play this back, for example, we've got one clip here and we've got a YouTube notifications motion graphic at the bottom there. And we're going to add some sound effects to that to make it a little bit more interesting. So I'll play that back. We have a thumbs-up which gets clicked on, Subscribe gets clicked on, and then the bell notification gets clicked on. So I'm going to show you how to, how to add some sound effects that are make it a little bit more interesting. And then over here we have another clip where I'm on the top of Kilimanjaro and I'm just going to simulate using the sense of beep. So you might be all familiar with this when someone swears or cursors and a video and they wanted a sensor that out you can use a centre Beep. So I haven't sworn in this particular clip, but I'm just going to pretend that I have and I'm going to show you how to incorporate a little sensor B. And over here we have a video clip and we have a lower third, which is coming in from the right. And as you can see, there's no, there's no sound. You can't hear any sound. So we're gonna add a little sound effect to that to make a little bit more interesting. And then finally, at the end T we have a drone clip that I shot in the Philippines of some boats here. And as you might be familiar with drones, don't record any audio. So we're gonna add some ambiance to that to make it a little bit more interesting and I'll show you how to use sound effects there. So all of these clips are available in the exercise files. If you want, you can follow along with me. And all of these sound effects down here, which I've included, are absolutely free. And you can download these and you can pick and choose and play around with these if you wish. Ok, so the first clip we have is we have the cameras underwater here and we have some seagrass. And then we've got this YouTube notification motion graphic. So the thing was sound effects is typically you wanna match the object that's moving on screen with a specific sound effect. So they call it a hard effect. So in this case we have a mouse click and it's clicking on the thumbs up, it's clicking on the subscribe and it is clicking on the bell. So first thing is first is we need to find sounds that match that action. So I'll show you how I play it out and then you can follow along with me. So essentially we are looking for a sound effect of a mouse click. So if I just searched my little library here, and this is part of the free sound effects you can download as part of this course. I'm gonna click and drag it over to my timeline as such. And I'm going to drop it onto audio track layer two. And what I'm gonna do is I like to line up the play head with the action on screen. And then wherever that action is, I line up the sound effect with that. And I might need to zoom into my timeline so I can get it nice and accurate. But as you see the click on screen, we want that. And you can see what the wave form, and if you need to, you can expand this waveform out. So you can really see that wave form and then drag it so that the playhead lines up with that. So, so far, that looks like a pretty good match to me. And then if we let that play through, we're going to apply the same sound effect to that on-screen action there as well. So I will use the same sound effects. So the easiest way to duplicate sound effects is by just clicking on the sound effect, holding me on the ultimate Option key, and then just drag it out with your mouse. And they will automatically duplicate that. So let's play this back. So as you can see, there's not in-sync. So I take my play head. The moment it clicks on that asset there or that object, subscribe. I then want my wave form to match that. So I want to get as precise as possible. There we go, that's pretty good. And then if I let that play through. Ok, so now the on-screen action is a bell. So we're looking for a sound effect of a bell. So if I type in bell, now of course there's so many different bell sound effects. There's unlimited options you could get. It's just a matter of finding one that best matches. It's a little bit too dramatic. That's a little bit to cinematic. Okay, that's a little bit better. Okay, so we'll use that one. And we'll drag it over. And again, we'll do the same thing. Perfect. So the concept was sound effects. While I'm doing this, is to ensure that the sound effect is not too loud, that it's distracting. The sound effect is it's hard to describe, but essentially you want to make the sound effects so that. It doesn't distract away from the experience of what people are watching the story that you're trying to tell. But it's subtle enough that it does augment the story and does add depth to what people are watching so they sound effects. If I pay that back, it's a little bit too loud. And especially that ding, it's just too loud. So I like to do is click on the rubber band here and then just bring those that volume back a little bit. Yes. So that's a cow. I mean, we can play around with that later. And we'll move along to the next clip. So I want to add a sense of baby in here. So as I play this back, where I say where at the top, I'm going to pretend that I've sworn. Right. Even though I haven't, but just pretend that I've sworn or used to curse word and I want to I want to override that by using a sensor beep and I'll show you how to do that. If you have a swearing your videos or cursing your videos, it's so easy to just use a sensor beep and mute that. So you take the center sound effect, which I've included as well, drag it over to Timeline and then line it up with the hypothetical in this case. Just pretend that. Okay. So where I say top, I'm going to pretend that I've sworn there. So I'm going to zoom into my timeline and I'm going to create some keyframes using the pen tool. And this on the timeline here on the waveform. Top is what I want to mute out. That's my pretend swear word. So of credit for keyframes right there. And then what I do is I pull these two keyframes down. If I play that back, you can't hear top the cant hear that word. And then all I do is I take my sensor beep and I drag it so that it's lined up with where this word is a loaded up as such. I trim this down. Just trim that down on it, even trimmer down more. Right? So I'll just trim that down if I play this back. Alright, so, so far so good. We just want to line that up. But it's a bit too loud. And if I look over here on my audio meters or more VU meters, you can see that we're almost peeking out there. So that's pi this back. And let's drop this down by half. Bring that up a little bit more. There we go. So if I play this back, so that's how you incorporate a sensor beep. If you ever make videos and you accidentally curse and you want to block it out, it's as easy as using the sensor beep or you can use, you can get creative. You don't have to use the proper sensor. Sound effect. You can use a rubber duck noise, for example, or show you real quick. I'll just override that one. And I'll, so this is called the Rubber duck sound effect, and I'm just trimming it down. And I'll pay this back. So again, so you get the idea. And if you want, you could put a little image of your mouth over my mouth and it'd be like a little rubber duck. If you get the idea. So that's how you, you could censor out swear words and that kind of thing. Now let's move over to the next clip. So we now have a simple video clip in a lower third for play this back. We have the lower third flying in from the right hand side. And there's no sound effect. We wanna make this a little bit more interesting and engaging by adding some kind of a wish sound effect. And I'll show you how to do that. So if you go to a library here, we type in whoosh. And there's so many different ones. So this just a matter of playing these through and seeing which one is it is the best candidate. Pay whoosh 65. It's a bit too fast. Too fast, too. Okay. That there's so many different whooshes. Some faster, some slow than others. If I look at this one, okay, that's the slowest one. And I'll show you, you can also modify sound effects as well. So these are sound effects that you would get out of the box. But, and this is a whole other discussion point of how you can manipulate the sound that comes out of the box to fit the specific scenario. For example, if I take a whoosh seven and I'll drag that over to the timeline. Now in terms of where I'm dragging these onto the timeline, I typically like all my sound effects to go on a 34, but I'm just kind of very quickly showing you how to apply these sound effects. And we'll talk about organisation and in another video. But let's play this back. So we want the action on screen of the motion graphic, flying cross from the right-hand side, we want the sound effect to match that. Otherwise, it looks a little bit funny if it's not timed up correctly. So I'm going to line up the sound effect. Okay? So if I play this back, we have a problem here. The sound effect finishes before the object finishes moving. So setEffect finishes here. But the on-screen motion graphic is still moving. So that's a problem. So what do you do in this situation? Well, it's, It's easy. You can just modify the sound effect that's out of the box. So what I would do in this situation is I would make this sound effect longer. So I would right-click on the sound effect and then go to speed and duration. And then I would slow down a little bit more. So I might bring that down to say, I'm not sure, maybe 60%. So you can see that it's stretched, it's stretched out now. So I might play around with that timing a little bit just to get the sweet spot. But if I play this back, so it's a little bit better. I might just stretched out a little bit more. By going to 40% and seeing what happens. Ok, that's much better. And if I play this back over here, we've picked out, so we can never peek out. We talk about that in another video. So I'm going to drag this down. So the volume is a little bit less. I might just pop that up a little bit more. So you can see the motion graphic is starting to slip in someone to move this motion graphic over a little bit more. So, so I'm quite happy with that. So that's essentially how you can take a sound effect and you can modify it depending on your specific needs for your project. And the last clip that I want to show you is this drone clip over here. So I'm going to show you how to not only add sound effects, but also how to add ambient sound effects, but also layering is sound effects too. So you don't have to have one sound effect driving all of the work of the whole ambiance. You can have multiple sound effects stacked on top of each other to create a whole overall impacts or a whole overall statement. So for example, if I play this drone clip back here, now as I said before, drones don't record audio. But this is where we have the powers of editing, where we can add in the audio that drones don't record. So right now, my flying, my drawing over these boats here. And as you can see, we have this tropical water and it's really beautiful and everything else. And so we really want to bring out that beauty in, in, in audio, using audio to bring out that absolute stunning beauty that we saw in the Philippines. So, so what I'm gonna do is I'm going to look for some ambient sound, which I've also included with this cause we're gonna go with ocean waves. So I'm gonna take ocean waves going to drag it over here. I should, if I click on this, if I click on this wave form here, I'll see it up here in the source monitor box. And it's audio only if I play this back. So listen to this track and I'm listening to the waves crashing. And I essentially want to pick out a piece of this. The kinda matches what's going on in the visuals. So I'm going to take any piece here, might take this section here which I've already selected before. And I'm gonna drag that over to the timeline. And then I'm going to tie this back. Okay, so, so far so good. I might just drag this around a little bit and just clip it in to slight that. Play this back. I might just drop my quality playback because it's running a little slow on my laptop today. Great. So we have essentially have some ocean waves creating a little bit of Ambience here. Now again, we drop the volume down a little bit, and then I'm gonna stack this with some sound effects of some seagulls for example. And so essentially, if I double-click on this, pay this back. You can hear the sea goals. Now. There weren't, there were no sea goals at the time when I film this on my drawing. But are giving you an example of how you can, how you can stack sound effects if you need to. So we have some sound effects of some seagulls. And I'm going to drop that onto my next audio track, Leo. And I want that to kind of match up with the first sound effect of the ambience. So now you can hear the sea goes and you can hear the oceans crashing. And then all I do is essentially just adjust the gain or adjust the volume to ensure that the seagulls are not too loud and the ocean waves and not too loud. And then finally, I can have some background music in there. And I'll go to my background music. Gotta tropical island. Great. And I can drop that in here. And I'm just doing this very quickly. So essentially we have our background music which is setting the tone of the video, which is beautiful tropical travel Island Adventure. And then we have some ocean waves which then augment that whole tone. And then we have the C goals, which just like think of it like adding spices and adding, you know, different flavors to your dish. The sea goals and the ocean waves are all different flavors that you're adding to your dish to really bring out the flavor profile of the video. That's an interesting analogy. I've never used that one before, but it, I think it's true. So if I play this back one more time, see goals, ocean waves. And that's it. So that is essentially the basics of using sound effects in your video projects. As I said before, this is a huge topic and I thought that I just introduce it plant the seed gets you to play around with the US, the sound effects that I've supplied, I've supplied over 60 different sound effects that are used commonly by YouTubers. And take those sound effects, play around with them and see what you come up with. You can use the footage that I've supplied and you can follow along with me or you can use your own footage and use your own sound effects. Actually, before I go, before I forget, you can access more sound effects if you go to epidemic sound. They have sound effects on their website. I talk more about epidemic sound in another video coming up in this, in this chapter. Also, you can go to the YouTube audio library and then go to sound effects. And they've also got sound effects in the YouTube audio library which you can download. So anyway, I hope this was helpful and I'll see you in another video. 33. Audio- Editing Perfect Audio Levels for YouTube: So I'm gonna show you how to set the perfect audio levels for your videos for YouTube. And so I'm going to keep this video as basic and straightforward as possible because audio itself is such a huge topic. But if you just want to create your videos for YouTube, then this is all you really need to know when it comes to audio levels. So let's jump into it. Right now we have a sequence and I've got one clip, my timeline. And so the first thing I want you to do is make sure you are in editing mode or you can go to audio, but it doesn't really matter. You can just stick to or editing mode. Okay, so the first thing I'd like to do is allowed to expand out my audio track so I can see the wave form. So by default it's probably collapse like this. I just double-click over here just to expand that out so you can see what's going on. And then we're going to be working in two windows. We've got over here, we've got our panel audio track mixer. If you don't see that, go to window, go down to Audio Track mixer, and just make sure that's selected. If you still don't see it, just click on the two arrows here and you'll see it there. And then we have a VU meters or our just our audio meters over here on the right-hand side. So we're going to be spending time looking at this as well. When it comes to setting audio levels for your videos. For YouTube, you'll be spending time looking at your audio meters to make sure that you're falling within a certain range. And so I want to play this back and I want to show you what to look out for when you're adjusting your audio levels. So we never ever want our audio levels to peak. So where it goes in the red here and you'll see that in just a second. You never ever want that to happen ever. So you wanna keep your audio levels averaged around minus 12. And the broadcast standard for film and TV is all loudness standards is that they should, they say that you should keep your audio levels to around minus 12. But it should never peak above minus eight. But for YouTube, it doesn't really matter, except you should never ever peak. And so for me personally, I like to keep my averages around minus ten, minus 12, minus seven, and I never want to peek at anything above minus five. So I'll play this back and you'll get to see what I'm talking about. Okay, so already you can see what I'm talking about, where it's peaked out there. You never want that to happen ever. So if we play it back one more time, so it's quite loud. And so we need to bring this back and I'll show you how to do that in just a second. So 11 thing that I really like to do with my audio, with my dialogue for my videos, is I like to add something called a multiband compressor. Now as a beginner, just starting out, it's very complex to understand how the, how that works. But essentially with a multiband compressor, the loud parts of the audio track will be brought down, and the quiet parts of the audio track will be brought up. So if I play this piece here. Okay, so that's my girlfriend there. Which might be a little bit hard to hear versus me shouting in the audio. So with a multiband compressor, it will help to bring up her soft voice and will help bring me down. So all the loud parts will get brought down and all of the soft parts of the audio will get pulled up. All you need to do to add the multiband compressor them to this particular track, audio track layer one is you go over to the audio track mixer and it's very hard to see. But if you see this little arrow here, you click on that. And then it opens up this little panel here. And for this first area of the panels, the area for audio track layer one, you click on this arrow here to get onto amplitude and compression. And then you go to down to multiband compressor. Click on that. And then all you need to do is double-click on it. It opens up this very complex-looking penalty. But all you need to do is hit the drop-down here. Click on broadcast. Might take a second or two. There we go. And then only need to worry about adjusting He is the margin. So what we're telling permeate pro, is that we don't want, we don't want take above minus five. Okay, so I set minus five dB here. And then if I play this back, watch what happens over here. So one more time. So you can see that we've now essentially limited so that when we're not kinda pick above minus five, that's perfect. We've set that perfectly. So I'll just close that out. And then at the same time, while I've picked out and I've stopped my audio from peaking above MOND is five. I've also brought up the quiet parts of this audio track as well. So now my girlfriend's much easier to heat up. So now if I play this back, so I'm very happy with that. The loud parts of the audio has been brought down and everything's made so it will not pick above minus five. And also the soft parts of the audio will be brought up. So if you have a lot of audio clips where you have people speaking that are very hard to here. And then you've got some people that are quite loud and then he clicks and banging noises and things like that. All of that means that your audio levels are going to be out of whack. And so this is the perfect way to bring everything together and to ensure that you are not going to blow at anyone's speakers that are watching your videos. And then all you really need to do moving forward is you can click over here on the timeline. On the clip here, you'll see this rubber band lines. You can just click and drag that down. And that will reduce the decibels. And if you play that back down to around minus six, now, if you click and drag that down a little bit more. So, so far that's looking really good. Now as I play this back, I'm spending 90% of my time watching. My mate is over here. So now averaging around minus nine. And we've picked out at around minus, around minus six, minus seven. Perfect. So I'm very, very happy with that. So that's how I set my audio levels for my audio clips in my project. So that's the basic and the most easiest way of doing it. If you have any questions about that, let me know and I hope this was helpful. Otherwise, I'll see you in the next video. 34. Audio- How to Select the Best Music for Your Videos: How to select the best music for your videos, for your video projects. Now, for me, over the years, I typically go out and film all of my adventures. And then what I typically do is I go through all of my footage and I see what I've captured and I haven't looked at it. I scrub through it and sometimes I go for long walks and I just want to clear my head and I think about my adventures and I think about what I captured. And I think about the emotions that I felt on the day. Was it a dark day, was a gloomy was at Sonny was a tropical weather. Any funny moments with my girlfriends? Were there any romantic moments where they're already intense moments? Was I injured, you know, like did the day play out the way I intended it to play out, you know, whether there are any problems during my travels that I get lost. Did was my flight cancelled or, you know, I think about what footage I filmed and what emotions and moods played out during that day of filming. And based on that, I look for music that compliments that debt matches the mood and the feeling in those, in that footage. So as I scrubbed this footage now, and we've got Kilimanjaro here. And as you can see to raining and it's gloomy. And some very comfortable tracking up Kilimanjaro on a day like this, right? So I wouldn't be looking for music that is happy and tropical, and bouncy and happy go lucky because it just doesn't match what we felt. It doesn't match the look of the footage. It doesn't match the mood. And so the worst thing that you can possibly do is try and force upon your footage a certain type of mood. And so what I mean by that is that I've gone out with the intention of making really awesome travel content, beautiful sunny days with no clouds in the sky. And sometimes it's rained or it's been a miserable day, the weather turned really bad. And so I can't run on with the original plan of using tropical music and upbeat music because it just doesn't work. I have to adapt to the fact that it wasn't what I expected it to be. So I have to find music that matches what actually happened, the reality of what I film that day. So as I said before, the worst thing you can do is try and force music onto your footage and you really have to be adaptive. And as I said. Very briefly, just go through your footage, see what you've captured, and then look for music in, through epidemic sound or through sound stripe or wherever else. For music that kind of complements the mood that you want to recreate in your audience that's going to be watching your videos. So for example, over here we've got some clips here that I filmed near the summit of Kilimanjaro. And as you can see, it's a beautiful shot there. We've got the sunrise there through the clouds near the summit. Took another clip over here. So I remember exactly how I felt when I was near the summit of Kilimanjaro. And I remember how stunning those shots were and that feeling of euphoria, that feeling of accomplishment, of achievement is an emotion that I'll never forget. And so when I scrub this footage, I think about those feelings and I go over to epidemic sound and sound stripe. And I go through music that's relating to those, those feelings. I might go to cinematic. And I played through music that's in this cinematic category to try and replicate that mood that I felt at the time of my hike. So if I play this music back, so that's quite nice. I really like that track just by listening to it for the first ten seconds or so. And so far, I might put that into my playlist over here by clicking over here and adding it to my playlist. And then what I'll do, I'll download it, put it onto my phone, and then I'll go for a long walk and listen to that music and really feel the music and really feel if it's a perfect match for my, for my video or not. So that's generally my thought process there when I come to selecting my music for my videos. Also as well. I listened to music that also inspires me to make certain types of videos. And that does happen too. And I spend a lot of time listening to music when I go on my long walks and when I go on my jogs and are usually download music from epidemic sound and sound stripe. And then I put them into a playlist. I listened to it and there were I listen to the track of my, oh wow. I can make like a really awesome kick boxing video. Like I made a video recently called fitness street motivation 2021. And I might play a little bit of that for you right now. I'm gonna play it for you now, and then we're gonna come back to that. Okay, so that song and that track, that video that I made was inspired from me listening to the song, don't wanna sleep by Swift seven. And this is the track here. And I literally downloaded that song onto my phone. I went for a jog and men, my training session, my job was so awesome that it inspired me that song inspired me to make a really action-packed video clip that involved a lot of action and a lot of fitness and training and kick boxing and that kinda stuff. So the reverse does happen on not always, necessarily have to follow the workflow of shooting videos and then watching the footage and then try to match music to it. Sometimes I turn it around and I listen to tracks that inspire me to make some videos. So I hope that was interesting and helpful for a little bit of an insight into how I select music for my videos, and I'll see you in the next video. 35. Audio- The Best No-Copyright Music Sites: Okay, so the best no copyright music sites that you can access. No copyright music from on your screen right now we have a couple examples. And then after this video, I'm going to give you a whole list of places of different YouTube channels that you can go and download. Like no copyright music from. That does come with some kind of risk, and I'm going to get into that in just a second. So if you're not willing to spend any money on music whatsoever, you can get really high-quality music from a number of different YouTube channels that offer no copyright music as opposed to royalty free music, there is a difference between no copyright versus royalty free music. And this is one example. So right now we have no copyright sounds as a YouTube channel. So you can make a noted this and if not, then there'll be a list that you can access after this video. But essentially, you playback the music that you see in the channel. So if you scroll down here, we've got all the different music that this channel has to offer, no copyright sounds. And you can click and listen to any one of these particular songs. They're not in any particular categorization, but we'll go into this one for example and have a look at it. And so what I have done, and we just skip the ad, they're so typically what I do is I listened to the tracks. Now, I don't get my music from these YouTube channels myself because I already have a membership with epidemic sound and sound stripe. And that's I'm paying $30 a month between those two platforms sided have to. And I'm going to get into the detail of why it's risky getting music from these check these channels. I pay $30 a month, so I don't have to worry about that risk, but I just play through these tracks here. So if you find a track that you like, I typically will go into the description of the video and this is what you need to do. Go into the description of the video and just have a look to see what the copyright terms are. So it says here, when you're using this track, we simply ask that you put this in your description. So these are particularly useful tracks to use in your YouTube videos. So it says here you need to copy and paste this into your YouTube video description, right? So the track name is this. Music is provided by no copyright sounds. And so for you to not get into trouble, you need to copy and paste that into your description. Now let's have another look at, will look at another channel. So no copyright sounds is, has it really good reputation for music that's high quality music. And you can use it in your videos with reference to the original composer or the original author of that music. And other one is vlog, no copyright music. And so again, it's quite a big channel. If you click on a playlist, you'll see that they've got a deceptively are separate playlists for different genres or they got happy music. They've got relaxing music, dance and electronic. So if we click on dance and electronic, well, let the ad play-out. And it's just a matter of time going through each of these music videos and seeing what you like and what's a good fit for your video. And then downloading it from these channels and then giving reference to the author as per the, as per the terms. So I'll show you in just a second. So we've got the buildup there. So I'll let you play around with this in your own time. What's obviously unfortunate about this as you don't have access to a wave form like you do with epidemic sound and sound stripe and many other different paid platforms. So you can't see the waveform. You don't know what's happening in the track without actually clicking and scrubbing it on YouTube. It's not a big drawback, but it's something that I like when I'm using sound strophe and epidemic sound. But that's have a click. See what the terms are. So it says what you're free to use the song in any of your videos, but you must include the following in your video description. It's a copy and paste. So you literally just copy and paste this into your description of your own video if you use the audio track from here. Now, the biggest challenge with using this, this music, And by the way, it's incredible. It's high-quality, It's amazing. And I've listened to a lot of the music from here. And even though it says that it's no copyright. And if you follow the rules and you copy and paste from the description, as it says there, there is a risk that the composer or the person who created that music will, later on down the track decide that they want to make that music copy written. And so they'll upload that into the database on YouTube. And then maybe in six months from now or 12 months from now, that music will be copywritten. So then you could maybe get a copyright strike later on. Maybe not now, but definitely later on you could get a copyright strike by using that music. If the composer or whoever's credited that music changes their mind down the track. So that's the risk here. And what that means for you as a YouTube creator is that you can't monetize that video anymore. And so this was my biggest challenge when I was using SoundCloud years ago to get my music from SoundCloud at the time, they said it was freed, you can use it. You just have to reference us under Creative Commons 3, which I'll explain what creative Commons 3 is in another video. So I would happily download that music and make reference to it in my description. And then 12 months later, eight months later, two years later, I get an email from YouTube saying you're using music that is copywritten, We have to d monetize your video. So I didn't get a copyright strike. But it does mean that my videos do get democratized because the person who made the music changed their mind. So although this is grade at free, it doesn't cost any money. You don't need a membership. Like epidemic sounds or sound stripe, that is the risk that you do need to know about. And so that's why I do fall back on epidemic sound and sound stripe because although you pay money for it, you are also paying for peace of mind. And if you plan on getting into making videos professionally or on a regular basis, then I really do suggest that you invest in the $15 a month for that piece of mind. So I hope that was helpful. After this video, I will give you a list of different channels that you can access. These no copyright music sites. You can have a look through them yourself. You can decide if you want to use them yourself. Otherwise, hope that was helpful and I'll see you in another video. 36. Audio- My Favourite Royalty-Free Music Suppliers for YouTube Videos: Okay, so that music that you just heard now in the introduction was from this website, sound struck.com. So one of my favorite royalty-free music suppliers that I've been using for a couple of years now, not sponsored to make this video is sound stripe. And so I want to spend a couple minutes talking about you sound strive to obtain a lot of my music for my videos, my YouTube videos, my Facebook videos, and even my videos on Amazon Prime use music from sound stripe. And so just a little back story. When I first started my, my editing journey years ago, finding really good, high-quality background music for my videos was a real struggle because I wanted high-quality music, but I didn't want there to be any copyright associated with unsavory music track that you hear on the radio has some kind of copyright associated with it, so you can't use that music in your videos. And so I went to websites like SoundCloud and I started looking for free music through there. And I wasn't very successful with that. So then I started paying for individual tracks through this website here, premium bait.com. Oh boy, I'll never forget paying $50 for each of my tracks from, from premium bait. You know, can you imagine paying 50 bucks to use one track for one video? You know, sometimes those paying a 100 hundred, fifty, two hundred dollars, they've got a licensee option for 200 bucks for one music track. And so I obviously realized that that wasn't sustainable. And so I looked around, did some more research. And it was a few years ago that I came across sound stripe. And so in the last couple of years is a few more that have popped up now, which we'll talk about in another video. But sound stripe was one that I've been been sort of sitting with for the last couple of years. And so I'm gonna spend a few minutes going through literally an incredible website. They've got tens of thousands of music tracks and sound effects, high-quality, and you obtain a license to use the music. But all it's all copyright free. You know, like you can use that high-quality background music in your YouTube videos and, and not have to worry about getting any copyright strikes. And, and literally all I pay every month for this as 15 bucks a month and I get unlimited access. I mean, unlimited downloads, unlimited licenses. It's incredible. It's 15 bucks. I mean, it's a lot better than paying $49 per music track. So even if you make one video a month, you're getting your money back. You are getting your $15 back in one video a month. So anyway, so they've got tens of thousands of high-quality music tracks, over 40 thousand sound effects and things of that nature. And an every week they add new and fresh content to their database. Something on the lines of 200 new tracks every month get added to the sound strive database so you don't have to worry about the music getting stale or boring or, you know, there's always new content, there's always new composers and produces onboarding on this platform. It's really incredible. I mean, after this video, I'll give you a link, click on it, go and check it out if you're interested. But I'm going to show you quickly how I use the platform and just quickly how it works. And then if you want, you can give it a shot yourself. But essentially, they've got music for every genre and mood you can think of. So typically, when I watch all of my footage in my videos, I kind of think about the mood and feeling that I want to recreate in the person watching my videos. So if I've done a drone video than it might be that I'm looking for something cinematic. And so here in this section they've got staff picks. And they've got a section for cinematic staff picks. I click on that. And so this is how they lay out their music. And so what I usually do, they've got the wave forms for the music tracks here. And so typically, I mean, this is so good because you get to see what the music by looking at these wave forms after a while. And I've looked at thousands of these wave forms over the years. I can literally tell within 2.5th whether it's the kind of music track that I would want to use just by looking at the peaks of the waveform here. So if I look at this track here, I can see it's quite common. There's not many peaks in here and it's quite a, probably quite a slow tracking of a play that back. There's like a little play here. So already it's slow, it's quite sad. Melancholy, very relaxing. And you can click through this waveform here. And, you know, if I've got a drone clip that I want to add some background music to, then I wouldn't use this track. So you can see here on the right they've categorized this track is being sad, calm, and reflective. And so if you have a look closely, they've got tracks here that have building, like you can see in the waveform here. If you scroll through, you can actually see if you're looking for a track that is a building track that building to a climax. Then you'll see that in the waveform. And then over here you've got the categories, quirky, fun, happy. And then he, if you're looking for tracks that have vocals in them, you'll see a little sign, a little icon there. But essentially all you do is you click on license and I'll show you what will I do is I just put in my project titles so I'm drone, flight over water or something. I just give it I just put in for example, anything I'll just put in other for now. And then it's like no. And then click on Generate license. Every time you are creating a new video, you'll download the same song if you want to use the same song in a different video and regenerate a new license. Obviously doesn't cost any more money. You still pay 15 bucks a month. And it just means that the, the creator of that music gets paid money, right? They get paid for their work. And then what we have here is we have the option to download only the instrumental part of the song. Or we can download the vocals, or we can download the entire song, the primary version of the song. And always download you music as a wave or a wave file as opposed to an mp3. And then you can download your copyright and your license stuff all over here. If you click on that, you'll get to download your license there. And if you open that up, that you license agreement in there, and essentially that track has been licensed to you under your name for that particular title, for that particular project. And you won't get any copyright issues associated with using that track. Okay, so let's continue along. I'll just show you real quick in songs here. And over here they've got a filter search. And this is really amazing because if you're looking for a certain kind of track, for a certain mood or certainly genre, then you can use the filters over here on the left. By clicking on mood. You can select all of the filters here, and that's going to narrow down the search results over here. So if for example, I'm looking for over here, my mood that I want to recreate in my audience through my video is inspiring. And then if I go down to characteristic, if I want it to be an epic, inspiring track. So you can see that I'm narrowing down my search results. If we've got a genre and I want to, OK, I want cinematic. So I want music that is epically inspiring, that is cinematic. I'm now left with these as my search results. And so as I said before, I've got my artist here. So caleb, he's a great guy. I reached out to him a few times on Instagram. We keep an irregular contact. He's an incredible composer. If you only want to find music from Caleb, you just click on his name and all of his tracks come up under his name. Caleb is a guy who does a lot of atmospheric inspiring tracks. And you can see with the waveform, you can see the build-up, right? So if I play this back and just click on the waveform. So you can see in the waveform there that you've got that build up in a, hits a climatic or a climatic moment there and then it drops off significantly toward the out, toward the end. And so, and then from there I just click on. If I click on this, I can add it to a playlist if I want. If I want to create my own personal playlist, again, I'll just click on license and I follow the process that I showed you before. And then lastly, I want to show their sound effects library. Now, as I mentioned, I, I don't have the access to the sound effects because I get my sound effects from epidemic sound. I have a membership with those guys as well. So I'm not going to pay for to lots of memberships for sound effects. So, but if you do get the full kit and caboodle, the full suite of options whose sound stripe you'll get access to. Sound effects and this sound effects for everything really. I mean explosions as place on that. Then we get sound effects for explosions. We've got sound effects for. So that pretty much wraps up sound striped. Now, a few people have asked me over the years what happens if I cancel my membership would sound striped. Do does that mean that I still own the licenses? Can I still use the music? The answer is yes, you can. It does mean that you can still monetize those tracks on YouTube even after you cancel your membership. There's no problems with that whatsoever. So I highly recommend using sound struggle is trying them out. 15 bucks a month is really nothing. Considering your peace of mind and never have to worry about getting flagged copyright strikes with your music on YouTube or anywhere else. So if you have any questions, let me know. And in the next video, I'm gonna talk about my second favorite platform for music, which is epidemic sound. 37. Audio- How to Use Epidemic Sound to Get Awesome Music for Videos: I'll play home. Stone. Pe. Pe knows the byebye. And again MY waist. So now for my second favorite platform for my background music, epidemic sound. As you see on your screen right now, the music and the beginning of this video came from this website. And I've been a member with these guys for about six or eight months now. And I absolutely loved this platform. So I have two memberships. I've gotta membership with sound stripe and a membership with epidemic sound. I pay $15 a month for unlimited access to the music from epidemic sound and also unlimited access to their sound effect library. So I want to spend some time going through how I use epidemic sound and some of the features that I love about this website that if you decide to become a member yourself and by the way, I'm not sponsored to make these videos. I'm just sharing with you the professional tools that I use to get my background music. So feel free to use these platforms if you like. Otherwise you can stick with the completely free options. But as I said before, there is a risk associated with going with sources of music that are completely free. And I'll talk about that in another video and I'll talk about those risks later. You don't have to worry about those risks in using epidemic sound and sound stripe. So this is incredible website. We're talking over 30 thousand professional, high-quality music tracks, over 60 thousand special effects. They got special effects for every single thing you can imagine. Right doors opening and closing, water droplets, lawnmowers starting error planes, taking off the incredible sound effects. And I literally just pay $15 a month to use the platform. So Epidemic sound is used by Peter MacKinnon, blogger LAN parties, and so many more high profile bloggers and creators out there. So if you have any requirements for background music for podcasting, intros, outros, gaming, online educational videos, home workout videos, makeup tutorials. This platform has you covered. Usually what I do is I scroll down and I have a look at the staff picks is the first thing I do. And so the music is laid out very easily. You can see here they've got different genres and different mood, mood. So you can see that, you know, if you're looking for music that's happy and hopeful and bubbly and poppy and dancing and whatever else with some vocals. Then this is a track that you might want to listen to. So I'll play this back. So that's our intro there. They got like a little, we'll turn this down a little bit. So they're going away form here, just like we saw in the previous video, it sounds strike. It just allows you to see the structure of the track before you download it. So this is a pretty cool track you could use in a travel video. You can look at this and go, well, that's the intro and we have the chorus and we have the first verse and the outro And the bridge by literally looking at this wave form. And so what I love about this platform is that over here you've got stems. And if you click on them, it might be that you don't want the vocals, you might just want the instrumental aspect of the track. And you can just click on instruments stem. Or you might just want the base stem or the drums Stem and then leave the rest behind. So if you click on the instrument stem, it'll give you the song without the vocals. So to be honest with you, when I'm making my videos, and I just want really nice background music. And I'm doing the talking and the video. I don't want the vocals in the background because I don't want those vocals and the background to conflict with my dialogue in my videos. So if I really like the instrumental side of the track, then I'll just pull the instruments out of the track and leave the rest behind. And then over here I can just download it. And then right here you've got the option to download all stems or you can just download the instrument component only. It is that easy. And just as a pointer as well. If you decide to use epidemic sound, make sure you download all of the tracks in wave or wave format and not MP3. It just means you're going to get the highest quality download when you using this platform. Alright, what does cancel out of that? Ok, so let's continue the scroll down. So we've got all these different genres here. We've got hip hop, we got Park, we've got rock, and we can, you know, I love hip hop is one of my favorite ones and a lot of my boy tie videos use hip hop tracks. So you've got even little subgenres within genres. So you've got old-school hip hop, you've got alternative hip hop, and you've got trap, and you've got all these different things and it's really, really awesome. What I loved the most was that we've seen staff picks and we've seen our case. We've got different moods. So like sound stripe, we've got different moods if we want to look for tracks that are sad or they have high energy or a quite relaxing or a little bit strange in quirky, then we have moods for those different categories as well. But I wanted to show you something if we go into. To say we go into cinematic now cinematic is one of my favorite categories personally. And we have all of these albums here. And so if we click on, let's go into top tracks for film. Okay, that's scroll down. Okay, so one of my favorite creators is Edgar hop. Now, epic is the genre and the mood is action adventure because I love creating my, my videos are more travel adventure, fitness, adventure related. And if I play this back and I realized that I really loved this track, I'll show you this. So I realized that I really loved that track and I want to see if there are similar tracks to this one from maybe different creators on the platform. I just go over here to similar and click on that and it will give me search results for all of the tracks that is similar to that Edgar hop track. So you can see that I've got Edgar hop. But then I've also got dream cave of also got Bonnie Grace is one of my favorite ones. Bonnie Grace is fantastic. Another adventure action mood that Bonnie creates music for. And then if I want, I can download, I can add these tracks to my playlist of different playlist here from my drone videos, my travel adventure videos. This is so much you can do with this platform is unbelievable. Okay, so we'll go back to the start here and I'll show you a couple of other things and then we'll finish up. So as I said, we got genres and different genres here. We've got, even, if, even if you can't find, if you look at hip-hop, ya know, I want something more specific than hip hop. You can just scroll down and you can see that they've got trap, an old-school and mainstream. And then even within pop, a 20 twenties pop is really, really good if you want to create really cool travel videos that are upbeat and have a lot of energy. 20 twenties pop is really good. And, you know, it's just amazing, S just amazing. And so let's have a look at moods. So we have different moods here, epic. We'll click on epic Actually, if I scroll down before I do that, we've got all of the different moods here that we can find tracks within. But if we click on epic, I want to show something that I like to use as well. Over here says sought by race. And if I click on that, I've got sort by length and sort by Tempo. When I click on sort by recent, it by default that's selected, I'm only going to see music at the very top that is the most recent tracks added to the platform. So if I want the freshest of the freshest of the freshest content, then I'm going to see it at the very top. And so that's something that I like to do. I want to listen to the latest tracks added to the database. And then if I click on this and sort by length, if I click on that, it's going to show me tracks that the longest on the platform. So over here we've got this track here which is seven minutes, 43 seconds long. So if I want a really long background track, then if my video is like ten minutes long than I would want to use a track that is as long as possible. So this is how you would find those really long tracks for your long videos. And so if we just jump over into sound effects, again, if you're looking for any kind of sound effect, they've gotcha covered over 60 thousand sound effects in here. I'll let you play around with this. They've got a similar system here with categorization. So if you want ambient sound effects or specific sound effects relating to nature or sport, or water, or wishes. You know, if you want a really nice wish that goes with your, your, your projects, then it's all in here and I'll let you play around with this in your own time. So again, a really awesome platform. I highly recommend that you check this place out literally $15 a month. It is absolutely worth the money. And some people ask what happens if I decide to cancel my membership after three months. Does that mean that I can no longer monetize my videos anymore? No. The truth is if you if you've you've uploaded your videos with music from epidemic sound during the period of your license, and then you decide to cancel your license. All of the music that you've used in your videos that you've already published. You can continue to monetize those videos. You don't have to worry about getting copyright strikes on old content that you released during your membership with epidemic sound. So no need to worry about that. I hope that was helpful. And if you have any questions, let me know and I'll see you in the next video. 38. Colour- Setting up the Colour Correction Workspace: Okay, so for this section of the course, we're going to get into color correction and color grading. But before we do, I like to just set up the workspace so that we're looking at the same screen. And you can follow along with me throughout this section. So we're going to change our workspace so that we're going to be working in the color workspace. If you click up, up here at the top here, it says color. Premiere Pro will rearrange our workspaces for us in the most optimized way so we can start color correcting and color grading of footage. So if you don't see on the left key, if you don't see luminary scopes over here on the left, or limited color panel here on the right. They just go to Window and then go down to where it says limited color and click on that. And then Lou mitre scopes click on that and just make sure that they're enabled. And if you don't see the symmetry scopes here on the left, click on the two arrows and just find that here in the menu. And this is pretty much the most optimized Workspace Layout for doing your color adjustments and color editing for your videos. So essentially, over on the right-hand side, we have volumetric colour panel where we make our basic adjustments in our color, color grading here. And the creative, which we'll talk about in the following videos. And then while we're making the adjustment over here, we're also looking at our scopes on the left-hand side here. And this won't make much sense at all. It probably looks like a completely different language, but we'll talk more about these scopes as we move through this section of the course at a very basic level because this is a beginner's course. And then while I'm scrubbing my footage here with my play head, I am also looking at my program on it's a box to see what my output looks like after making my adjustments over here in this panel, looking at my scopes and then checking my footage out through scrubbing my time, my my playhead, and then also looking at my scopes to see how they change. When I scrub this back and forth, my eyes look from the right to the left and the back to the middle. So that's how I like to get started. Now, also what I like to do, and this is a personal preference. I like to close all my curtains and make sure there's no light pollution, no sun rays or light beaming through my windows onto my laptop. That's really going to impact the way I make adjustments to color. And this is an interesting research point when light is coming in from the outside, your perception of color changes. And so your eyes adapt based on the amount of environmental light coming through, which affects how you edit your color and perceive color when you're going through this process of video editing. So that's why it's always suggested that you close all the curtains. You make sure there's no environmental light that's going to distract your eyes from perceiving actual colors through Premiere Pro or through your editing software. So I do most of my editing at night. I do have made most of my videos at night in general. But if you don't have that choice, then close your curtains and make sure you shut off any light from the outside. And that's pretty much how I get started before I get into the basic correction of my, of my color. So in the next video, we're gonna talk about how to do basic color correction. 39. Colour- The Basics of Colour Correction (Using Lumetri Scopes): So we're going to be looking at the basics of color correction in Premier Pro using the Illumina tricolor panel. And we're going to be taking one of the drone clips that I shot here. That's quite flat. And I'm going to show you how to do some basic color correction on it to make it look more like that. And so we'll jump straight into it. If you want, you can access the exercise files in the course and follow along with me. But we're pretty much going to work together on this one. So I'm going to just delete that Adjustment layer and we're going to start over. So now we have some drone footage on the timeline, and hopefully you've got everything ready to go in terms of limiting the colour panel over on the right. And we have elementary scopes on the left. And if you don't see neither of those go to color at the top. And then all go to window and make sure the mitre color elementary scopes is turned on. So you might be thinking, what is the purpose of color correcting our footage in the first place? The reason is that you want your clips to look as natural as possible. So you might have accidentally overexposed your footage in camera when you filmed it. And you might have set the exposure incorrectly and you'd want to blow it out your footage, which I've done this. And so with color correction, we want to try and restore our exposure and restore our highlights. And Watson are blacks and so forth, to how they actually are in real life, how we remember them when we filmed that footage. So that's what color correction is all about. It's really just making technical adjustments to our footage and very, very basic creative adjustments to restore our footage to how they appear in real life, and that's it. And then we have the next part of our workflow for color, which is our color grading, which comes after color correction. So I'll just quickly go through this before we jump into color, basic correction. So over on the right-hand side of the metric color, we've got here basic correction, creative curves and so on and so forth. We have different sections that we can work within, limited color. Now, as part of proper workflow, you should always do your correction first. You should always do basic correction first, which is what we're going to be talking about in this video. After you've done basic correction, then you will do what they call color grading. Which is way you, uh, changing the footage for a certain mood or a certain feeling or certain emotion, which we'll talk about in the next video on how to do that, to how, how to communicate emotion through film, through videos, by changing the color grading of your footage. So that comes after. But we're gonna stick with color correction or basic correction first. So we'll have a quick look at the layout here. If he dropped down basic correction, we have a number of sections here. We have input LUT, we have white balance, we have tone. And then down here we have saturation. Now just real quick, we can adjust the sliders for tone, for exposure, contrast highlights, shadows. So as you can see, it's very easy to adjust these sliders left and right. And the values here, we can also click and make those adjustments in their manually if you wish. If you hit reset down here, it resets all of those values back to the center line, back to neutral. Or you can just double-click here and it will reset those values back to 0. So this is just a real quick overview of how to navigate these settings. At the same time when you're making adjustments over in basic correction, Premiere Pro automatically adds the adjustments as an effect inside affect control. So for click on effect controls, scroll down. Remember we've got this clip selected here on the timeline. This is the clip that we're making the adjustments to permit automatically drops in LA, metric color as an effect inside effect controls. If I hit the arrow here versus basic correction, and I scroll down, I have the same settings over here on the left as I do over here on the right. So watch this if I make adjustments to exposure, contrast, highlights, shadows, and so on and so forth. These values here get transferred over here inside the effect on as Lou metric color. So just keep that in mind. If you want, you can come over to click on the clip, go to Effect Controls, and then you can hit the effects here to turn limited color on and off. Or you can just click on it and deleted. And that will remove that as an effect. So I just wanted to point that out before we get into actually correcting our footage. Okay, so let's start the process of correcting our footage. So we'll go back to laboratory scopes. I know this will look very confusing, but I'll explain these as we go through the process. So over here we have basic correction and we have input LUT or look-up table. If you click on that, honestly, for most people watching this, you won't be using this. This is really a technical lot that you'll input here. If your footage was shot in log format. And you want to add an input LUT for that particular camera that you use to shoot in log formats. So for most people watching and listening, you're not going to be entering input lots. You can just skip over that, okay, so the first thing I like to do is adjust my white balance. And so I like to usually use this tool here, which is the eye dropper tool. And this is where I tell Premiere Pro to use a reference point in my shot to correctly adjust the white balance. So if you don't have anything in the shot which is white, then you'll have to adjust these two sliders have temperature and tint manually, which I'll show you in just a second. Otherwise, if you do have something in the shot which is white, then Premiere Pro will automatically adjust your white balance using the temperature and tint sliders. So I'm going to pretend that the little bit of beach over here is actually white. It wasn't in rural life, but we'll just pretend and I'll show you what happens. So I've clicked on that. Premiere Pro thinks that the rest of the shop needs to be a little bit cooler. Over here. As you can see, these two slots have adjusted based on using that point as a reference for white. So I know that's not correct and I need to actually adjust these manually because that's how it actually was. So this is where your own memory comes into it. If you don't have a reference for white using this little picker tool, then you can just adjust these sliders manually as I'm doing here. Now, if you look over here to the scopes, we have three scopes. We've got this one here is the RGB parade. If you don't see it, it right-click on it and you can turn these scopes on an off one-by-one. So RGB parade is turned on. And that's this guy right here. Now this is an entirely different video conversation because this is quite, gets quite complex. But we're gonna keep it as simple as possible. What I'm adjusting my temperature, my tent over here on the right-hand side. I'm also looking at my parade, which essentially is my, my image is broken down into three color channels. We have red, green, and blue. And so these, it's called a parade and they're stacked up against each other. And essentially what it's telling me where my play head is. It's telling me how much red, how much green and how much blue there is for this particular part of my clip. If I scrub this around, you can see that RGB parade moves, right to reflect how much red, how much green, how much blue there is. Now, some people suggest that when you're adjusting your, your temperature and tint over here, you should try and get the parade lined up as close as possible. But it is not something I'd really necessarily agree with because it really depends on the shot. If I take you to another clip over here, shot this underwater clip in Indonesia as well as a lot of grain and there's a lot of blue in this shot and not much red. And so if I look at my RGB parade, you can see where the red spin crushed will lie to the floor. It's much lower than the grain and then the blue. Now of course I need to put more read into this clip. And I'm going to save that conversation for another video because as a separate process for using curves down here to inject more, read, more grain will blue. Again, it's a topic for another video. But I'm not going to adjust these three colors so that they're exactly equal because the shot is meant to be, by nature, more green than red. So that's why I only use these parade as a guide. Only. I don't use them as gospel. I don't use them as my Definitive Guide for adjusting my temperature, my tent. Just use them as a guide only. Okay, so we'll move on to tone. And so what I like to do is adjust my tone. And I use this scope down here to adjust my tone. So if you don't see, right-click on it and we're looking for wave form luma. So this is our wave form scope. And you're selected there waveform and you won't see it as luma. If you go to waveform type and select a luma, you'll see what I'm saying. So by default, I think it's from memory set to RGB. I haven't used RGB, RGB away form for a while. So if you're seeing this, then right-click go to waveform type and select luma. And so what I'm adjusting my tone and pretty much these are self-explanatory, right? Blacks, white shadows, highlights, contrast exposure. Very, very generic settings that you'll find in most other applications like Lightroom and snap seed if you edit photos for Instagram. So essentially what I'm doing is I adjust these sliders and then I use this waveform to ensure that I'm not going to be blowing out my, my whites or I'm not going to be crushing my blacks. So I'm going to explain this waveform very briefly right over here. I'm gonna make this screen a little bit bigger and I'm going to explain it to you. So essentially we have our wave form here, right? And our image is essentially represented inside this waveform from left to right. So from the far left to the far right, we have our x-axis and our image is also represented left to right. If you can imagine this waveform transposed over the top of your, your video, then you're basically seeing a representation of your, your whites, your highlights, your shadows, you're blacks and so forth in your image by looking at this particular wave form. And then we have our little scale here on our, so we have our x and y axis here. And so on. This scale from 0 to one hundred, one hundred represents pure white and 0 represents pure black and everything in between. So essentially if you think of a like this, we have 0 to 20, which is essentially our Blacks. And then from 20 to 40 we have our shadows. And then between 40 to 60 we have exposure. And then 60 to 80 we have our highlights. And then up here, between 80 to a 100, we have our whites. And so what we're doing as we scrub our playhead here, we are using each of these sliders to ensure that we are not going to blow out our image. So the first thing I do is I just my blacks and whites. So if I just hit that slider there and bring it to the left, watch, what happens to our Blacks now remember, are black, so between 020, so the bottom part of the scale here. And essentially, whereas I used this scale, it's grabbing those pixels and pulling them down. So what's thing get pulled down to the floor. Pull down closer to 0. As you can see that I'll just be extreme with that. So as you can see this sudden a crush again 0, he never wanted to crush you blacks. That just means that if you crush your Blacks, it means that you're losing detail in your black so you don't want to lose details. So we're just going to bring them back a little bit. We wanna pull those pixels down so that they really close to 0, but they're not going to be crushing again 0. And then we move over to our whites. Now are whites, remember, sit over between 80 to a 100. And by using this scale here, we're pulling out pixels in this area, 80 to a 100, and it's pulling them up closer to a 100. But we don't want to crush our whites. We don't know, crushing against 100, right? So that's bad news that we bring that back. And remember as I'm making those adjustments and also scrubbing my footage because I don't want any part of this clip to be crushed against 100 or 0. And then make adjustments to my whites and blacks accordingly. So I don't crush on either end of the, what they call the IRE scale. So the IRE scale is the Institute of Radio engineers. So it's a technical scale which we'll talk about in another video. So that's essentially how I set my black semi whites. And then we've got our shadows and highlights. And I'm just doing this visually now, looking at my, my waveform over here, adjusting my shadows and highlights as such. And then I look at my contrast. Images, bump up my contrast a little bit there. And as you can see is a bump up my Contrast. You'll see this separation here in the waveform. And again, at no point do I want anything to crush. So just quickly scrub this footage and then my exposure. I rarely change my exposure. Watch what happens if I just change it by 0.9? Watch, watch the y's get crushed, right, terrible. So I don't want that at all, so I'll just bring that back to 0. And this will collapse back down again. So, so far I'm pretty happy with them. I just bring my contrast back a little bit. And then the last thing I just is my saturation. Now my saturation, I use this scope over here. If I right click on that, you'll see it. It's the vector scope, YUV. And so I'll explain the details of this scope in another video, but essentially represents our colour wheel. And we have this little white mass here. And this is what I use to determine if I've correctly set my saturation or not. And this is what they call a trace or this little white mass. When you D saturate your footage, that white mass will collapse right into the center is a little white dot. The more you saturate the footage, the more this will bloom out. And bloom out toward a particular color. That probably doesn't make a lot of sense, but let me just show you. So I'm going to hypothetically oversaturated this clip, watch what happens. That blooms all the way out. It's clearly oversaturated over here. And you can see that over here in the scope. Now, I'll explain the detail of the scope in another video. But essentially we have some lines here. So these are what are called broadcast safe saturation lines. So whenever the blue crosses over the line, then we are not technically broadcasts safe. And when the bloom hits these points here were technically at 100% saturation. So you'd never ever want to cross this line. It's just a safety line. But I've found in my own experience that even if a blooms, even if the trace blooms inside the line, your footage can still be quite saturated in probably two to saturated. So I just use the scope as a guide as well. And so I look at my footage and are just set my saturation here and just bring that to say 130. Watch what happens over here. Right? So as I bring this back, to be honest with you, I'm still happy with this, even though it's crossed over the line a little tiny bit, I'm going to let that go. But this is pretty much how I forties looks so far. Now. I need to make some final adjustments to it. So probably just going to fix up a few things here just to make it a little bit better, might just bring that exposure back a little bit more about the contrast up a little bit, maybe just bump up the saturation. Ok, so I'm pretty happy with that to be honest with you. Now to see the change before, after, you can just click on this tick box here. So that was before, and that's after. So I'm pretty happy with this color correction. It's very rough. I've spent maybe three minutes doing it while recording this, but this is basically how you do color correction. And as you turn this on and off, you can see the parade changing. You can see the waveform change as well. So that's basically how you do color correction. In the next video, we're going to be looking at how to colored grade this footage to give it a nice cinematic look. 40. Colour- Colour Grading Fundamentals (Get the Film Look!): So after color correcting your footage, it's time to do some color grading. So in this video, we're going to look at some color grading fundamentals to get that nice film look for your videos. And so it's always important to do color correction first before you do color grading. And this is where we get creative with the process and we add a certain mood or feeling or emotion to your videos. And so if you just think of your favorite videos, like for me, the matrix was one of my favorite videos growing up as a kid. It was a very distinct green overtone and video. And as you can see right now, you can see the before and after of the color grading of that movie. And you can see how it was shot in camera versus the color grading green applied to the entire film to give the film the look of the video it was. So this is color grading. This is how we instill a certain mood or a certain feeling. And I'm going to show you very basically how to do it in Premier Pro using what they call lookup tables or lots, which I'll explain in just a second. I'm also going to supply some free lookup tables, some free cinematic lots that you can use in your own videos that you can play around with courtesy of filter grade. I also have paid for some of my own color grading lookup tables. Then I'll show you the ones that I use. And if you want, you can purchase those at a later time. It's up to you, but always play with the free ones first and then go from there. So we've done our color correction. As I said, it's the first thing we need to do before we grade our footage. Over here on the right-hand side, we've got our Lou Mettrie colour panel and we have basic correction at the top here. And if you look at this luminary colored panel from top to bottom, we have the, essentially we have the creative workflow from top to bottom. So color correction always comes first, then the Creative tab comes second. This is where we do our color grading. Click on this and expanded out. Now we have here, if we have a dropdown menu here where it says look, this is where we can select Lookup table or a lot. Now what that really means, a lot is just a predefined set of color values. Just like I think of like an Instagram filter, right? So you post photos on Instagram and you apply your filters to the photos before you post. This is essentially the video equivalent of using filters. And so if you're out in the tropics, you know, shooting some photos and you want to make those photos more tropical looking and more saturated, then you can add filters based on that kind of photography with videos. If you're shooting videos in the tropical parts of the world like Indonesia and the Philippines, like I've done in the past. That I want to select lookup tables or filters that are further going to bring out that feeling of being in a tropical environment. So this is where I select those lots. Now Premiere Pro does come with standard Lutz or standard lookup tables as part of the software. And you can select those here. So for example, I think it's a monochrome. You know, you can go through this whole list in your own time. And also there's a preview screen here. You can just click on these arrows and it will take you through the menu. And you can see how your clip looks when you apply certain lots. So I will, okay, so what I'm gonna do, I'm gonna select some of the ones that I've supplied in this course for free by filter grade, courtesy of filter grade. They, these are the filter grade ones which you can download in the course. There's eight of them. And I'll select, for example, basic. And you'll get to see what that lookup table looks like on your footage. And if you want to turn off the lookup table or the you can just hit the tick box here to turn it off and you can see what the forties looks like before the change, just like that. Okay. The next one on the list here is we have cold. So that's what called looks like. This is what teal and orange looks like. So till then orange, I'm also going to supply another LUT, two called the M31 lot. It's a very popular LUT used by travel videographers, troubled bloggers. And I've also used the M31 lots, a lot as well health in the past to my old videos. Essentially it's what they call the orange and teal look. So it makes your footage more orange untill looking. And so you can see the adjustments there as I make those changes to the lot there. And also as well sometimes when you apply a lot, it's quite intense. And a little bit overcooked, a little bit overdone. And you can bring down the intensity of that light by hitting the slider here. Under the intensity section, he can just drop that back to imply, you know, 40% intensity or 50% intensity. There's other, other adjustments here under grading, faded film. So if you want to more of a faded film look, you want to sharpen your footage vibrance, saturation. There's other extra adjustments that you can make here. To be honest with you, I never touch these 34 sliders. I never touched them at all. I usually just usually just apply my lookup table after I've done my color correction and then I adjust the intensity slider depending on whether I feel like it's more intense or not. So there's some lots that you can buy, and I'll show the ones that I've purchased from Osiris. So these are vision colors. Oh, Cyrus lots. Now you don't have to buy. These is just, I'm just planting a seed. If you want to take your color grading to the next level. I paid 39 Euros back in the day, a couple of years ago actually. And they give you a series of lots that are professionally produced and they're suited for what they call rec 709 and log footage. I'll explain what that means in another video. It's not at a beginner level by any means, but they're really amazing. Lots, and I'll show you how some of those work. So one of my, some of my favorite lights that I work with is vision X, version six and vision for. And these are from Osiris. So I'll give you the link actually, if you're interested, you can check it out. Vision dash colored.com, and some of their lights here in the dropdown, vision x looks like this. And we have Vision six. You know, it could just make your footage that extra, extra, more appealing. Okay, so that's pretty much it. That's pretty much all there is to basic color grading and how to get that film look. Again, our supply, the lots to download and you can play around with the free lunch by filter grade. And otherwise, if you have any questions, let me know and I'll see you in the next video. 41. Colour- How to Install Film Look Up Tables (LUTS): Okay, so I'm going to show you very quickly how to install these lookup tables, all these lots into Premiere Pro. There's two ways of doing it. And I'll show you specifically how to do it for Windows, because I'm running this on Windows. It's probably very similar to Mac, but I'm not a 100% certain, but you can do a Google search. Otherwise, I'm sure it's almost the same, but I'll show you how to do it on Windows specifically. So I'll show the first way. Now we're inside Premiere Pro now, And we're inside the creative tab. So this is where we do all about color grading. And we have the little drop down here next to look where it says none, cuz we haven't selected a colour grade. And here it says browse. So if we click on browse, we tell Premiere Pro where to download or install this lookup table from. Now, as I said before, I've included some free lookup tables for you to download as part of this course. Now, I should point out that these lookup tables are what they call cube files. And so you'll see for under File Type here it says cube. So these are the lookup tables. So the name of the lookup table dot cube. So you just select the one that you want to install and you just install it as such. And that will immediately apply to your clip. And so we hit the drop-down here. You can see that that's the one that we've just selected here and it's applied that to our clip. Now, that's, in my opinion, a very inefficient way of installing these lookup tables. If you have more than one lookup table. So if you've purchased a pack or if you're using the free ones in this course, I think there's like eight of them. It's not very practical to install them one-by-one. It's much easier if you just copy them all at once into the Premiere Pro folder and then restart Premier Pro, and then you'll have them all here in your list permanently. So the second way that, the way that I prefer to install these lights is I go into the folder path and all include this after this video. For Windows, it's going to be inside program files, adobe slash, Adobe Premiere Pro, and then slash luma tree. And then inside Lutz. Now it looks probably a little bit confusing, but you'll see the folder here. This is inside Premiere Pro elementary. Double-click on this. You'll see a folder called Lett's right here. Double-click on that. And then you'll see three folders, creative, legacy and technical. I usually just throw all of my life's inside the creative folder. And then all of these lots are the ones that I currently use here. So you'll see vision x Vision six Vision for the log 32 in the rec 709 equivalent of the same LUT, depending on the type of footage that I'm using from using log footage, I use the log lot. If I'm using rec seven hundred nine forty Joe used the rec 709 LUT and so on and so forth. And if I go back into Premiere Pro, you'll see those same Lux listed here, right? Visionary, vision six and so on. So I literally just copy and paste all of the lots into this folder here. And then I need to close Premier Pro and reopen it to be able to see the changes here in the list. So that's, there are two ways to install lots and that's how you do it. And after this video, I will have a little article which we'll show you how to do it as well to make it easier. 42. Project #1- Your First Travel Montage Video: So in this section of the course, we're gonna be working on our travel montage, our two-minute vacation video. And by the end of this section, you're going to be making a video that looks like this. Or you guys are the sonnet. Here are the top. The encourager Christmas Day. It is seven thirty nine. Twenty fifth December 2017. Everybody islands. A rather tough shape. And again and again. 43. Project #1- Organising, Selecting, & Trimming Footage: Okay, so you might be thinking that that video looks really, really complicated to recreate. But in this section of the course, I'm going to break down the workflow of how I produce that simple little two minute vacation video. And so we're going to start with how I organize, select, and trim down my footage as the very first part of my workflows. So if you haven't already, you can download the exercise files for this project. And that way you will have access to all of these clips that you saw in the video. And you'll be able to stop the video and work along with me. Or you can just use your own footage. That's completely okay as well. So the first thing is about organizing all of your footage. So if you've done the videos in the beginning of the course where I talk about organising and sorting your footage into folders. Then I'm going to move through this quickly. I'm assuming that you've already, already familiar with this, but real quick, if I double-click here to see where all my footage is, I've got my my travel footage folder. I've got drone GoPro images, Samsung phone. So I organize all my footage and folders and all my sound effects here, and background music here, right? And so if you wanna follow along with me, there's already a Premier Pro project file called the two-minute vacation. And you can just open that up and you can follow along with me. So essentially that's how I organize my Ford h in case you didn't see the video at the very beginning of the course. And then I import all of that. And I import everything into Premiere Pro down here, which importers bins. And I'm ready to start my sequence. So before we start a brand new sequence and begin the process of recreating this video. I'm actually going to include the master sequence as a bit of a reference points. So you will get access to this sequence. Be able to look at this sequence is a bit of a reference point of how I've put everything together. And so you'll see here that I've got my little black crop bars top and bottom, my texts and I've got some grading there. So you'll get to look at this every now and again, there's a bit of a reference while you're working on your own project and following through the workflow here, right? So this is what we are going to be recreating a sequence very similar to this. Okay, so and it's called two-minute vacation and master. That's the sequence you'll be able to access in the course in the exercise files. So the first thing is about creating a brand new sequence. And so I'm going to create a sequence from one of my clips from my GoPro. And the reason being is because most of my clips in this little short video was shot on my GoPro. So I'm gonna right-click on one of them and then go here towards this new sequence from clip. And a new sequence has been created. I'm going to delete that little clip there. I'm also gonna move a little bit quickly through this section because I'm assuming that you have also watched the other sections of the course where I talk about the details of how to colour grade and correct and text, and graphics, and background music and sound effects. So I'm gonna move pretty quickly. So I'm gonna give this sequence a name. I'm just gonna call it two minute vacation. So we have an empty sequence right next to two minute vacation master. You can click between these two sequences here. If you want, you can reference the master one and go back to your empty sequence. It's up to you. So the first thing I do before I even dropping Eclipse into my timeline is I have a look at all the clips that I've shot for my vacation. And I have a look to see what kind of what kind of footage have I collected and what kind of story do I want to tell? So in this case here I've got all these clips that I shot in Indonesia. And I was with my girlfriend at the time in Indonesia. And we just went around and we travel to Indonesia and we've got some really amazing clips of us going through the mangroves and spear phishing and meeting these cooled or kids and a free diving and it goes on and on and on. So I'll look at all that footage and I look at my Kilimanjaro footage of us climbing Mount Kilimanjaro. And what I would look at all this footage, I'm asking myself, what story do I want to tell? And this should be number one, in your mind. What is it that you're trying to tell through your videos? Are you trying to promote the location you are at? Or are you trying to, you're trying to recreate the emotion that you've felt. And so based on the forties that I have, I've got Kilimanjaro footage and I've got Indonesia footage. And I've got a two minute time frame in my mind, it's called the two-minute vacation. And so I want to communicate to destinations that we've traveled to in two minutes. And so I, in my head, I think about storytelling Kilimanjaro. And then the second half of the two minutes, I'm going to story tell Indonesia. So that's the rough idea in my mind that I have of my story. And then it's just a matter of going through my footage and seeing what I have. And you can do a number of different things. Some editors select all their footage, like control a or Command a on the keyboard and drag all of that over to their timeline. And then with all their 40 john, their timeline that we'll go through and cut away and remove what they don't want. Trim down clips, delete certain clips. This is one way, and I've edited this way before. There's nothing wrong with doing this just by taking all of the eclipse and just dumping them on the timeline and the sifting through them this way. Or you can. And the way I do it also is I double-click on each clip, bring it up in the source monitor box, scrub it in here, and then just mark in and out points and then just drop it straight onto my timeline. And I'm just gonna keep existing settings. So you can do this in. Out. And then just as I've taught you in earlier videos, just dropping a stride onto the timeline and just going through and doing that for h of u clips. So I'll let you decide what you wanna do. And also what you can do is down the bottom here, if you click on free form view and open up your project panel in honor biggest screen. You'll see that you've got all of the eclipse that you can sort of arrange and describe this in more detail in the beginning of the course where you can arrange all of your clips according to a certain fame. So I've already done that here. You can actually click and move these clips around if you want to group them together. So for example, these clips here represent my girlfriend and I at mica Toby with these little kids. And so I want to keep all these clips together as one fame, right? So these are all part of the same theme. And then all of the scuba diving Talk videos, underwater videos over here. So underwater, underwater, underwater. So OMA, underwater clips here. All of my spear phishing videos and clips are over here. So I can look at this visually and see what's going on with my story at a very basic level. So this is a really cool way of creating a bit of a storyboard for the video at hand. And if you don't want to do it that way, that's fine. You can just click down here where it says icon view and that will just take everything back to how it was. So what I'm gonna do, I'm just going to delete everything on my timeline. And I'm just going to go through my footage and see what I like to get some pauses here. And I'm just going to drop them all onto my timeline like this. And this additional footage here that you can download and you can play with. And and now I'll take an usually I spend maybe 40 minutes to an hour doing this, just selecting my footage and no color grading, no background music. Just going through looking at my rule for H and a 4D mocked in an app points here, just dropping them on my timeline. Because the first thing I want to tell them my story is Kilimanjaro. That's going to be the very beginning of my story. And if I zoom into my timeline here, we've pretty much got some rural clips on our timeline. And if I go to my phone, because by the way, some of these clips were filmed on my phone as well. So I've got here are talking to camera so that they are probably at the very beginning. That's me on my phone. Great. So then some more Kilimanjaro Eclipse. So I'll go through, get all my Kilimanjaro eclipse, dropped them all down. And then once I've done that, I go to my Indonesia clips. And I do the same thing. Go through each of these individually in Indonesia clips and an uncle son dialogue in here. So I'll just drop that in. So I'm not going to waste your time. That's generally what I do. All that you go through and look at this footage and include what you want to include on your own timeline. It doesn't have to be exactly how I've done it. The mosque timeline here, I'll let you be creative and pick what you want to use. And then I'll see you in the next video. 44. Project #1- Building the Story: So now that we have all of our clips on our timeline, this is the section of my workflow where I build my story. And I look through all of these clips and I've dropped everything on my timeline. I've chopped out what I don't want. And this is really just a rough cut. Are very, very, very rough cut of what I plan on keeping In the end product, the end video. So I've got some drone clips down here. There's no calibrating, no color correction, no background music. Nothing's been adjusted with my audio gain. It's just really, really rough. Some clips that I would like to include in my story. So I have a look through these clips and I'll show you how I arrange my story. So the first section of this two-minute video, or two-minute vacation. So as you can see on our timeline, two minutes is around here somewhere as white for it to load, right? So two minutes is here. I want my video to be two minutes long. So I've got enough clips that kind of fill out that two minutes. And within that two minutes, I'm telling two stories. I'm telling the Kilimanjaro story, which is the first part of the video. And so I've got some couple of clips who that was shot on my GoPro, but then some of these were shot on my phone as well. Right. And so this clip here was shot on my phone. This one where I'm talking to camera at the summit that was shot on my phone. So I'll show you how to make it all nice and cinematic later on. But I've picked out what I wanted. And then the second part of my, my second story is around here. This is the beginning. I might produce steven drop a marker and just to show you, so click off the clip, click up here where it says at MCA drops a little marker there. So that's a visual indication that this is the beginning of my second story where I'm now not at Kilimanjaro on now in Indonesia. And then I've got my drone clip there, and I've got all these little clips here. Now. I've already arranged these clips, but I'll show you. So the beginning of the story of Indonesia starts with my girlfriend and I on a really remote beach. And then it cuts to a drone clip where my girlfriends on a boat. And then here we're about to go scuba diving. So I wanna take the audience with me from scuba diving, like literally as we're about to enter the water. And then every other clip after that is a short adventure of us underwater. So the way I've arranged these clips, rather than just putting all these clips, slapping them together in no particular order. I wanted to bring the audience with me first and foremost, from scuba diving and then coming with me on the water. Now we're scuba-diving, now we're underwater, now are underwater. And I'm taking the world with me on an adventure on the water in Indonesia. So every clip has a theme of underwater. And that, if that, if you remember IV here, I've arranged these clips so that I can tell a theme or a mini story within that little adventure in Indonesia, right? So all the, all the spear phishing videos, all the general underwater scuba diving videos. So I've literally just taken these clips and then put them in order on my timeline. And then we got here, spear phishing, spear phishing, spear phishing. And then at some point I want to, I want to get away from being underwater and we want to take the audience to being with these little kids and my girlfriend and I in a village. So then I break that little story and I segue into a drone establishment shot. So this is what they call an establishment shot, where you're showing the audience, where they are in the scene. So we haven't establishment shot of a small village. And then we have another drone shot of these kids waving. And then we go into kids, a guy on a boat, kids, kids, kids. So you get the idea. And then we've got a girlfriend that my girlfriend and I. So the idea is to build the story, arrange the story so that it kind of flows. You wanted to kind of flow, you want to carry the story with your music, but you want the clips to kind of work together to tell that story cohesively. So this is just a very, very, very basic level introduction to telling a cohesive story that kind of flows from one clip to the next to the next. You want your clips to kind of work together. And you want to carry all your audience through your story. And that's what I was hoping to do with these underwater clips here, all kind of working together. So that's generally how I build out my story. So we got Kilimanjaro or at the very beginning, that little story there of us climbing up Kilimanjaro and then I break away from that. And I have my golfing and I in Indonesia. And then I'll go to figure out how do I kind of break these two stories up. And I'm going to show you how I do that with music coming up. 45. Project #1- Selecting the Right Music: So selecting the right background music is no doubt a pretty challenging and lengthy, time-consuming experience for me. I often spend a couple of hours just listening to music and thinking about how I can use that music in these videos. And so this is a classic example of coming back to my story. What is it that I'm trying to tell? What story is it that I'm trying to tell? And then it's about matching music to that emotion. So if you haven't already watched the videos on audio where I talk about how I select background music, Go and check those videos out because I'm not going to spend a lot of time on it. But what I looked at this project, I'm looking at this climb to the summit of Kilimanjaro. And then I look at these clips of my girlfriend and I in Indonesia and we're having a fun time and it's amazing. And it's like what story, what, what music needs to, what music is the best fit for this story. And so with Kilimanjaro, the feeling for me was it was an exhausting climb, it was challenging, it was difficult. And it was a huge sense of achievement for me when I got to the summit. And so I want to use music, quite inspiring, a little bit dramatic. Anyways, so I look for music that's going to bring out the story of the intense climb that it was for us to climb Kelly. And that a very inspiring travel kind of background music for the second half of this, of this video's. So I've already included some background tracks here in this in the exercise files you can download and you can use them. So if I play this back, so we have like a very epic cinematic type of background music track that I've found. Right? If apply this, you know, it's very intense. It's kind of like what you watch. We'll see on, on a proper Hollywood movie. But I don't intend on using the whole track because as you can see, it's quite long. And they'll have some other travel background music tracks to have bit of piano there. And we have another tropical island background tracks. I've given you three to pick from. You can use your own if you want, but feel free to use these ones in the project as well. So I'm going to drag over this epic cinematic track first, and then I'm going to drag over the second track onto my audio track layer number two. For the second half of my story in Indonesia, I am going to expand out the background music track. And as you can see clearly, what I'm not going to use the entire length of both of these tracks. I'm going to essentially fit and mold these clips around the music track to a point. And then I'm going to chop off what I need from the music. And I'll show what I mean in just a second. So I, to keep organized, I've got all of my dialogue, audio tracks and audio track Leo one, my background music is an audio track lead to and as you can see them back to back. So this is not edited. I've just dropped them straight onto the timeline. So I'm gonna play this back. Okay, so when I, when I think about the story in my head, I don't want there to be any background music to my dialog, opening up the story. That's just a personal choice. So I'm just gonna push this audio track, this background music track of way. And I just want people to hear what I'm saying. Because I'm at the summit of Kilimanjaro, don't want any distractions. That's what I'm thinking in my head. So I want the background music to start. At this point, what I finished my dialogue, that's when I want the background music to start. And that's what I want to introduce the story. And I'm going to call it like something like a Kilimanjaro adventure or my adventure to Kilimanjaro or something like that. And then what I'm gonna do, I'm just going to play out this background track. And I'm listening for the music. What I even do at times is I hit the solo option here. We're only here, the background music. And then I watched the clips at the same time without any distractions from the audio from these clips, I just want to hear the background music, So I'll play this again. Because I know I'm not going to use the entire background track on, need to cut it off somewhere. So when I listened to that background music track, at this point here where it gets really, really intense. I just don't want to use that. I feel in my, in my mind, it's too over the top. It's too dramatic cuts to overkill for the story that I want to tell. This kind of build up here, where it's building up. This is nice. It's kind of a suspenseful buildup and you can feel it building to something. It's building to something. That's how I feel when I'm listening to this, but I don't want to continue with it to hit the climax. I want to cut it off before it hits the climax. And so what I'm gonna do is where it's fading off. It's fading off here. I'm going to literally chop it off. Gone. And then at the same time and add a couple of key frames. So using my pen tool and I explain this in other videos. How, how I do this in much greater detail using two key frames that fades out, right? I might just move those around like that. So I've essentially cut off that track before its climax because that's all I'm going to use. I'm not going to use anything else. And then I'm gonna get my other track here. I'm going to drag it forward. And then I look at this track and I go, Okay, it's quite long. It's gonna, it's gonna take me well, pass two minutes. It's like three minutes, 14. Like what what am I gonna do? So again, there's no right or wrong. The way I look at this is that I'm going to chop this clip off somewhere here. So if I listen to this track. It's a beautiful truck. It's really, really nice. It would definitely, when I watch this clip, I'm inspired to go back to Indonesia. And so the idea of making these videos is you have to inspire yourself. If you're not going to, if you can't inspire yourself, how can you inspire other people? And I listen to this music and I listened to it over and over and over again. And I'm listening to changes in the music and where I want certain things to change with my clips and my themes of my clips against the changes in the music. So at that point of the song, there's an interesting change there, and I've actually pegged it with a little marker. So what I'm gonna do is I'm going to chop this clip down because I'm not going to use the whole thing. It's again, it's a two minute to minute vacation clip. So I'm going to drop it down to about two minutes. So that's pretty much it. What am I going to do? Well, I'm just gonna use keyframes and I'm just gonna fade it out like this. All right, just a fade out like that. And it slowly fades out to nothing, right? So we've chopped off at the end there. And then how am I gonna fade this tracking? Well, we've come from this story here, which is Kilimanjaro, very dramatic, which fades out. And then we're now in a different story. But what I wanna do, I wanna fade in on this clip at the beginning and 0.1t, the background music to be very distracting. So I'm actually going to put a keyframe here, and a keyframe here. I'm going to drop this one down. And then I'm gonna put another keyframe around here. And I'm going to drag it down. And this is a little technique that I've been using for quite awhile in the home. It's kinda like a staircase increase in the background music. I call it like a step. So think of a like a, like a staircase or a step where I put three keyframes. And this, the one in the middle is common like around here, sort of closest to this keyframe here, which is where the volume increases quite dramatically in the background music. But if I play this back, it's quite low. It's very low here. Now you can see the background music come in now, now and then. Okay, so that comes down to audio ducking, which we've talked about in another video. And then the music increases. And then we've got a nice little drone clip here. And then we go into the story. And I might just adjust these volume a little bit. But in terms of the audio levels and adjusting the audio levels and the gain and all of that. I haven't even done that yet, right? So all I've done is I've literally just dropped the background music down. And I've tried to match the background music to the eclipse. And then even just go through my clips and adjust my clips the length of my clips so that they kind of, they, they change relatively quickly. That didn't leave you feeling too bored. Because if you find that you clip is too long, then people might get bored. So you want to cut pretty frequently between your clips as I've done here. So we've cut, cut, cut, cut, cut, cut. So you wanna keep your cuts quite frequent when you're doing these kind of montages. You wanna keep them very frequent. Okay, so that's generally how I select my music and how I match the music up against my clips here. And I've very, on a, on a very rough level, have adapted these clips to my story so that it kind of fades in a little bit. And then I chop off what I don't need in that background music. So I encourage you to play around with this. You can either use these background music tracks or use your own, or use the other music tracks that I've supplied in the course and see what you come up with. And if you still need help, go to the master sequence and have a look at how I've done it over here to get some ideas. So I'll see you in the next video where we talk about cinematic color correction and grading. 46. Project #1- Cinematic Colour Correction and Grading: So we're gonna look at cinematic color correction and grading in this video. I also cover this in more detail in the color section of the course. So I'm not going to spend a lot of time on this. I'm just gonna move pretty quickly through how I've colored, graded, and corrected my two-minute vacation video. And so first things first, make sure you've got color here, the top, the color workspace panel. Click on that. Luminary scopes on the left here, and then the metric colour panel on the right. These are the three, these are the two panels that we're going to be working within. So essentially what you do is you do basic correction first. So the proper workflow is to click on each individual clip, go to your metric colour panel, corrected, and then move to the next clip. So you click on it, corrected. Next clip, click on it, corrected. And you'll do that for each individual clip, right? So you drag the cursor over, click on the clip. You'll see how it's exposed and have a look at the RGB parade. And then you'll do some basic correction over here. And you'll do that for each clip. And then at the very end, you'll add these adjustment layers over the top. And the adjustment layer is where you apply the color grading too. This is how I do it and this is how I was taught. And the you take the adjustment layer, you put it over the footage that you want to apply, the colour grade two, and then you go to the Creative section here, click on that. And then this is where you implement a, what they call a lookup table or a lot, or think of it like a preset. And depending on the kind of mood or feeling or emotion that you want to create. This is how you set that emotion. This is how you set the tone of your video. It's through what they call color grading. So I'll get to the color grading section in a second, but we'll start with basic correction. And I'm only going to do a couple of clips because there's a lot of clips here and this would take a while. So I'll do a couple with you and then I'll let you go away and work on the rest in your own time. So again, in my mind, my mood that I'm trying to create the feeling that I'm trying to replicate in everybody watching is cinematic. Its dramatic, cinematic, intense, you know, hardcore, difficult, challenging. You know, that's the kind of feeling I wanted to send across to the world. So I click on my clip, go to basic correction, ignore input LUT for most people watching this. And then I usually go to my blacks. And what I want to create really cinematic footage or clips, I usually draw my blacks down. So if you haven't already, you should go and see the videos on color correction and grading in the other section of the course. But i'm gonna move quickly. So I actually dropped my blacks all the way down. Sometimes I do crushed him a little tiny bit. I do say don't crush them, but there are exceptions to the rule. And I've talked about that too. You can't break the rules as long as you know what rules you're breaking. So I bring my blacks down and I also bring up my highlights a little bit. So you'll see the highlights Rise up there. And then I also got to cut back my exposure a little tiny bit. And that bump up the contrast. And this kind of gives the feeling of it being really moody and really cinematic. So if I click the checkbox up here, you can see the before and after, right? It's a little bit darker to little bit underexposed. But that's the kind of look I'm going for. And then what I do is I might even just pull those bikes back a little bit. And I'll play around with these sliders and I suggest that you do the same thing. I'll move on to the next clip, click on this. And I do the same thing. I get my Black's. I pulled them back a little bit. I'm looking at my and I'm only looking at this scope here, track the black BEQ and the blacks will start to crush a little more. And then I raised the highlights a little bit, bump up the contrast, and even raised the shadows a little tiny bit, bring the exposure back a little tiny bit. And then before and after, right? Much darker, more cinematic looking. That's what I'm looking for. I'll do that for each one of these clips. And then when it comes to doing the, these other clips here, where I'm in the tropics and you know, this really wanderlust adventure that my girlfriend and I went on. Then I'm not really looking for a moody cinematic kind of look. I'm looking for something that's a little bit more exposed. The highlights are a little bit higher, the whites are a little higher. The, there's less blacks. So if I, for example, take this clip here. This one here where my girlfriend I underwater. I don't really necessarily want to drop the exposure back and raise the contrast too much because this is a warm tropical sort of a video clip on, I don't want it to convey that kind of emotion. Or might even bring the temperature up a little bit to make it a little warmer. Because when you're in the tropics, you trying to communicate warmth. And so you bring the temperature up a little bit and pumped the exposure up a little tiny bit but died, crushed the whites. And I'll continue to go through, bump up the white a little bit, maybe talk the Blacks are a little bit in the highlights up. So you get the idea. So the before and after of that, right? So I'll go through my clips and do the same thing here with each of these clips. And then once I've done that, I do my color grading. So I'll let you go through and do basic correction on each of these clips in your own time. And I've done that for pretty much most of these clips on the master footage in the master sequence. So you can use that as a reference point if you like. And then I do my color grading. So I've already added some adjustment layers here. So all you need to do is go new item, Gov two Adjustment Layer, click OK, which I've already done. I wanna do it again. You'll see two adjustment layers that you'll create. Once called crop, which is different. We'll talk about that one later. And then I've just renamed it to Color and then I'll just drag it onto my timeline, are stretched that out. And I've just made the color label. What does it purple. And I've done that because I like to. The reason why I've made it purple is because it stands out more. It's much easy to recognize on the timeline. These colors here. I've done the same thing with the background music, so I've made this one, I think. So you can right-click on it, go up to label, get a mango. I've picked mango. And this one here, I've selected magenta. It just tells me straight away that these are two different background music tracks. And it just makes it easy to identify on the timeline. So once I've got my adjustment layers on my timeline, you know from previous videos that everything below the Adjustment Layer is affected. So whatever I put inside this adjustment layer, all of these clips underneath it are going to be affected, right? So inside this adjustment layer, I'll just turn the eyeball off. So this adjustment layer, if I go to creative to make sure you click on the Adjustment Layer, go to creative. And I've already selected cinematic form. So as part of this course, in fact, after this video, I'm going to include some free cinematic lots or lookup tables. So there'll be four free cinematic lots that you get to install 1234. And at the same time, I'm going to include eight free tropical lots, which you'll apply to your tropical travel videos. And these are completely free. You can download these, you can install these into Premier Pro and you can apply them and play around with them as you wish. So that's what I'm giving away. And also I'm giving away the M31 as well, this one here and 31, that's for free. So I if I go to none, this is the footage without any color grading applied. So if I scrub my time, my playhead here, I've got some clips. You have Kilimanjaro as such. And all of them have been corrected, but there's been no color grading. But I want to add a little bit of dramatic cinema, cinematic feeling to this or emotion to this. So I take my Adjustment layer and then I look for any one of these cinematic lights and you can play around with these, depict the one that you like. You know, that's a colder look. And then we have a little bit warmer. But I've gone with cinematic four. So now if I take my play head and I scrub this through and you can see that the same look has been applied to all of these clips. And you can see the before and after by either toggling the eyeball on and off to see what it looks like before and after. Just like that. Or you can click on the tick box up here to turn it on and off. You see the before and after. And sometimes with these lights are a little bit too intense. So I've actually scaled down the intensity of cinematic for, so you can make it so that the intensities, you know, 10% or a 100 or 200%, which is way, way too over the top. But I like to keep it around, in this case, around 50-60 percent transparency is good enough. And again, I just scrub my play head and have a look at it. And what I'm looking for is I'm looking to ensure that the clips look the same. They call it shot matching. It's a expression for ensuring that each of your adjacent clips. A matched in terms of the color grading and the corrections. So when you look at this clip and the grading of this clip, that it looks pretty much the same as the grading on this clip and that clip and this clip. And to me they look pretty good, some happy with the shot matching of these clips here. And then I take my Adjustment layer and I can extend that over this clip here to include that clip. So you can see now the before and after. Now we're getting really cinematic. How good is that? I really liked that. So now that we've got the grading applied to a Kilimanjaro clips. Now we can get another adjustment lamb, which I've already done. I'll put that down here. And I'll drag that over the top. And we're going to do it again because I've already done it. And this adjustment layer will have a different colour grade. And if we go, if we click on this adjustment layer, which I've extended over the entire set of clips here from this one all the way through. So everything below this adjustment layer is going to affect these clips. If I click on this adjustment layer, go to creative, the creative tab. Gotta look, hit the drop-down. You'll see warm tropics 123. So all the ones that I'm giving away as part of this course. And I can pick what I want and see what kinda look I want. So if I take my play head, scarf it away, I might spend maybe 101520 minutes just clicking and looking for different looks, different presets to see what kind of fits the best. And yeah, and then I make a decision and then I'd take my play head and have a look at how the other clips are affected by that same adjustment. So I'll click on the dropdown here, five. So it takes a little while for it to go through, but you get the idea. And then once I pick a certain look, then I scrub my play head just to see how it looks with all the other clips. Because sometimes it can look really nice and a few clips, but then there's a couple of other clips where the color grading looks really funny. So, so far so good. And you can turn this on and off just to see the before and after. So before, after. And again, this color grading applies over the top of your color correction or your basic correction. So just scrub this through before, after, before, after. So again, this color grading is really accentuating the mood of being in a tropical environment where it's sunny, it's hot, it's beautiful. It's one the last. It's really, really an adventurous travel experience. And so the idea of picking this colour grade of warm tropics and putting it over these clips is really just bringing out that emotion that we felt when we traveled through Indonesia. And so I'll let you play around with this. I even look at these clips here. Have a quick look to see how the grading is applied. Also as well, go and download the Lots that I've included for free in this cause. Otherwise, there's a website here, lots of phi dot may I'm not affiliated, not sponsored. Go and check out these guys as well that have lots that you can buy. There are lots you can buy, but you don't need to. I'm giving away all these lots for free. So everything that I've talked about in this course, all of these lots that I'm using, you can download as part of this course and use it for free. Anyway. I hope that was helpful and I'll see you in the next video. 47. Project #1- Adding Titles, Transitions, B-roll, and SFX: Okay, so that's add some titles and transitions, a bit of BI roles, sound effects, and just finish off this project. Because so far we've done a lot of work. We've got our clips on their timeline. We're gonna have background music. We've done a basic correction or color grading. We've put in a couple of key frames here for a background music. And we've trimmed it down to two minutes. We've got pretty much a rough cut on air time on right now. So the first thing we're going to show you is adding titles. And so I've covered the, you know, working with titles and graphics in the other section of the course where I talk about graphics. But essentially, you'll go to the graphics tab at the very top here. Click on that. And then this is where you can go to Edit over here. And you can take your type tool, click on that, and then click anywhere on the screen to start typing out some text. And so rather than me repeating myself in this video because I'm familiar that most of you, hopefully you watched those videos where I talk about cinematic text. I want to go to my master sequence. And I'm going to show you how I've applied it just to save time here. So if I take my play head here, squalid along, if I play this back, we have the texts that I've added here, which is worse, have Brian Knutson presents. And then we have some more text called a Kilimanjaro adventure. So essentially, to create that text, if you're not familiar, just give you quick refresher. I've got my type two. I click somewhere on the timeline here, or in, sorry, in the program on a toolbox, I just type in my name for example. And then I click off it, click back on it. And then I go over here, summing the essential graphics panel, click on edit, make sure that's clicked. And then I look for the text, font type, which is ailerons. Ailerons, and then I play with it from there. So if you're not familiar it, make sure you go watch that video that I'm just doing this super, super quick. So ailerons, ailerons. So this is the font that I've picked. And then I've done a few more adjustments to this to get that looking like that. Right. So I'll just delete that so I don't repeat myself all over again. And then I've created an additional piece of text over here. And then I've got a small transition between these two texts, assets or text graphics called det to black, as you can see there. And I just dragged dip to black. So if we go to here, go to effects, type in dip. So dip to black and then just drag it over between those two texts layers, just like that. But then there's something that's more profound that I need to explain. Its timing. The, the text with the background music. So if I play this back and this gets into the topic of transitions. Because as I play this clip back, watch what happens with the transitions, the music, and the text at the same time. So real quick, the music, when you listen to it, there's a beat here, right? So the music itself is transitioning at the very, very beginning. You can hear that said, the music is building to a climax, right? And then at this point here, this is small beat right there. And you can also see it in the wave form. So again, I use the wave form to help guide my editing workflow just by looking at the waveform. If you can't see it, you can make it bigger. I can see the waveform, what's going on with the track without even listening to it. And so I can see in the waveform that this track is building up to something. And that I can see over here that there's a bait and I can see another bead here, and I can see something else here. I don't even have to listen to the track. So what I'm trying to do, I'm trying to choreograph the background music, the text, and then also the clip here. This initial clip, I want this clip to fade out as this background music is fading in at the same time. And then when the music fades in on what the text to show up on screen as a snap, I'll show you again. So as this plays really slowly, so as that's fading in the music is fading in. I'm using the natural fade in of the music to then fade out of this clip. And I've taken a couple of key frames here. So I'll put a keyframe here and a keyframe down here. And I wanted to deliberately fade out that clipped as the music fades in because I want the audience, the audience is watching, this, is anticipating a change. So by fading out this clip and fading the music, you're anticipating that there's going to be a sequence change and that's exactly how I'm doing it in this part of the video. So fading out here, fading in, and then I also fade in with the text. And then the text layer itself is on-screen for the duration of this part of the background music. It's getting bigger, growing bigger. So I'm using keyframes to make that texts grow a little bit bigger. Can you see the movements very, very subtle. And then where that bait kicks in there is where I transition. I've put the transition exactly over the beat so that it transitions into the next piece of text, which then falls over this clip here, right? So I've got a little Kilimanjaro clip here. The text is over the top. If I turn that text off, that's what it looks like without the text, right? If I turn the crop off, that's what it looks like. So the text on and the Texas over the top of this clip. And then at this point here, this little bit here, the clip changes and then text disappears. So these are very, very small adjustments, but these very small adjustments really do make a huge difference. It's the older little adjustments that you make to your video. Make the difference in the long term. So this does look pretty difficult, but really it's just a lot of little tiny things and if you get your head around it now, this can really laid the foundation for you creating really nice videos moving forward. So what I'm doing, these techniques are not very difficult. They just, they've quite straightforward. It just requires a little bit of attention to detail. And although it looks overwhelming, I'm sure that you'll be able to pick it up if you just keep at it and use this master sequence and zoom in to the timeline here just to see how I've put it together and try and replicate this for yourself, right? And then when I get to this point here, a transition that I've included is I'm transitioning out of this background music here. At the same time, I want the clip to also fade out with the music. What's this? Right now? So I've picked the bait in the background music to guide the fade out of this clip. Again, I'll play it back right now. So the clip using keyframes, which I explained in other videos. There's two basic keyframes here. A fading out at the same, at the same rate with the background music. And then when it fades out, there's the beginning of the next part of our story. And then I've done the same thing over here with the transition. I've faded out this clip at the same time, I'm fading in the background music, leading the audience into this next part of the story. So again, the same strategy that I applied before, I'm doing it again. What's this? Fading in and fading in to this two things happening simultaneously. The music's fading into the background. At the same time, this clip is fighting out. And I'm, the audience's anticipating that there's gonna be a change. And then I've got some text over the top here. So wonderful Indonesia. So this is really just a kind of a placeholder card that really signifies the beginning of the next part of the story. So we have just a nice little drawing clip that I've picked, but it text over the top, nothing too complicated. And make sure you put your text layers above the color adjustments that you make. You don't apply any color grading to your actual text. So just keep that in mind to make sure the text that you apply is above any color grading, adjustment layers that you have. And that I'm I want to add some B-roll. So B-roll, as mentioned, really just compliments the, the main story which is the arrow. And so this clip here, There's not a lot of a role or primary dialogue in this clip. So this is primary dialogue Ikea. So I'm talking about the most remote island on Earth. And so when people watch that, watch me say that. It doesn't really put context on what I'm saying, unless you're seeing what the remote, most remote island looks like. And so I've deliberately picked out this little clip here, which is a drone shot that I took. And that's the actual island that we were on. And so just merely talking about being on the most remote island on earth is not nearly as compelling as showing people while you're talking about it. And that puts a lot more context on what you're saying. So again, I'll play this back. So again, that's just a little B-roll clip that I've checked in there. And so as part of my workflow, I'll go through my entire story and just see if there's any additional B-roll that I need to put in. So technically speaking, you know, when we're doing montage videos, the video clips themselves are actually B-roll because as I play this back right now, there's no actual dialogue, is just one clip after the next, after the next. There's no primary dialogue, no one's speaking, nobody's doing a voiceover Except me right now, which is different. I'm doing a tutorial video. So this is an exception, but there is no dialogue there, just clips, right? So this is, you would say, a type of B-roll. And then for the next section of my, for my workflow here is sound effects. And so as mentioned in the video, we'll be talking about sound effects. Sound effects really does augment the depth of the story. Just having a video with background music and no ambience really doesn't give it the same amount of depth that you would see in a video with sound effects. And the key was sound effects is the kids are really, really subtle, but they're just below hearing range. So they're there, but they're not there, if that makes sense. So for example, these clips here that I've taken in Indonesia, These clips down here are all part of the original videos that I filmed. And you can tell because when I run my mouse over them and highlight them, it also highlights the video components of those clips as well. It just means that these two are linked together. This video clip here is linked with this audio clip. This video clip is linked with this audio clip. And where it's not, where there is no highlight, like or I've selected here, but there's nothing down here. It just means that I've deleted that audio clip off, right? So I've completely removed the audio of just dragged in the video only. So what I've done is I've literally shifted and moved them back. I've literally shifted these audio components of these video clips from audio track layer one. And I've shifted them down to audio track layer three just to make things a little bit more organized. Because as I've mentioned, when it comes to organizing your footage, you want to keep things relatively organized on your timeline. As mentioned, you've got your dialogue, clips on audio track layer one, IT background music on a2. And any sound effects that you're using on a3, a4, a5, and so on and so forth. So this is a very, very, in terms of editing, you know, how, how advanced this can get. This is quite a basic kind of a timeline. I'm only using three audio track layers, and I'm only using five video track layers. But you can get into like 1520 tracks aside, and you get really technical edits. So this is quite a Straightforward edit, even though it looks pretty complex as a beginning you might be going no, no, no, this is very, very complex. When I break it down for you as I've been doing. There's actually not a lot to it. And so it just looks intimidating when you look at the end result. So these clips here that I've put on audio track layer three, that has just the sound effects. These are just ambient sound effects. And so I'll show you how this impacts the video. If I hit, here's his solo track of I click on that. I'm only going to hear the sound effects from this video and nothing else. So might be very hard to hear, but what you're hearing other sound effects. So they predominantly underwater sound effects, and these are called ambient, ambient sound effects. So these are more, these are not hard sound effects of like a ding or a bell or notification or things like that nature. These are ambience only. And so if I turn those off and just play this music, this video with the background music, without the sound effects. You'll see that there's no depth. And I encourage you to do this when you take this project. It's just toggle these. See where it says mu t or I can mute the sound effects and just play this back with just the background music. And you get to see for yourself, there's background music. It sounds nice. It looks canonized. We have our color grading, we've done a correction. It looks really, really good. But there's no ambience. There's no sound effects. There's no missing that depth. And when I first started my editing journey, I wasn't really into adding sound effects. I found it pretty boring to be honest with you because you can spend so much time playing around with different sound effects is like thousands of different bells, thousands of different whooshes, hundreds of different, you know, door knocks and footsteps that you can get. Car horns, all sorts of things as literally millions of different possibilities. You can even create your own sound effects. And I didn't find that very appealing when I first started, but when I started getting into sound design. And if you spend some time, is spent enough time doing this, you'll, you'll come across a terminology called sound design. And sound design really incorporates sound effects. And so if I incorporate the sound effects by unmuted the track, listen to this. So we're gonna have background music, sound effects. Since adding a little bit of extra depth to this. Not much, but just a little bit. Okay, so over here, I've applied the same thing. So we have the sounds here of Kilimanjaro climb. So if I mute or if Isola this track, when you Solow a track, it just means that you are only going to hear that particular track and nothing else. We have the rain drops. The porters. We have the porter speaking their language. So it's very, very subtle, but that's all part of the whole story that we're telling him. And so the last thing I want to talk about is the texts. Actually, I forgot to mention this at the very end here. I've added some text here. And if I click on this text, go to the central graphics panel, KG life is messy, which we do cover in another video, is the text font that I've decided to use. And again, it's literally just a matter of playing around with this, playing this back. This little drone clip here is a drone clip that I've decided to have as a background to have the rolling in credits or just normal end credits. And then I've faded that out just by using a couple of key frames here. And when that fades out, the final piece of text finishes with wonderful, wonderful Indonesia. And then I'm fading at the background music which is using some keyframes here. Ok, so that is it. So there's nothing else that I have in mind in terms of adding titles and transitions, B-roll, and some sound effects here to complete this video project. In the next video, it's really just fine tuning everything. And I'm going to show you how I find tune everything by adjusting the audio again, making sure the volume and the gain is set correctly for broadcast. And then other small adjustments as well. And that will finish off this project. 48. Project #1- Adjusting Audio Levels and Audio Mixing: Okay, so one of the last things that I do is part of my workflow is checking the audio levels and the audio mixing of my video clips. And so effectively I looked at my dialog, background music, sound effects, or make sure everything's mixed in together and everything sounds right. And then I ultimately check to make sure that the output of the audio as a collective is averaging around minus 12 here. And I'll talk more about this in the audio section of the course. Ensuring that you have correct audio levels set for in terms of broadcast standards and things of that nature. So you don't wanna be peaking out at sort of minus nine. You don't wanna be peeking out in the red, right? That's a no-go zone. But typically you broadcast standard is around minus 12 and minus nine is your peak. So averaging minus 12, It's essentially what I'm shooting for when I'm playing back this entire clip. And I am watching as part of this part of the workflow. As I play this back, I'm looking at my VU meters or my audio meters to make sure that I'm sitting around here somewhere, right, minus 12, minus ten, but nothing sort of beyond minus nine or minus eight. And certainly nothing beyond above that. So what I do is I set in terms of my my first audio track layer. So usually we're all my dialogue goes is I set a multiband compressor. So I'll show you where to go to find that. To explain this in more detail in the audio sections. If you go to Audio Track mixer, that brings up this little panel here. If you don't see that, if you don't see this, then there's a little arrow here. And I get quite a few questions about this actually. So I'm going to spend that five seconds on it. If you look up here, there's a little tiny arrow. If you, it says show hide, effects and sends. So if you click on that, you'll get to see this panel here, right? It's very difficult because Premier Pro has so many little tiny things that are very hard to see and, and that's one of them. So this will pop up and where it says multiband compressor. I've already added that in, but I'm going to turn it off and I'm going to do it with you now. I explained this in the audio section of the course as well. So essentially what I'm doing is I'm putting a multiband compressor to the entire audio track layer one. So this entire track is going to receive the audit, the multiband compressor. So any quiet any quiet parts of my dialogue, any loud parts of my dialogue, or going to be brought together. So everything's relatively evened out. So, you know, if there's anyone in your videos that's talking very softly and you can barely hear them. And you're talking very loudly and you want to kind of level it out so you can bring up the quiet bits and dropped a lot the high bits. A multiband compressor is a perfect way to keep everything level and consistent. So that's one of the first things I do in the audio section of my workflow is I go up here, go to amplitude in compression. Could a multiband compressor click on that? It pops up in here. So this is for audio track layer one, audio track layer to audio track layer three, right? And then all I do is I double-click on this here. This pops up. Click on broadcast from the dropdown menu, you'll get to set margin here of minus five enter. So we've just applied and multiband compressor to audio track layer one with a limit at minus five. So that's the first thing I do. And then the next thing I do is I mix my audio. So I do things such as with the background music here and the dialog here. I want to ensure that the background music is not going to overtake the dialogue. So you can still hear what all of the subjects are saying in the a role. So I'll pay this back. So my girlfriend speaking there, so it's important that we can hear what she's saying. The multiband compressor is going to help bring up her voice and her volume when she's speaking. But at the same time, I've got some keyframes already set here for the background music, because I want to ensure that the background music is low enough. At this point when she's speaking that you can hear what she's saying. And then when she finishes speaking, and then I'm increasing the volume of the background music track as you can see there. So these are the kind of adjustments that are making. And then as I play this back, I'm also looking at these made is over here. So this should be sitting around minus 12 on average. Now, I'm going to hit the sound effects here and the background music at the same time. So the VU meters are going to give us basically an additive of the two. So I might even need to go in and reduce the volume of these, of these sound effects just to make sure that we're not going to break any more than minus nine here on the VU meters. So apply this again. Right? So it jumps up a little bit, but I'm happy with that. On average, sitting around minus 12, minus nine. So I'm watching this over here, my right. Okay, we're getting to some dialogue now. Kids laughing, background music. Still sitting minus 12. I'm happy so far so good. Yeah, minus nine, minus 12. Great. I could even reduce that a little bit by just clicking on this little rubber band here and dropping it down. So you can see less of the kids laughing and more of the background music. But in my opinion, this part of the video is where I really want the emotion of the kids laughing and playing on what that to really come out in the video saga or really want to reduce that too much. I really want people to hear the playfulness of the kids. And the freedom that they're experiencing a really wanna bring that out in the video is. So that's why I've kept the volume of those clips quite high. You can hear them playing around. He can hear the background music. So in terms of the mixing, I I'm happy with how the background music and the audio has been mixed in here. I could have dipped it so that the background music is dipped all the way down and you can barely hear the background music and you can mostly hear the kids. But I believe in my, the way I feel about this movie, this clip. And this is something, this is a subjective coal that you need to make. It's like when you hear the dialogue, when you hear the sound of, in this case, kids cheering and having fun. How do you want the music to really push that through? How do you want? Do you really want to get that emotion out and really amplify that emotion of playfulness and what those kids are experiencing. And I feel like by keeping the mixing the way it is, I really feel like I'm bringing that emotion out here that the backroom is so beautiful, really compliments those, those kids playing. At the same time. I'm looking over here. And you're looking over here. So there's a little high, we could bring that down a little bit. That's a bit better and bring this down a little bit as well. Perfect. Okay, so one last thing is, well, I've got here an effect called constant power. So if I saw this truck and delete this, this is what happens if we don't apply some kind of transition between these audio clips? We have a very hard cut in the audio. So I've applied that transition, it's called constant power, which I talk about in the audio section of the course. Listen to this more of a transition that's much more of a smooth transition between those two audio clips. One more time. Right? So if you want, you can use these audio transitions between each of your audio clips. I haven't, I've just done it once, but you should definitely play around with it. In this case here, I've used, I've transitioned out of this clip here, out of the audio clip into the next one. I'll play this back from here. So you can see that here of these keyframes says to fade this out and fade that in on this side, I could have easily used a constant power or exponential fade. So I'll show you a constant, constant power. I could have used that instead of using these keyframes, but it's just a personal choice. It's up to you. So definitely play with using constant power at the beginning and end of your audio tracks there. So one more time, I'm fairly, I'm fairly happy with the audio levels of this project. We got everything set up and I'm happy with the overall levels that I'm told point now we're actually ready to export this video out. So this is pretty much the workflow of my video or hoped this was insightful. It's very difficult sometimes to explain the creative workflow aspects of projects like this because I perceive as being a certain emotion might not be perceived the same way by everybody else. And so that's why you really need to, when you take away this workflow and play around with that, I really do encourage you to work on your own style. This is something that I've been working on for four years now and I'm still evolving. What I do today probably won't be what I do in a few months from now. I'm always trying different things. And so I encourage you to experiment with this project to try different transitions, color grades, try different things, moving things around, playing with the audio levels, and just play with different styles of different workflows. And ultimately it comes down to just finding what works for you and not, not believing that there's one correct way of doing suddenly, there's many different ways of telling the story and you'll get better with the storytelling process over time. I'm certainly working on it myself. I've definitely not a master at it. And I still feel like I'm on a journey to, of getting better at telling stories through this kind of medium. So I'm just sharing with you carnivore I've learned over the last four years and, and take away what you want to take away and leave the rest. So I hope that was helpful. And if you have any questions, let me know and I'll see you in the next video. 49. Project #1- How to Add Cinematic Black Bars: So I'm going to show you how to add cinematic black bars to your videos to make them look more cinematic. And so as you're seeing on your screen right now, we have a clip on our timeline with some text here, a Kilimanjaro adventure. And then as you can see top and bottom we have some black bars. So when you think about cinematic films, typically you'll see the black bars top and bottom of these videos. And so what I like to do with some of my videos, to give them that little bit of a cinematic look is I like to add those cinematic black bars top and bottom. So I'll show you how I do it, but also I'll show you the correct way, the technically correct way of doing it. There's a lot of people that, you know, they frown upon using the method that I'm about to show you. But typically, you know, if you're only doing what I'm about to show you for very small parts of your video, then you're really doing it for stylistic reasons, for aesthetic reasons. And as long as you're only doing it for short portions of your video, it doesn't really matter. You're doing it for YouTube. Most people watch their videos on their smartphones anyway. But I'll show you the way that I do it for some of my Eclipse for only short portions. And then I'll show you the technically correct way of doing it. If you want the cinematic look throughout, throughout your entire video. So as you can see, we have these clips on our timeline here. The first thing you do is you want to create a Adjustment layer. So if we go to down here where it says new item, click on that, click on adjustment layer, click OK. Now just doing that because in case you've forgotten, but I'm just going to delete it because I've already created an Adjustment Layer. And I'm going to find the adjustment layer that I've created. I've renamed it crop, right? And I've dragged it over onto my timeline here. And I'm not gonna do it again, but you can see here on the timeline, I've got to adjustment layers. One for my color grading, which we did in a previous video. We talked about cinematic color grading. And then the adjustment layer above that is an adjustment layer for crop. And then all you need to do is you drag out the adjustment layer right across the length of the clips that you want to apply that crop to. Remember everything below the Adjustment Layer is affected by the adjustment layer, right? So in this case I want to just line up everything nicely. I've got this crop adjustment layer that's across these couple of clips here. So I want these couple of clips when I take my play head to all be cropped with this black top and bottom bar, right? So I take my adjustment layer, click on it, and then I go to effects. And then I look for an effect called crop. I type it in the search here. I click on it and drag it over the top of my Adjustment Layer. And I release it. I click on my adjustment lag over to effect controls go all the way down here. And then you'll see where it says crop. And this is where we can adjust the crop. All we're doing. We're going to be cropping our frame by a certain percentage at the top and at the bottom. Now, I'm not gonna do it again because I've done it already, so I'm just going to delete it. You can see that I've already created the crop effect here. And all I've done is I've clicked on top and where it says here's 7.5%. I've typed that in myself. So before it was 0%, this was 0. And then all I'm doing is I changed this to around 7.5%. Now, you can experiment with different percentages, maybe 12%, 15 percent might be a little bit too much though. If you do top percent, top and bottom, you'll find that it's just a little bit to cropped in. All right, it's a little bit too much. I used to do 12% crops. And if I don't do 12% crops anymore, I found that 7.5% top and bottom is, is a good compromise between getting that cinematic look and not losing any of the footage that you filmed. Because remember, all we're doing is we're cropping the footage. All of the like you've still got. If you if you you can see through these black bars, there's actually still video behind these black bars. We have just put a little black bar over the top of these video clips. I'll show what I mean. If I take this clip here and go to Effect Controls, I can actually move the position of this clip so that it kind of fits inside the frame. If you see what I mean, if I move the clip down, you can see where I've got obscured or obstructed footage below that top black bar there. So what you can do is once you set the crop bars, you can then adjust the footage so that it fits nicely inside the frame, inside the black bars. Now this is perfectly fine. And you can get away with this if you only want parts of your video to have that cinematic look. So for example, at the beginning of this montage or this video here, this clip that I shot on my phone is not cropped. There's no cinematic look to it at 16 by nine. It was filmed in 16 by nine on my phone inside a 16 by nine sequence, or 1920 by 1080. So this sequence is a 1920 by 1080 sequence. If you want the entire sequence to be, to have those cinematic top and bottom bars. The proper way of doing it is by changing the sequence settings. So I'll show you exactly how to do that. If you go to sequence at the top here, got a sequence settings, or you need to do is change. I'll show you the frame size here where it says 1920 by 1080, we need to do a small calculation to change this to 21 by nine. So 21 by nine will give you that proper cinematic aspect ratio. And technically speaking, there's no one correct cinematic aspect ratio. There's many different types of cinematic ratios, but the most common one is 21 by nine. So we want to change from 16 by nine. As you can see here, it says 16 by nine, we want to change that to 21 by nine. So I'll show you how to do that. We just get our calculator tool here. And all you need to do is you take 1920 over here. And we use our calculator tool. So 1920. And we just divide that by 2.39 enter and we get 8.3403803. And we put that into this field here, 803, right? And then all we do is we hit OK and hit OK. Again. And then as you can see, our sequence frame has changed. It's now changed to 21 by nine. So that effectively means now we can take these crop bars away because we don't need them anymore. So this is the proper way of giving your video a cinematic look. If you want the entire video to have those black bars top and bottom is just by going into sequence settings and changing it to, as I showed you before doing that basic calculation. So I hope that was helpful if you have any questions, let me know. That's how I do my cinematic black bars for my videos. Just by using the crop effect and just getting my Adjustment Layer and applying it to a certain piece of footage. And to give it that nice cinematic look. Otherwise, I'll see you in the next video. 50. Project #1- How to Make Your Videos More Cinematic: Okay, so how to make your videos more cinematic? So there's really two sides to this conversation. There's the side of in camera adjustments. So how you film in the first place. And then there's the post-production site, which is pretty much this entire corps. So showing you how to use Premiere Pro to edit your videos a certain way. So as you've learned in this section, we've really covered the post-production side of making your videos seem more cinematic. And so we've done that through a combination, a combination of different things. We've done it through how we've selected our text. So the font type, for example, like to give that real cinematic look by using small font where it's really spaced out on a black background is an example of using a style of cinematics for text. The choice of background music to get that ruled dramatic sound. And that's what we've incorporated with this project. How we colored correct and colour grade our footage. And so we've chosen color correction and color grading to really make. There are sequences more dramatic and more cinematic looking. And that was evident because if we turn this grading off, for example, you can see what it looks like and you can see how this was shot in camera, which looks like a very normal shot. But we can easily, through post-production and through our editing wizardry, we can make this look very, very cinematic just by changing the color grading of the footage. And then at the same time to give the video a more of a cinematic look in post-production, we're adding very subtle transitions. So in this case we're using a div to black here. A very subtle transition, a very cinematic look. And then for most of my cuts, as you can see, they're just straight cuts, what they called the jump cut. So just cutting from one clip to the next to the next. A lot of people get very fancy with their transitions and they use luma fades and wipes and zoom in and zoom out. So it does look nice if it's used properly. And if it's not overdone, there's some really good transitions that had the editor kept, kept it really simple, and used it in the right context that it would've looked really good. The idea where the transition is, you don't want it to be distracting. And often, you know, guys that are making these little videos are really just kind of showing off their editing ability through how good they can execute a transition and not how well they can tell a story with that transition and there is a difference. So as you can see, I've just got normal cuts. Just cut, cut, cut, cut, no transition, just a straight cut. I've got a div to black here. And all of that just augments that cinematic feeling. And then on top of that, I've used this crop here, which I've talked about in another video. And we've got the black bars top and bottom here. Because for these particular clips, I want to really augment a cinematic feel. The color grading, we got the music, and I've got the crop which is quartered anamorphic crop to this is called an anamorphic crop, and it emulates an anamorphic sensor, which is a different type of type of lens. We can film at the 21 by nine aspect ratio, which I talk about in another video. But all of these elements add together to give the cinematic feeling that we're trying to communicate here does not just one thing, it's everything put together. This the sound effects, the background music that grading the crop, the slow motion of the slow movement in our videos. That's what adds to the cinematic field. And of course, in camera. How we shoot the footage in the first place is also what sets the stage for how we edit that footage in Premier Pro. So you might be using ND filters and which gives you more dynamic range. You might be filming your GoPro clips in a flat color profile, which by the way, these terms probably won't make any sense to you. If you're just starting out, it's okay. It didn't make sense to me either when I first started. But if you go to Google and type in like ND filters and flat color profiles and all this kinda stuff which you don't need to really worry about now. But if you do plan on taking editing journey and making videos seriously moving forward, then you'll need to learn how to set the color profile in your GoPro or your phone, or your camera or your drone to film in a more flat color profile. And so that gets into the topic of dynamic range and things of that nature. Filming in a higher frame rate in your camera, and then your phone, your drone, that gives you the ability to slow the footage down in post-production. What's good about the GoPro, which I've used in a lot of these clips. You know, most of this video that you've, you've made was filmed on my GoPro and my phone. But it goes to show that you don't need expensive equipment. You don't need an expensive camera. Like these clubs here that look really cinematic right now where I climbed Kilimanjaro, I only used a camera like my phone that I have in my pocket that I make phone calls with Les. I didn't use any fancy equipment. I didn't have my drone with me. I didn't have any big cameras. People in my group had big cameras. I didn't I just had a GoPro and a phone. But you can do so much damage in post-production by just applying these techniques that I've showed you to make just ordinary camera footage looked like I was shot on a fancy camera. So we do a GoPro. What's good about a GoPro is that it's got options for smooth stabilization. So you can be running with your Go Pro or you could be walking with your GoPro. And the function of the GoPro is to, is to film a nice stabilized video. If you're using a standard camera like I have an ESM five camera now, which doesn't have any inbuilt stabilization, then that's when you need to be using like Gimbels and glide cams, like I'll show you. So you can get like Gimbels and glide camps now for your smartphone, for your cameras. And that just makes the whole process of filming a lot smoother. And that will help you get that nice cinematic look as well by using these kinds of things. You can buy this on eBay for like, I don't know, not much. 5000 bucks, something like that. Just for your smartphone. Because your smart phone doesn't have a very good stabilization built into it, but you go pro does. So that's something to consider. Glide cams and stabilizes and things of that nature. And also when you're filming cinematic videos as well, it's really important to try and get multiple different angles. So, you know, when I was out in Kilimanjaro climbing this mountain, I was getting wide shots. So this shot here is a nice wide shot. You can see the clouds moving in. You can see the porters and the track. You know, this is a wide shot. And so a wide shot really is a way to establish the scene is called an establishment shot or a wide shot gives the audience perspective of where they are in the scene. And so I'd like to get my wide shots. And then I like to get closer shots, medium shots, face like really, really, really close to face shots if I can, to get a medium shot there of R group. And then I'm gonna closer shot of a couple of Porter's. So even when I've put this sequence together, I've put it together in a way where I've mixed up the shots. Because if you make a video and it's only wide shots, wide shot, wide shot, wide shot, wide shot. People will get bored very quickly. So I'm mixing up my shots. I've got my wide shot here, I've got a wider shot here for the drone. And then I've got various different shots close and far away. So we're gonna close shot here, are going to really close shot of the fish here, are going to wide shot here of the diving. Right? So it's important to, and also it's important to get really, really close shots because u, in this case here, I've got this clip. And the idea of taking the GoPro through these mangroves is to try and immerse you into the story by dragging the camera through these mangroves to make you feel like you're inside the mangroves in your, you're coming with me on this journey through these mangroves. And then I put it in perspective where I am, another angle of where I am over the mangroves, spear Fisher guy. And then a big wide shot of the village, a top-down shot, and then a closed shop. So you can see these close shots, wide shots, and other close shot. You're gonna get some faces in your shots as well. If you can get kids laughing, smiling people smiling people laughing and get a nice close shot of their face. If you can write, it's not always easy to do that. It also gotta be a little bit polite and courteous as well, little bit consider it. Then that's also going to help you with being able to mix up your shots when it go when you go to edit your footage. So always mix up your shots, get different types of shots to add a bit of variety to your videos in your cinematic films. So there we have it. That's all I can think of in terms of, you know, him camera and post-production tips for making your videos more cinematic. There's certainly more to the list. This is just the tip of the iceberg. There's many more than this, but this will give you a good introduction and a good idea of how you can make your videos more cinematic. And as I said before, you can always go through this master sequence, see how I've put this together. And you can take things away and you can experiment and you can play around with it. 51. Project #1- Exporting to YouTube: So now that we've finished our project, it is time to export it for YouTube. So whether you're using this footage and you've been following along with me or using your own Kabul footage. The process to export to YouTube is going to be the same. So we have our sequence here in front of us. And so there are several ways you can go about doing this. You can either select all of the footage on the timeline and press the forward slash key on the keyboard. And by doing that, everything on the timeline, you'll see that everything is highlighted here. There's this little shaded area at the top here of the timeline, which is telling me approach to export this range. So everything within this range will be exported as in a video. So otherwise you can just right-click on that and say CLI in and out. And if you don't select anything on your timeline, then Premiere Pro export everything that's inside your timeline will you need to do is go file, then to export and media. And then this box will pop up, which does look a little bit complicated. But to be fair, it's very, very straightforward if you just use the presets built within Premier Pro, we'll start from the very top. So up here it says format H.264. So make sure that you've got that selected because that's the format that we're going to be exporting your videos in. And then where it says Preset, if you hit the drop-down, there's all these different presets for different options. So you can export to Vimeo or your Twitter or Facebook. In this case, we're going to select the preset for YouTube. And so in this case, we've created a 1920 by 1080 sequence. So we're going to select the preset, which is ten ADP full HD. If you've created a sequence in 4K, then you would select YouTube 2160, 4K. So this sequence we've created as ten ATPs, we just click on that. And essentially Premiere Pro will do the rest. It is that straightforward. Some people get complicated with the settings for export, but everything's built within Premier Pro. And so if you select that preset, then you automatically a telling Premiere Pro that you want to export this video to YouTube and every other small setting will change accordingly. So if we move down here, we have output name, which is the name of your project. So if you click on that, you can tell Premiere Pro where to export the video too. Make sure these two options are selected. Export Video, export audio. And then if we move down here, we've got a number of tabs. And to be honest with you, I don't use any of these except the video tab and the Audio tab on occasion. So you can just leave affects multiplexer captions and publish alone. But we'll go to Audio first. And you shouldn't really need to change anything here where it says audio format, always leave it AAC. So by default, that will be selected. If we scroll down audio codec, AAC, the sample rate will be 48 thousand hertz. All right, so the highest setting, so leave it there, leave it as stereo. And then audio quality high. Bit rate will be 320, which is the highest. So leave it at 320. And then for advanced settings, leave it on bit right? And that's it. And you shouldn't need to change those settings. They should automatically be set as those settings by default. And then finally we got a video, which is where we spend our time and we just check over it. So our basic video settings, 1920 by 1080. So we were not gonna touch that. The frame rate is 50, right? So we're not touching really anything here. We're just checking over it and it looks good. The preset will make all these changes for you. So performances hardware encoding. So make sure that's selected because then it means that it will render faster. High profile. Make sure high-profile set and level is 4.2. And we'll keep moving down. You won't need to change anything except just observing the bitrate settings. So VBR, One Pass for YouTube is good enough. Some people get into debates on the best setting to select for encoding. But for YouTube specifically, you, all you need is VBR, which stands for variable bit, right? Don't need to know what that means. We'll just keep it basic for now. Vbr single-pass is all you need for YouTube. And the target bit rate is 16. And to be honest with you, for YouTube and YouTube's compression algorithm, once you upload the video, you don't need to set it any higher than 16. I mean, some people change it to 203040 and they'd hit the slider all the way to the top. You shouldn't do that because YouTube is going to compress the video anyway. And so it's best is to leave it at 16, which was the default preset for Premiere Pro exporting to YouTube. So 16 is good enough for YouTube. If you're exporting to, like, if you want to export this to give it to a friend. And you see down here it says estimated file size 244 megabytes. You could drag this slider down to six. And then the file size of wicked smaller. Maybe drag it down to four or three. And that makes the video easier to send to your friends or family, right? So otherwise, for YouTube, live it at 16 and we'll keep going down. That is it don't need to change anything else. And here where it says, use maximum render quality, you can select that or not. It's up to you to be honest with you, I never selected just means things run a little bit slower, a little bit longer to render. And to be honest with you, I haven't noticed any any visual quality difference in using it. And then everything else is the same. You don't need to touch anything else except just observing over here with this little bar here. And we have a little play head. So we can click and we see a little preview of our end end result. And so would that play head, you can scrub back and forth, but also keep in mind that you've got here little markers. We're telling Premiere Pro What is the source range that you wanted to export? So in this case, if you hit the drop-down, we can tell it to export the entire sequence, sequence in and out, or a custom areas. So we can tell Premiere Pro to only export a certain range of our video, of our timeline by just moving these little sliders. But in this case we want it to export the entire sequence. And so as you can see, those little nodules or those little nodes, they completely expand out left and right. So, and that's pretty much it. And then all you need to do is hit Export, and that will export and take a few minutes. Otherwise you can hit q if you have Media Encoder. And that just means that the project will be exported four into Media Encoder and will render in a separate application allowing you to continue working in Premier Pro. So you only need to hit q if you're planning on working on multiple projects simultaneously, having one rendering in the background and working on one at the same time. And so for most people, you'll only need to hit Export. And that's all you need to do. That's how you export to YouTube. 52. Project #2- Your First Talking Head YouTube Video: Welcome to the talking head project. In this section of the course, you're going to be working with me to edit a talking head video. You can download the exercise files and follow along with me. So that by the end of this section, you're going to be producing a video like this. Hey everybody, thank you for joining me in this course, in this section of the course, this video is a practice video for you to practice everything you've learned so far on this video. So we're going to be working on this video so we can apply everything you've learned. But if you want, you can bring your own video and you can practice on your own YouTube video. Otherwise, this is a practice video. And I want to say thank you so much for joining me in this course. It's been an absolute pleasure to teach you what I know through my years of editing my videos, over 700, maybe more videos now using Premier Pro and I still have a lot to learn as well, but I've definitely come a long way. So it's an honor to bring you along with me on this journey. I wanna say I, we're actually locked down at the moment as I shoot these videos. Here in Melbourne, it is raining like crazy outside and I just had protein pancake. So what more could you ask for rain and protein pancakes in lockdown? But as every YouTube is says, If you like the video, hit Like subscribe and hit the notification bell, so you never miss a video. That's the typical YouTube or speak. But anyway, thanks again for joining me. This is a practice project video. Use this one or use your own. Otherwise, I'll see you throughout this section and we're going to work on this video or your own video. Adapt to you. Thanks for watching. See you guys. 53. Project #2- Sifting, Selecting, and Trimming A-roll: So everything that you've learned in the previous few sections of this course, we're going to be putting that altogether. In this project. You're going to be looking over my shoulder and seeing how i edit my talking head videos for YouTube. And so if you wanna follow along with me, you can download the exercise files for this project and then follow along. Or you can just use your own footage. That's completely fine. But here we've got background music, which I've included some footage and a couple of folders there. And I've got the project file itself called Talking Heads. So you can double-click on that, open it up to what I'm seeing on my screen now. And you can just follow along and you'll see I edit my talking videos, my talking head videos from beginning to end, right through to exporting to YouTube. If you're not interested in learning how to edit talking head videos, then you can just skip to the next project. But essentially, in this video I'll show you how to sift, select, and trim your a role for your talking head projects. So the first thing we're gonna do is import my footage. So I have my talking head project here. And even before I import remember beginning of the course, I talk about how I organize everything into folders. So background music, footage, I've got my stock footage in one folder. I've got my EOS m5 talking head video here. So it's all ready to go already for import. So I'm going to drag in my footage folder. So import folder, double-click. I'm going to bring in my EOS m5. No, I'm gonna go to my background music and click on Import folder. So I've got everything imported ready to go. These are bins. So I'm gonna move kind of quickly through these next set of videos because I talk a lot more about the fundamentals in the earlier sections of the course. So feel free to go back to the earlier sections of the course if you need some clarification. But essentially what I'm doing is I go through my footage and I have my talking head here. And all I do is I take my talking head video and I created a sequence so I can either click on it and drag it over here into the timeline panel, or which I never showed you earlier on. I can actually drag it down here to this icon, drag it over the top, release my mouse, and it creates a sequence that way. So that's a really cool, tricky way of creating a sequence. So didn't show that one before. So now I've got my sequence. I'm gonna expand that out. I've got it right here. Right, so there it is ready to go. So what I do is I sift and select my footage. So if I've shot, you know, 567101520 clips, I will double-click on them here and I'll use my source monitor box. And I'll just scrub the footage and select what I want and drag it onto my timeline. Now, some people actually just drag all of their footage from their project panel. And they drag it straight into their timeline and they edit everything inside the timeline. So there's no right or wrong way. It's just whatever works best for you. So what I've done, I've just in this case, taking the footage and dragged it straight into my timeline. And I'm just going to edit inside my timeline. I'm not even going to use my source monitor box. And then what I like to do is I do a very rough trim of my a role. So this is a Roll footage, there's a role and there's B roll. So essentially, without going into all of the details, the a role is the main story of your video. It's the backbone of your video. It tells the story. It's the main narrative driver. What I do is I look at my wave form and I edit with my wave form. So I've got my waveform expanded out here. And so I've played this back before and I don't know what's going on. So but when you play this back, if you want to use my footage, you'll see that I have got take number one here, and this is my second take here. But I know that by looking at my wave form, I can see that with my waveform there's quite a bit of a break here. So I know that this is take one, this side here, and this is take two on the right-hand side here. So the first thing I do is I chop it off, I chop off take one. So take my razor tool and I can just delete that as such. Or alternatively, I can just hit the cue key on the keyboard and that will report delete as such. So now I've got take two on my timeline here, and it just scrub this along. And I'm pretty happy that this is going to be my rough cut. So I know I'm gonna be working with this. And I also know that I'm gonna be using some B roll, which is extra, additional footage that we'll go over the top of my a role. So we'll talk about B-roll in the next couple of videos. But I've got everything ready to go. This is my rough cut and I'm ready to move into the next section of my workflow, which is using jump cuts and zoom cuts. And we'll get to that in the next section. 54. Project #2- Jump Cut and Zoom Cut Like A Pro!: So I'm going to show you how to do jump cuts and zoom cuts in your talking head videos using this talking head video as an example. It's very common to see this with YouTube is, you might not know what it is, but when I show you, you'll know exactly what I'm talking about and how easy it is to apply. And essentially, with a jump cut, it makes the YouTube look like they're really not made any mistakes that they've delivered the message in one take. And the truth is, is that everybody makes mistakes and most people need to do multiple takes to get the point across. So the jump cut is a perfect way to remove any dead space between your sentences or to cover up any mistakes that you've made. To remove any retakes. And he's stumbling of your words and things like that. So I will show you how to do the jump cut. So I am not going to watch this whole talking head video with you now just to save time. So I've just marked a few points on the a role here to show you how to do a jump cut. And then you can practice with this footage after this video. So I'm gonna play this back. So, so far there. And by looking at the waveform, I can already see that there's a bit of a gap. And I can remove that gap. And I'll show you how to do that. So if I zoom into my timeline and I've expanded at my audio waveform. And just a quick point as well, when I'm making these jump cuts, I'm, I've, I usually use my waveform to guide the process so I can see by looking at my waveform, what's going on, where zoom out, I can see that this is a pretty consistent dialogue. So there's not many breaks in my dialogue. There were a lot of breaks. If there are a lot of breaks in your own dialogue, you can just move in, zoom into your timeline, take the razor tool like this and you can just chop them out. And then you have a zoom cut. So I'll just play this back. So I've taken a breath air. And although this is not my most popular method of editing videos, I'm showing you. A common method used by YouTube is, and sometimes I do this, but not very often, not as often as what I used to. So I'm going to take my razor tool cut here. And then I'm going to move my play head along. And just before this little waveform begins, again, I'm going to just the QC key on the keyboard, which will ripple delete. And I've just removed that little bit of dead space. So if I play this back, so you can see how the jump cut works now. And if I just move through the footage. I've repeated the word a lot. Now, to be brutally honest with you, I in the kinda guy that we'll just let that go, but I'll show you how to remove it. So I know some people watching are not happy with having repeated words and they yearn to remove redundant words. So I'll show you again. You just take the razor tool, you chop there. And this is where you use the waveform. So there's two little peaks here with a waveform where I've said the word a lot twice. And then just before I move into the next piece of my dialogue, I just hit the razor tool can then back to Select and I can just delete that. Well, the easiest way. And then I can ripple to late here. Or the easiest way that I like to do is I just take my play head here, hit the cue key on the keyboard, and that will ripple delete back as such. If I play this back. Now that's quite a rough cut. So what I'm going to show you is the Zoom cut. Now the Zoom cut is essentially a really cool way to cover up the miss, the vaulted look of a simple jump cut. So I will show you how to do that now. As you can see, that's quite a jolt, right? So essentially what we're going to be doing, we're going to make it look like we're using a second camera. And so we're gonna crop in this piece of footage and then we're going to crop back out again. So that won't make a lot of sense, but I'll show you what I mean. So I'd take my razor tool. I'm going to play this for a little bit. Okay, so right there where there's a gap, I'm going to cut here, just remove this little bit of space and hit the cue key. So we've had this little piece of footage here. And now I'm gonna do a zoom, zoom, cut, what they call a crop in and a crop out. So I've got my clip here selected this highlighted piece. I wanna go to Effect Controls over here. And then where it says scale, I'm going to scale this up a little bit. And I'm going to scale it to bear a 120%, something like that. They're going to change the position. So I've my head's in the frame to see how it's all black. So obviously we don't want to say that black, so we want to adjust the position so that I'm sort of in the center of the frame there. I'll play this back. So you can see how that works. That's a simple zoom cut. So it gives the illusion that I'm using a second camera. When I'm not, I'm just using the same camera and I'm just changing the scale of that clip. And then obviously when that finishes, I'll get back to this clip here, which is a scale of a 100%. How easy is that? And you can see that it doesn't look like I have done a jump cut. So that's a really cool way of doing a zoom cut. And I do suggest playing around with zoom cuts so you get the idea. And so I'll let you go through, play around with this, Have a listen to and watch this for Asia. And see where I'm taking breaths. You can just chop out those dead spaces. You can play around with jump cuts and zoom cuts. But the idea is to, when you, when you incorporating jump cuts and zoom cuts, is you're generally keeping the audience engaged. The more arms and ours and dead space between your sentences, the more people get kind of bored and they move on quickly. So play around with it. Use your own footage and I'll show you the next part of my workflow, which is how to edit B-roll. 55. Project #2- How to Edit B-roll: So I'm going to show you how to bring your story to life by using B roll in your talking head videos. So essentially there's a role and those be wrong. And so we've talked about a role which is the main story, which in this case is the talking head, which is my talking head, right? You're talking head. Whatever footage that you wanna use. Then we have B ROM, which is any footage that complements the story that you're telling in your a role. So if I'm talking about something, for example, in this case, if I play this back, I'm going to be talking about how it's writing outside and how I've just had protein pancakes. And I'll play this back and I'll explain in just a second what this means. So I just said there that were locked down into writing outside and I've just had protein pancakes. So what I did was I filmed the rain outside and I also filmed the protein pancakes. And I am going to include that into this talking head video as B-roll. So by taking extra footage of the things that you talk about in your a role, you give more contexts, you enhance the story, and you really bring your story to life. Because let's be honest here. I mean, this video is what, an hour, one at one minute, 31 minute, 40 seconds long. It gets pretty boring. If you're just sitting there watching someone talk away for a couple minutes without any kind of break. So that's why B-roll becomes really handy because you can visually show people what you're talking about. So rather than me just talk about how to raining outside and how I've had protein pancakes. I actually filmed the protein pancakes over here. So I'm gonna add this as B roll. And I'm going to drag it over into my timeline. And you'll get to see, as I'm talking about the pancakes, you'll get to see the pancakes. So the moment where I mentioned protein pancakes, I'm going to line up my B-roll over the top there, right there. Okay, great. So this is a very, very cool way to add a substance to your talking head videos. And also what's really cool about B-roll is You can hide your editing, your jump cuts as well. So I'll show you what I mean. I'm gonna move this away for a little bit. And you'll see here that there's a little cut here on the timeline. I'll play this back and you'll get to see it over here. Okay, can you see that cut there? So that was a jump cut. We talked about that in a previous video. So B-roll is a perfect way to hide that jump cuts so you don't actually see the jump cut. It just looks like I've made it continuous. Broken, uninterrupted dialogue to camera. So pi this back. Say, so, keep in mind, I do this every now and again. Use B-roll to cover up any breaks in my dialogue. And it just sounds like you've never looked at a script or you've never looked at your notes. And it looks like you've just continuously spoken to camera without any break. So keep that in mind. You can use B-roll to cover up those little things. There's little cuts. And then over here where it talks about how it's writing outside. So I've got some B-roll here of the rain. I actually film that in slow motion on. This was actually filmed on my phone. So it just shows you that you don't need any fancy equipment. I'll just take a small piece of that slow motion there. Just drag that over. It's pretty cool actually. And the drag that over to the timeline, I can even use this B-roll here, which was shot on my camera. It was actually hailing outside too. When I film this, you can see the little Heil pellets. So I can just take a piece of this. So if you're not sure, because I'm moving so fast, just go back to some of the earlier videos in the fundamental section of the course. And you'll get to see exactly. I do this is I know I'm moving a little bit quick, but I want to be efficient with time. I don't want to waste your time, so I'll play this back. Okay. So we've got the sound in there as well from the from the rain. So I'm just going to shorten this down a little bit. And I'm going to reduce the background sound from the rain sofa pi this back. I'm going to drop the volume of the rind so it doesn't overtake my voice. So I don't really like that, to be honest with you. I mean, it looks kinda nice, but I think I'd like to slow motion, but you get the idea of how to add B-roll. It's just as easy, as easy as that I can. So that's a bit of a quick cut there from the B-roll to the a roll back to the B-roll. So that's a little bit too quick. What I like to do is I like to fill that gap in and go from this B-roll shot to this B-roll shot. Perfect. So just a few tips for you when you're using Bay role in your talking head videos. Make sure that you try and get some smooth shots. And try and film in slow motion as well. Because it can make you be role a little bit more interesting. Rather than just using sloppy footage that you haven't really put a lot of thought into for your Bay roles. So I usually in my head, I think about what I'm going to say to camera and then I think about my B-roll shots and then I get all of that footage in advance. There's, you know, you can never ever have enough B-roll footage. You want to walk away from your video project knowing that you've got enough B-roll and you can never have enough. So I hope this was interesting and insightful for you. And I encourage you to play around with this B-roll in your own projects, and I'll show you how to create a montage in the next video. 56. Project #2- Creating a Montage, Full Screen Transitions, Lower Thirds: Okay, so what you just saw was a little montage with some full-screen transitions. And we're going to recreate that in this video as part of our workflow for our project that we're working on. So I'm going to jump straight into it and I'm going to show you how I created that. So first and foremost, we have footage on our timeline and I'm just going to move at all to the right a little bit, just to create a little bit of space there in the beginning. In fact, I might even just hit my track, select forward tool on the toolbar and then just click and push everything else along like that. So I'll go back to my selection tool. Now. You should be in the graphics workspace. If you click on Graphics at the top here, you'll see a central graphics on the right. We can just pull this out so we can see more of the little thumbnails here. And for more of a clarification on the essential graphics or motion graphics element of what we're about to do. Go to the graphic section of the course. I explain all this in more detail. I am going to move a little bit quick through this video. But essentially these motion graphics here, pretty much what I'm including in this course for free. And you'll get to see more of that when you go to the graphics section of the course. But we're going to use these little motion graphics templates and we're gonna recreate what you just saw. And so if I hit the little star icon here, I've actually favorited the transitions that I'll be using along with this bit of text here, that little motion graphic and a few other bits and pieces. If I hit the star again to an unselected that I get a list of all of my motion graphics that I can pick from. So the first thing is we need to put down some footage on our timeline that's going to be part of our montage. And so I've got that footage over here on the left-hand side, and I've literally just taken this footage from pixels.com. So PEX ELS.com, where you can get free stock footage, not associated, not affiliated by any means, but just a website you can go to to use this stock footage. That's exactly where I got this footage from. So I'm just going to double-click here and I'm just gonna select bits of this footage. And then I'm just going to drag it onto my timeline as such. And this one here, you can use your own footage, but I've also included this footage with the course as well. And I'm just going to drag a couple of them onto the time. We have some time lapse here. Really nice time-lapse. We're just going to drag that across as well. And so we could have footage laid down on our timeline. And in terms of the music, we're going to lay some background music onto our timeline, so I'll find out background music. And here it is. I'm gonna click and drag that over to my timeline. So there we have it. Our background music is there. And if I play this back. Now generally speaking, when I'm making a montage, my own videos, I generally don't like the montage to go for any more than about 15 to 20 seconds. That's just a personal choice when people are watching your YouTube videos. That typically you want to get the value from the video as fast as possible. So this little montage is going to be around ten seconds long. So we're going to end up chopping this down a little bit, but it's just a personal preference. So now that we are going to eclipse down, we have that background music. I'm just going to drop the volume of this background music a little bit. But remember, we're not going into the details of, you know, adjusting our audio volume audio levels just yet that's going to come up later. I just wanted to drop that background music down, play it back. And then here I can just adjust the length of the clip so much just shorten that a little bit. So there's a bit more of a quicker transition. Great. So that's pretty much it. And now what I'm gonna do is I'm going to drop in some transitions, but these are going to be fullscreen transitions. And again, with the free motion graphics pack that I've supplied in this course, in that section of graphics later on in the course. And you'll be able to access all of these on the right-hand side here as well for free. So I'm going to use which 01:00 AM I going to use? I'm going to use this one here. And I'll take this transition and just drag it over to video track lead to and if I play this back, alright, so quite how I want it to play out, but it's a good stop. I don't want to cover more transition, so I'm going to use this transition here, this full screen to transition here. I'm going to drop that in over the top between these two clips. Play this back. And then we want another transition between those two clips. I might use this one here. And so essentially when you're using these motion graphic template, these transitions, I just dropped the transition between roughly between the two clips and then I'll just play it back and just see how it looks and then I can just make the adjustments. So clearly we have to, we have to make a few changes here. But you get the idea. So what I'll do, I'll just move these clips forward a little bit. So the transition is then transitioning into the clip. So it's just a matter of fine tuning the exact position of the clip versus the transition. So we want at that point there, we want a clip to. There we go. That's much better. There we go, that's much better. So as the transition begins, it opens up and then reveals underneath. Now clip. And as it plays along, the next transition takes effect. But then as that transition swipes out and opens up, at this point, we want the next clip. So we want the next clip to be around here somewhere. So I take this clip here and I'm just going to drag it forward and override this first clip. If I play this back, there we go. So I'll take this from the beginning. Opens up to the first clip, opens up to the second clip. And then I'll play this out. And then as I play this out, and I'll just drag this, I want to transition. Now we have obviously black frames there. We just need to drag this clip Ford plant again. And then at this point, we want the new clipped to be revealed, as you can see here. So we'll just click and drag this one across. There we go. And that's pretty much how you do it. So just to give you a rough idea, as I said, the transitions, they sit roughly between the two clips. You might have to shuffle them around a little bit just to make it fit nice and smoothly with your your clips will play this slowly. Yep, that looks pretty good to me. Now we'll just play this to ourselves and see how this looks so far. Transition and final transition. Great. So now that we have our transitions there, we can add that text. If we go over to browse here on the right-hand side, and then we look for where it says simple text revealed. This again is part of the free pack that I've offered to you in the section on the graphics. If you go to that section, you can download this as well. And we can simply just drag this text layer over onto a timeline and you'll get to see how it looks just on its own. So it just pops up from the bottom there. And when you click on this text layer, this graphics layer, you'll see here that you can change the name of the text over here. So I think I said travel adventure in the example that I used. So we'll just stick with that one travel adventure. We've changed the name there. Now to make it smaller, you just go over to effect controls here. And you can adjust scale here. And that will just the size. And then in terms of the position, click on that. In terms of position, we can just modify the position x and y, so we can just drag it to the bottom left a little bit somewhere around there. Looks pretty good. But then we need to correctly put that in position with the clips. So I'm going to shift these three transitions up a notch and I'm going to drag the text across. And I'm just going to sit at anywhere just to see how it looks. So clearly that's the wrong spot. What if I move it here? Okay, we want the text to kind of pop up just after the transition takes effect. So no text just yet. Now that text pops up right there, just as the, we hit the end of that transition, we have that text popping up their great, I'm happy with that travel adventure. And then our next transition. And all we're gonna do is I'm going to take this. Graphic Layer and I'm just going to duplicate it. So I'm going to hold down the Alt or the Option key on my keyboard. Click. And I'm just going to drag it so it just duplicates it and release my mouse and now have a duplicated copy. So I'm going to click on the duplicated copy. I'm going to call this one freedom. So you get the idea. It's very, very straightforward. I suggest you play around with this and you can get so creative with this. And as you can see, I mean, it's literally taking like 567 minutes. And you can change the colors and you can really do a lot of damage with using these motion graphic templates. You don't need to use keyframes and look at, look at that. So we have our transition there. And then as the transition finishes, our Texas popping up to at all part of a nice flow Freedom. And then the last one. So we have, we want to change this one so you just click and hold down the option key and then drag it out. And then we have duplicated that. So I'm going to click on this. And the last one was, I think lifestyle from memory. And I just made those names, those terms up. So we go into the last transition. And then at that point, okay, we want the text to be popping up around here. So you get the idea. Okay, that's a little bit too much, so we'll just take that back. Yet that looks good to me. Alright, and we'll just chop it off at the end here. So let's play this back and see how it looks. Great. So as you can see, it's quite straightforward and in terms of further adjustments, you can modify the color to fit the theme of your channel. So you just click on the layout, on the motion graphics template and click where it says Main color and you can adjust the color to whatever you want. So if you want to make it orange or blue. And then what I like to do is I will take this a color code here and hit Control or Command C on the keyboard to copy it, click okay, so if I play this back, we now have that color applied. And if all the same color to apply for the other transitions, I click on this transition, click on Color. And then I can select that and go Control Command V, which copies that color-code across. Click OK and look at that. We do the same thing over here, main color Control Command V, and that's it. So if you want, you can modify the other colors are the secondary color here. You can change the white there, the secondary colors here. So you get the idea. This book on war time. Great. So that's how you do full screen transitions with motion graphics in Premier Pro. So now I'm going to show you how to do lower thirds. And so as mentioned in the graphic section of the course, I talk more about lower third to what they are, how to apply them in more detail and more and more slowly. So I'm going to kind of push through quickly. I'm going to take my talking head clip. In fact, I'm going to undo that and I'm just kinda drag it, select it all and just zoom in and then drag it all to the left. And then I'm just going to select all of this. So we're going to make final adjustments to our little video later. But I'm just roughly putting this all together. So just wanna drag that and so it's just underneath there. Alright, and then I'm just going to quickly, I'm just going to mute the volume of the background music because I don't want that to distract right now. Okay. So with the lower third, it's just a matter of using a motion graphic or you can create them by hand manually, which takes longer by using shapes. So you can go over here and you can select rectangle, and you can draw rectangles. And you can modify that so it's really, really light. And then you can put some text over the top of that, put some creaky frames on that, and it made it a little bit and have that be your lower third. But honestly, a lot of guys teach that. And I don't, to be honest with you, I very rarely use rectangles and ellipses and all that sort of stuff. I like to use motion graphics because it just makes it more professional-looking with your lower third. So again, I've got a whole list of motion graphics here. And I've just favorited this one here. And again, if you go to the graphic section of the course, you can download a whole bunch of lower thirds motion graphics that I've given away for free. Con, locked with what you're seeing now, when you drag a motion, when you drag a low and a lower third over to Timeline, sometimes it can look like it's kind of like off the screen already and it's just a matter of clicking on it. And then just changing the scale of it over here, in effect, controls just making it smaller, like 50% or something. That looks a little bit more normal. And so with the lower third, usually they sort of located around the lower third that the bottom third of the frame, but not always. So I'm positioning this around the lower third area. And I am just kinda changed my name so I'm going to call it my name. So I click on lower third down here, go to text settings over here. And so all of the adjustments to your motion graphics can be all adjusted over here with the settings. So text1 texts to, so call this bread Newton. And obviously it's chopped off there. You can modify the colors. You can modify the length of these boxes here. So if we go down to where it says, Here we go rectangle width and we have rectangle two width. So the first rectangle is my name and then we have the second rectangle. We can adjust the width of those boxes. So just by hitting that slider there, I can make a little bit wider. And then where it says specialist in computer technology and I'm not. So I'm going to call this adventure seeker. So you can change the color. We can make it instead of white, we can make it like a light blue. Right? We can do those kinds of things because we have the options to do that and you get the idea. So I like to just keep things simple and I'll just leave it as white. As long as you can see the text against the background. That's good enough so you can change the position here using the position values, the color. You can change the font type from Arial or to anything you want. So all this is pretty self-explanatory. I'll let you play with this in your own time, but I'll play this back and I'll show you how it looks so far. So that's pretty much it. And then as you can see, this lower third kind of this asset kind of extends quite some, quite some length of the timeline. So I'm just going to trim that back. And I really just want the lower third to appear for about five or ten or 15 seconds and then it disappears. So that's how you do allow third, so have a play around with that. And if you have any questions, let me know. And that's pretty much it. So just one thing before I let you go and I know this is going to drag it a little longer. This is one style of opening up your, your videos, your YouTube videos. So this is like the opening montage that some YouTube is to have in their videos. I actually don't do this anymore. I have experimented with having the montage at the very beginning before my vlog or my video starts. If you watch any of my videos, you'll see that I usually start the video with a small piece of my vlog or my video. And then I go into a bit of a montage or a bit of a trailer. So I'll whip that up for you three seconds because they don't want to waste your time. So I'm just going to click on all of this, going to drag it over to the right. And typically what I do is I pick out the key piece of my video that represents the theme of my video. So for example, I've already done this in advance before shooting this video. I'm going to take this piece here. I'm going to bring it to the very beginning of the video, play this back. So that might be the key piece that I want to use that represents the whole theme of the, my video. And so this is part of a strategy that a lot of YouTube is used because when people click on your videos, you want to deliver what thereafter within the first five to ten seconds. So typically, I'll have this and then I run a little bit of an intro trailer. And at the moment I'm running this bumper that I created. Actually, I'll just move all of this to the right as such. And then I'll drag this in. And so I created this, this bumper. And if you want me to, I can do a separate set of videos explaining how to create really nice trailers like this. So this looks very difficult to make. It's actually pretty straightforward and I can show you where to get the template from and how to make it for your own, for your own videos if you wish. So the idea is that you've got this piece here which opens up the video. Right? So that really just lays out the foundation of what people are to expect when they watch your videos. And then it quickly cut to a trailer. And then after the trailer, then you've got the actual video itself that starts. So I'll show you quickly and then I'll end up this, I'll stop this video. So here we go. So you get the idea. So we have the opener, We have the trailer, and then we have the beginning of the video. So anyway, I hope this was informative. If you have any questions, let me know and I'll see you in the next video. 57. Project #2- The Best Way to Sharpen Footage: So I'm going to show you the fastest way and the best way to shop and your footage you're talking head footage. In Premier product. If by mistake you haven't nailed, you'll focus in camera. So this is really just an optional video because sometimes, and I've done this where I've set my camera up and I haven't set my focus perfectly, and I don't want to reshoot the video. So then it's up to me to try and correct the focus in post-production in Premier priority. So as I said, this should not be something that you do on a regular basis if you've got your focus set properly in camera. So I will show you how to do sharpening of your footage impermeable anyway by using this talking head footage that we're working with together. So we have some footage here and I haven't done any adjustments to it. I've just taken straight from the camera. And I want to sharpen this 42 a little bit. So if we zoom in, open that up, it looks a little tiny bit blurry. Right? A little tiny bit. I mean, I can get away with this, but I'll show you how to shop in this up a little bit without making it look unnatural. So let's have a look at our timeline and will make things, move things around. So click on editing at the top here for our workspace. And now we're going to make this time on little bit ydA zoom in. So this is all of our footage, right? And this is our little lower third that we worked on before. We're going to move that up to the next layer. And then those B-roll shots over here, we don't need to sharpen those up, so we can just move those up to the next layer. So the first thing I wanna do is I want to get an adjustment layer because as you can see, we have our talking head footage is now chopped up here on the timeline. So we want to apply an effect of what they call the unsharpened Mask. I'll show you in a second. We want to apply that to the entire footage. So we go down here where it says new item, click on that, click on adjustment layer, click OK. And then we'll call this adjustment layer sharpening. And then we will click and drag that over to our timeline. And then I'll stretch it out across the entire length of the clip. And now we have an empty adjustment layer. All you then need to do is click on the two arrows go to effects down here. And if I'm going too fast for you to slow the video down, if you need or pause the video and rewind. And then I know this seems weird, but there's, there's an effect for sharpen. So if you type in sharpen, you'll see sharpen here. But below it, you'll see unsharp mask. Now, ironically, unsharp mask is more effective at sharpening your footage then the sharpened effect, in my experience, it's really strange. So I usually just type in unsharp in the search box here. It comes up with to it used to only come up with with one option on my laptop for some reason. So just click and drag it over onto your adjustment layer, click on and release it. And then if you go to Effect Controls over here, you'll see unsharp mask has been added as an effect. We have three options, amount, radius, and threshold. Now, just to save time, I'll show you approximately how much you should add as a starting point and then you can adjust it. So I like to start with what I'm doing talking when I'm sharpening talking head footage, I like to start with around 200 to 250. So I'm going to just take my play head here. And I'm just gonna select some random point. I'm gonna go over here. So it's already applied an amount of 50. If I drag that up to 250, Enter, you can see it's sharpened. Now you can click over here where it says affects, that turns it off. So that's off, that's on. Now, if I make this full screen, that's too sharp, right? So as I said, 250 in my experience is a starting point and then I just dial it down. So maybe 200. Still little bit too sharp in my opinion. So maybe 100. And I have a look that's a little bit better. So if I scrub my footage and then I look at the before and after, make that full screen. So we have before and after. So the idea of sharpening is to, is to obviously make the footage sharper, but also not to over sharpen it so that it looks unnatural and distracting. And so if I just undo that, that's before, that's after. So it's very, very subtle. That's after, that's before, that's after. So you can see the difference. Now as I said, this is only something to consider if you haven't now your focus in camera. Now to be fair, my focus is pretty good. What I shot this video very quickly to set up my camera, didn't put much thought into it, turn the camera on it. That's what it looked like. That's relatively it's quiet. It's in focus. But if I wanted to add a little bit of a touch of focus, a little bit, a little bit more sharpness, then this is how I usually do it. So that's pretty much it. Keep this in mind as a tool. If he ever, ever, ever find yourself out of focus in your talking head videos, then remember the unsharp mask and drag that as an effect onto your adjustment layer. That way the effect is being applied across all these clips here on the timeline. Otherwise, you'd have to apply it to each one of these clips individually, which is just crazy. It takes so much time. If you need to make an adjustment, you have to go to each individual clip to make that adjustment. Whereas you can just drop it into the Adjustment layer and it is done for you in one click. So I hope that was helpful if you have any questions, let me know and I'll see you in the next video. 58. Project #2- Background Music, Audio Levels, and Sound Effects: Okay, so now for adding background music and adjusting our audio levels and playing with sound effects. This is really the next part of my editing workflow for my talking head videos. And so I'll show you how to adjust the audio level. Subtle, perfect, ready for export to YouTube. So as I said before, like in previous videos for this project, if you want further clarification on anything that I talk about in this project, you can go to that section of the course and I break down audio, in this case in much more detail and very slowly as well. So I'm going to move quickly. We already have that background music dropped on their timeline. You might have muted it already so you can just unmute that. And now it's just a matter of making sure that we have our background music, but then we have it sort of mixed in with the dialogue so you can hear what I'm talking about. You can hear what I'm saying. So apply this back. Alright, so obviously we need to make some adjustments there. So before I do, I just want to get this little montage and I want to get sort of out, you know, the video edit to, to a point where I can start mixing the audio properly. So right now it's a little bit all over the place. So if a pi this from the beginning, we have a little montage that we worked on together. Just like that. Great. Now we can bring over a footage. Now talking head just to close this gap here. And then what I'd like to do is before the montage disappears, I liked the, the dialogue to start, right? So what I mean by that is if I just take all of this money, just clip this back a little bit, move this over here, and then just take my talking head and my 4H and just drop it underneath the little montage here. Okay, now I'm going to follow this track because I want to hear what I'm saying. Ok, there's a little click there. I want to chop that click out. So just trim that back. And that's the good thing about using the solo option is that you can just Solow one track just to hear the volume or the audio from that single track, it meets all the other tracks. So then I just drag this over here a little bit more. So what I'm showing you here is essentially a style of editing. Will you hear the audio before you see the visual of that particular clip? So this is called a J ket, and we'll talk about GI cuts and L cuts in another video. So that's how I want to edit this video. And then all I gotta do is I will drop the background music when I stopped talking. So I am going to do this manually using the pen tool. So click over here and I'm just going to drag this up so I can see more of my timeline and zoom in. And then I'm going to create some keyframe. So I'm going to click here with my Pen tool. Click here again. So you can see the waveform of where I start talking right here. I'll just take this back, un-solo that. So at this point, before I start talking, I want to drop the background music volume. So I take the two keyframes. I've dropped two key frames here, and I just drag this one down. And I'm holding on what I'm doing a holding down the Alt or the Option key on my keyboard. Alright, so hold down the, in my case the ALT key. And then with my mouse and just dragging that down. And I'll explain in more detail in the audio section of the course how all this works. So if I play this back, so the background music. So you can still hear the background music and you can definitely hear my dialogue, which is what we're trying to achieve here. Also as well. I'm also editing with earplugs, and I should have mentioned this before. Whenever you're editing audio or music in your videos, it's really a good idea to use a good pair of headphones or earplugs. The earplugs I'm using like a paid $80 I think, for them. And I always use them when I'm editing music, you can't trust the speaker on your laptop or your computer because you really do need to be able to have good, good feedback. So that's play this again. So as a guide, if I run my mouse over this keyframe here, we've got minus 34.3 db. Now, if I, if I bring that back to minus 20.8, for example, listen to this. So I mean, you can still hear my dialogue, but the background music is a little bit too loud. And one of the biggest mistakes that beginners make is that when they're doing, they're talking head videos. The background music is too loud and it's too distracting and you can't hear what the person is saying. So I'd like to just drop that down to minus 30, minus 40, every song is different. But in this case, minus 30 seems to work. So perfect. Now we've set our background music volume. I'm happy with this for now. I've got, I can hear it and I can hear myself speaking, which is the most important thing. And then what I'm gonna do is I'm going to take them a lower third on an, a drag that back over here. And then my sharpening adjustment layer, I'm just going to bring that back, right? So as you can see, we have a lower third. We have our adjustment layer for sharpening. And then we've got a talking head clip here. We have our background music and that's it. Great. So what we're gonna do, I'm going to show very quickly, we're going to add a motion graphic and I've got this pre-prepared and I'm going to drop it over the top of my MS me saying to subscribe and like the video and hit the notification bell. Okay, so I'm going to drag this over here. Okay, so this little motion graphic here is available in the free pack, right? So that's available, you can download that. And here are the sound effects as well. So these are the sound effects that compliment this particular motion graphic. Now these sound effects you can access in the audio section of the course. If we go to here it says 60. To open that up, we have 62 free YouTube is sound effects pack. You can download this in the audio section of the course. And I've essentially just to save time, I've essentially use the mouse click sound effect, and I've just clicked and dragged it over here like that. And I've taken this mouse click sound effect, drag that over here. So essentially we have our sound effect, which needs to line up with the action on screens. So if I play this back, okay, that's the moment right there where the mouse hits the Like button. So you can see the playhead here. So we need to move the sound effect so that it's in line with the play head. Now I might just bump this up a little bit. And it collapsed these tracks a little bit. And then I'm gonna open up this waveform here for the sound effect. I'm going to move this to where my play head is and play this back. Okay, that's the point where the mouse clicks on the like button. So I need to adjust this again. So essentially the wave form is what I'm using as my visual cue to edit here. Whenever you editing sound effects, you essentially be relying on your waveform. And as you can see what the waveform here, I'm using that to guide where I'm going to position the sound effect on the timeline here. And in terms of the organization of this. So I discussed this in another video, but audio track layer one is essentially all your dialogue. Audio track layer two is your background music. Audio track layer 345678910. However many audio track layers you need, typically a devoted to my sound effects. So I can have all my sound effects on all these different layers. That's personally how I like to organize my, my tracks, but it's up to you. So I know straight away this my background music, This is my sound effect. By sound effect, this is my sound effect. You don't want to put them all on the same track. It just gets a little bit too messy if you're working with big projects. So that's pi this back. Perfect topic at that time to perfectly. And there were suscribe gets clicked. We want another mouseclick there as well. So we just quickly line that up. Great. And then the bell. Okay. So the playhead is around here where I hit the bell and then I line this up. And of course, if I type in Bell, I get a number of different sound effects for bells. And the one I've selected is this one here. There we go. Perfect. So that's a very basic, basic, basic introduction to adding sound effects to complement any motion graphic that you're using. On screen. So I'll let you play with that and we'll dig into more detail. If you haven't already seen me talking about using sound effects in that section of the course under audio. So now we need to adjust our levels. So if I play this back, I'm looking over here at my audio meter. And I want this to average around minus 12 right here. So this is too loud. So what I like to do is I like to add a multiband compressor. So there's a couple of ways I do this. I go over here to the two arrows and I look for audio track mixer, whereas it is not there. Okay, so I've got a window. Look for audio track mixer. Click on that, and we'll see this screen here. So essentially we want to click on this little arrow here. Click on this arrow here because this particular set of selections is referring to audio track layer one. So we want to add the multiband compressor two audio track layer one, which is this entire track. And I explain more about this in the audio section of the course. Click on amplitude and compression. Gotta multiband compressor. Click on that, double-click on it here. And then we go to this drop down here broadcast. And then where it says margin, we had minus five enter. And we've now applied a multiband compressor, which is limiting our output at minus five. Now, we need to adjust the audio game for this talking head because I'm, I'm still, this is still quite high. Remember it's going to be 3m minus 12. So I select all of this, all of these clips here, I right-click. I'll go to Audio gain. And where it says here adjust gain by, make sure that's selected. And here I'm going to experiment. So I'm gonna start with reducing the gain by around minus five decibels and hit OK. automatically the waveform has dropped down. If I play this back, were sitting a little bit lower but not low enough. So again, I right-click on this, go to Audio again, set it to minus five again. So now our total gain reduction is minus ten after we make this change for click. Okay. So you can see here, I'm looking at these audio meters. I don't want to blow anyone's speakers out. I want this to be around minus 12 as my average. So again, I'm going to drop this down by minus three again. So this is experimental. You might even find that you're talking too softly and you have to add game or increase the gain so that you're not speaking so softly That you are hovering around minus 12 somewhere. So there we go. That's what you need to be aiming for around minus 12. So we could have background music there. We've got a nicely set gain level for my talking head, got some B-roll and then the sound effects, we need to fix those up. That's look at that. So you never want to peek out. That is a bad news. So now we're going to drop the gain level of our sound effects by opening the track up. Click on little rubber band here and just dropping a by around half. And it says there minus 17.9. Just don't rough to store roughly. I'm just clicking in roughly dragging them down. I'll play this back. Okay, so you can still hear the sound effect, but it's not going to stop peeking out and we're still sitting around minus 12. Perfect. So just to summarize this, we have set the background music volume against our dialogue. And we've said that at around minus 32 decibels, right? So we have it nice and loud here. But a little bit too loud, actually, we need to drop that back a little bit. So if I click on this keyframe here and just drag that down and play this back. Okay, great, so I'm happy with them sitting around minus 12 and then the dialogue starts. You can hear me very clearly. We still can hear the background music, but overtaking my Dialog. If I zip this through, we get to our sound effects. Great. So now we have perfectly mixed our sound effects, our background music and our dialogue so that on average, all of these together do not exceed around minus nine, but they sit on average around minus 12. This is perfect audio mixing for talking head videos. And that's it. I hope that was helpful. It does look complicated. If you need to go back through this video, slow it down. But if you need to get some revision, go to the audio section of this course. I explain this in more detail and much more slowly as well. Otherwise, I'll see you in the next video. 59. Project #2- Applying Colour Correction and Grading: So let's get into the world all applying some color correction and colleague writing to a talking head video. And again, this is a huge topic in itself. And if you haven't already seen the section of the course on color, go there first and immerse yourself because I go into much more detail over there. So this is going to be very quick and very quick rundown of how I do some basic color correction and grading for talking head videos. So just so that we're looking at the same thing, same screen. Click on color at the top here. And you'll see geometric color on the right. And then you should see your scopes or the metro scopes on the left here. If you don't see La Mettrie scopes is click on the two arrows you might see it in here. Otherwise, go to window and make sure that you've got a limited color and La Mettrie scopes enabled. So both of these, Alright, so we have pretty much done a lot of work to our talking head video. We've sharpen it a little bit and we've got our background music, got some B-roll, we've got those little motion graphics there, some sound effects, a little montage. So it's coming together quite nicely. And now we need to do some color adjustments. So this is the phase that I start tweaking the color and the grading of my talking head footage. And to be fair, I don't do much color correction and color grading when I'm doing talking head videos, I do more color correction and grading when I'm making more travel videos, travel adventure videos, where the story, where I'm telling a story visually. Whereas if with a talking head video, the story is coming out of my mouth, right? And so people are more concerned with the message coming out of my mouth, then the fact that my skin is a little bit to oversaturated or under saturated. So that's just a personal thing. So you'll be surprised, I don't do a lot of color correction for talking head video. For that reason. I rely on the words coming out of my mouth to deliver the message. Anyway. So I'll show you quickly. So we have basic correction and we have creative here. So as mentioned in the section on color, boys, do you basic correction first before you do any creative color grading adjustments. And I talk about the reasons for that in the color section of the course. So I've got my scopes ready and I basically want to scrub my footage here. And first and foremost, I'm looking at this scope over here. And real quick, so we have 0, we have a scale of 0 to 100 that we're operating within, that we're going to be looking at. And all are really concerned about for talking head videos is where it says 100, that, that's where my white SAR and zeros Oral my blacks are. And essentially where it's really white here is where I've crushed my whites. It's where it's a little bit overexposed. And so this scope might be difficult to interpret, but essentially it's just a visual representation of my frame from left to right. So from left to right here, if you superimpose left to right over here. If I play this back where it's moving here, then my hands. So if you have a look around sort of halfway from the left of this scope. Sort of halfway, just past halfway. That's why I'm moving my hands. If we compare it over here to the program monitor box, around halfway across his frame will be past halfway. We have in my hands moving. So this is essentially me moving in the scope. And so over here where it's really sort of over-exposed, where it's really, really bright or make it larger so you can see where it's really, really bright. We have my hands moving over here. Over here. We have this really bright section where my whites had been crushed. That has to be my shoulder, there has to be my right arm. And then even looks overexposed because the sun's coming in and I live in Melbourne, so the sun comes out for five seconds and then the clouds come in. So, so that's what the scope is referring to. And then over here, you can see where it's not overexposed. This is where the door is. This is where the wall is. So this is the wall. The door. We have the phone over here. So that's pretty much how the scope compares with the visual. The scope is just another representation of the blacks, the whites, the highlights, and all of that information in a visual form. So all I look at is I want to make sure that at no point in my talking head and my crushing my whites or my crushing my blacks. And down here you can see it's really sort of crushing down here. If I keep scrubbing that you see what I mean. So I'm going to apply some basic color correct? Some basic correction to my Adjustment Layer. And inside the adjustment layer, make the adjustments over here under basic correction, it's going to apply that to all of these clips underneath, right? Because they're all pretty much exposed the same way, right? The sun's out. It's all pretty much the same exposure right through from beginning to end. So I can then accurately apply a basic correction to my adjustment layer to each of these little clips. So the first thing I do is I need to adjust my blacks because my blacks are crushing down here. So I take my blacks slider and I want to, now as you see if I, oops, I'll just undo that. Makes sure you don't have the clip selected. Make sure you get the Adjustment Layer selected. Then you've got the adjustment by selected. You then take the slider and watch what happens with the scopes. You can see down the bottom where it's 0. We want to lift that, often offer 0. We don't want it to crush on 0. If I be extreme with that, that's really crushing. So I just wanted to hover just above 0 right there. Okay. And if I hit this, if I scrub that, I'm checking my scope just to make sure I'm ignoring my B-roll By the way. Alright, so I'm not really concerned about the B-roll for now. But as you can see, we're hovering just above 0 there for the entire talking head. Great. And then I'm gonna go to my whites and my exposure. And I'm going to bring that down. In fact, I'm going to work on my exposure. And I'm gonna drop my exposure and watch what happens. If I bring that slider to the left a little bit. You'll see that now we're pulling those pixels down. We don't want it to crush against 100. Who wanted to ride just below a 100. And if you have looked my program monitor box, you can see my exposure changing. Now to be fair, I actually don't adjust my exposure by any more than about 0.5 to 0.2 to one, 1.00. Alright, so 90, right, so we're not crushing. Can you see that? If I scrub my play head here and I just checked my scope, we don't want to be crushing at either end of the spectrum here. So I'm pretty happy with that if I hit the tick box over here, this is before, this is after. So it's very, very slight. And you can see when I do the before and after with a tick box, watch what happens with the scopes. So it's getting crushed, not getting crushed. So you get the idea. So that's all I'm going to adjust in terms of my basic correction for this talking head video, right? And then once I've done that, I move over to the color grading section. Will actually, before I do that, there's one other thing. Sometimes I make adjustments to my saturation down here. So this scope here is if you right-click, By the way, if you're not seeing that scope, make sure you've got vector scope YUV enabled and wave form luma, which is what you just saw. If you don't see luma, just go to waveform type, Click on luma, and that will display that for you. I should have mentioned that before, but I'm assuming that you've watched the graphics, sorry, the color section of the course. So then we have this scope here, which is telling us how saturated our clip is. And that little trace is indicating essentially how saturated our clippers and the direction that that trace falls into is the color of saturation. So it's leaning more into the read, more into the blue, that it is into the yellow and the green and so forth. So if I take this slide of a saturation watch what happens to the scope that bloom, that trace now drops into a small white dot, which is essentially saying that our clip has been completely desaturated, which is very evident here because desaturation is pure grey essentially. So we have now a pure gray frame. And we've applied that to the adjustment layer, so that applies to all the clips underneath it. So this is a completely desaturated clip. We don't wanna do that. So as I bring the saturation backup again, watch what happens to the Blum over here. It gets bigger and bigger and bigger. Now what I'd like to do, honestly, for my talking head videos when I am, I'm looking a little bit pale in the face because I live in Melbourne were locked down. And I haven't seen the sun in a long time, is a light to add a little bit as colored to my face. Now, with saturation, you can easily overkill it, right? I mean, this is a classic example of oversaturation. I'd like to just be very, very gentle with my saturation here and add a little bit of color to my face, right? And that's pretty much it. If I play this back, we have a little bit of saturation there. We've brought back our whites and we've, we've not crushed are blacks or whites. So this is what we have. Now we're gonna move on to color grading. So click on creative here. And this is where we can add a certain style to our video. And this is completely your choice, how you grade your footage. I mean, I talk about Lutz or lookup tables in the color section of the course, but you can select any one of these. And you can grade your footage too as a branding. Something that's symbolic of your own personal brand. You might like to, not great at all. You might want to use M31, actually, which we talk about in the course for color, right? To give your footage of more of an orange and teal book. Right? And then you can use the intensity slider here to bring the intensity back. Because sometimes these lights are just too intense out of the box. So I like to usually bring my intensity back to around 50% or so, 50-60 percent. And if you hit the tick box here you can see before and after. So it's ever so slight. And the idea with color grading is that you want the, the grading to be very subtle but not overpowering. So that's with the colour grade on, and this is what the color grade off. So I'll just make that full screen. So off, on, off on. So it's a very subtle orange and t all look. So that's what color grading is all about. And you can go through the list here. I offer free lookup tables or color grading. These are like filters, really like Instagram filters. And I offer some of these for free in the course as well. But you get the idea. You can just select different ones if you want more of a cooler look or a cold look. So we have here, we have look-up tables by filter grade. So you get the idea. So have a play around with that. So that's essentially how you do color grading for your talking head videos. If you want, you don't have to. This is quite nice. Hugo's very, very nice. And I can bring the intensity, intensity down a little bit. And that's pretty much it before and after. I liked, I want actually one more time. And also as well. Last thing is to keep in mind, make sure that you are applying the colour grade to an Adjustment Layer. If you don't, then you essentially have to apply the adjustment of color grading and color correction to each, each in every clip on your timeline. So if you want to make one change to one clip, you have to copy and paste that to every single clip and that's just too impractical. Make sure you've selected the adjustment layer. You make all of your adjustments to color correction and color grading to your adjustment layer. If you go to Effect Controls, scroll down. We have our unsharp mask. Remember we did that previously, we sharpen their 42 a little bit. And then we have La Mettrie color. And if we hit the arrow here, all of the adjustments for exposure and for blacks and for saturation. We've made those adjustments over here to the values over here are exactly the same as the values over there. So saturation 109.5109.5. You get the idea, but we've applied that the metric color to the Adjustment Layer which impacts all of the eclipse below it. And that's pretty much it. I hope this was helpful if you have any questions, let me know and I'll see you in the next video. 60. Project #2- Creating a YouTube Thumbnail from Video: Okay, so you might be wondering how to create a YouTube thumbnail from your videos in Premier prior. And so typically, what I like to do as a preference is I like to take a separate photo for my thumbnails, for my videos, because the quality is much better than just trying to take a still image out of the video. But there are times when you just don't have a choice. You know, you're out filming travel videos or talking head videos. And you might have forgotten to take a thumbnail photograph, or it might not have just been practical to take that thumbnail photograph if you're doing selfies style vlogging Lakoff done when I was traveling a lot of As Cs prior to lock down. So I'm going to show you how to, how easy it is to take a screen grab from your video of you talking head, for example, and use that as the foundation for creating your thumbnails. So what I'd like to do is I take my scrub here, my my playhead, and I scrubbed the footage and I look for a photo that clutter and look for a frame that represents the video that I'm filming. And I'm going to use this one for example. So essentially, I want to take a screenshot of a frame where it's not blurry. So if I make that full screen, okay, so just I want to use that frame as my thumbnail for my YouTube video. All I gotta do is over here, it says this little icon here it says export frame or control shift a, right, or Command Shift e on your keyboard. Little camera icon. If you just click on that. This is essentially how we export frames from our videos and we just call it YouTube domino. And then we can select the format here. We can save it as a BMP or, or JPEG or PNG or whatever. We select the location. So I'll say this to my desktop. And then we have the choice of importing that frame into our project. And by the way, I do this almost all the time. If I click on this, click OK, it will then import that frame into my project, as well as saving it onto my desktop as a JPEG file. That's how you take still frames from your videos in Premier Pro. If you haven't taken still images with your camera, that's as easy as that. So I hope that was helpful. If you have any questions, let me know and I'll see you in the next video where we talk about how to create stylish YouTube and screens. 61. Project #2- Creating a Stylish YouTube End Screen: So I'm going to show you how to create really stylish YouTube end screens for your talking head videos or for any of your YouTube videos for that matter. And I'm gonna show you how easy it is to use them to increase your watch time when your videos on YouTube. You can also use them to encourage people to subscribe to your channel, or you can promote other videos on your channel by using these really cool n screens. These are called n screens or n cards. As I play this one back on your screen right now, runs a little bit slow because I'm also recording my screen. But it's really, really beautiful. It's really easy to use. It doesn't require any technical ability or editing ability whatsoever. And on I'll show you how to use them. So actually this one here, if I just click and drag this one over to my timeline. I'll show you another example right here. So there's so many different varieties of n screens that you can get to incorporate into your YouTube videos. And it's so easy to customize. So anyway, just thought a tease you with that, we're gonna talk about that in this video. Make sure that you're in the graphics workspace here at the top, click on that, click on a central graphics. And you should see something like this. You should see all of your central graphics here. Now, these n screens that we're going to be using in this video, I've actually gotten taken for free and you can download them for free as well from mixed kit. So we gotta mix kit dot co. These ends screens, if you click on YouTube here, and I'll go into more detail on this in the graphic section of the course. So don't worry, I am moving fast, but go to the graphic section of the course and I explain all this in more detail. And if you run your mouse over these end screens, you can see what they look like. And it gives you a little bit of an animation there. And you get a bit of an idea of what they look like before you download them. So the one I just showed you was this one here. And we have another one. So just really stunning animations, really, really stunning. And there's so many people out there which teach you how to create these n screens using Photoshop. And, you know, it's just so technical, it's so difficult if you're just starting out as a beginner, you want something that's easy and, and this is just absolutely stunning. I love it. I really love it and I'm gonna show you how. So you will download any one of these n screens from mixed kit dot co or anywhere else on the internet. These are free and then you install them as a motion graphic template. And then you just drag them over to Timeline. Okay, so we're gonna use this end screen here. So we're going to delete this one, and we're going to drag this over here. Now with an end screen, you'll end screens need to be between around five to 20 seconds long. So there can't be longer than 20 seconds and they can't be shorter than five seconds. So that's just something to keep in mind. So right now, if I look at the length of this end screen, it's ten seconds long. Alright, so I've marked an in and an out point, and it says He is ten seconds long. So ten seconds is good enough, but I can't I shouldn't make that any longer than 20 seconds, right? So, so you can stretch this out for as long as you want. If it gives you the choice. By computers running really slow. So we've stretched it out to about 14 seconds, but it's up to you between five to 20 seconds. Right, is the guideline here. So I'm just going to right click on this, click on, click in and out. And we have N screen there. So I'm gonna play this back. So where I say thanks for watching, See you guys. I'm going to increase the volume of a background music. So the background music, you can hear the background music play with the end screen. So very easy. I just taken my pen tool here, zoom into my timeline. This is my background music track here, I'm going to select on the rubber band here to keyframes, gonna create two key frames there. And I'm going to drag this keyframe up to increase the volume. And what's this? And remember, minus 12, we don't want to be busting. This is where our average should be around minus 12. So we could have background music playing. We have our end screen there. And then at some point we need that to end. So to be honest with you, I'll show you a really cool technique that I didn't show when I did the background music video. If I play this background music, This is the end of the background music. So what I'm gonna do, I'm going to chop my background music. And I'm going to chop it here. And I'm going to drag the end of the music track. This is a little trick that not a lot of YouTube is. Tell you about. I'm gonna delete that. And I'm essentially shortening the background music by just chopping the background music so that the end of the background music is going to end and coincide with the end screen. So apply this back. We're sitting at around minus 12. Looking good, sounding good. You've probably not gonna hear that too well, actually. There we go. And music finishes. So then all I gotta do is close the gap and then just drop the volume down so that it's the same volume as seven minus 30. So I just tried to stand to minus 30, somebody like that. And when you pay this back, you shouldn't be able to hear that change. Now. You can't really notice it. Otherwise, you put like a little transition in there. And then we get our keyframes. So Pen tool, click here, click there to mark two points, increase the volume on the second one. Play this back. We're sitting around minus 12 as our average. So I'm looking at this over here. We have our end screen. And then very soon they'll both end at the same time. And the Tay Don. So that's how you essentially time the background music, the end of the background music with the end screen. And yeah, anyway, so let's move along to how to customize this end screen. So if you click on the screen here, which is, it's about 15 seconds long, we can click here our main text, and we can adjust all of the text here. We can adjust the text to versus thanks for watching. We can same. Thanks for stopping by something. You might want to just leave it. It's up to you. And you can change the font. It call it anything you want. And it's all pretty self-explanatory ology. Play with this in your own time. You can change the color of the text from white to whatever the theme is of your channel, maybe blue. And it says, Don't forget to subscribe. So here we can adjust the color of that. We can adjust the text or change the text, the font, and the color, as I said, and then the avatar. So the avatar is here. This is where the avatar for your YouTube channel is going to be inside. You can change the colors here and then the links. So, I mean, this is very, very self-explanatory. We've got here, if you look closely, we've got HE, Facebook, Twitter, Instagram. So we can put in our own details here. So for Twitter, you might want to just turn that off. So you can say here Twitter icon on off. You can turn that off. You can remove the text for Twitter name. So then that disappears completely. Facebook, you might want to turn that off as well. Remove the texts there so that disappears. You might want to just put Instagram. So you just put in your Instagram at Brad Newton official. And then that will change. Make that full screen. It's very hard to read, so you might want to change the color. So maybe you wanna make it auto no, red. Okay, it's a little bit better, stands out a little bit more. And you can just modify this and play around with this. So that's essentially how you modify the end screens for the motion graphics here. And Premier Pro, it's just a matter of clicking and playing around with it, changing the colors and making a completely your own. And then once you've done that, you'll upload the video to YouTube. And when you'll upload it to YouTube, you will get to this end screen section of your YouTube dashboard. And I won't explain how this works. It's definitely a subject for another video, but you get the idea. So if I move these around, you can see that we've got some, we've got a template there where you can drop in the next video or the latest video, you would have the avatar here. You can just drop your avatar in there so you can see how that all fits him. We've got video frame, video frame an avatar, so you get the idea. So I hope that was helpful if you have any questions, let me know. Have a play around with this. Otherwise, I'll see you in the next video. 62. Project #2- The Best Export Settings for YouTube: Okay, so once you've finished editing the talking head video, it's now time to export it to YouTube. So I'm gonna show you how easy it is to export really crispy talking head videos to YouTube or any video for that matter, for YouTube specifically. So there are several ways you can do this. You can either select all of the footage here on the timeline, hit the question mark key on the keyboard, and then select the area that you want to export. So essentially the entire shaded area here is going to be what we're telling Premiere Pro to export. We can then go file, export and then media. Or you can hit Control or Command M on the keyboard, it's up to you. And then this little box will pop up. And this little boxes out Export window. And I'll explain all of this in just a second real brief rule, really briefly. So I'll close that window. If I just clear in an out. If I and this is something to be mindful of. And I've, I've seen this on a couple of videos on YouTube. If you don't select a range on your timeline. And you go File Export, Media. Premiere Pro will export everything that's in your sequence. And down here it says sequence in and out, right? So essentially it's going to export everything. And if you haven't checked your timeline, you might actually have like some stray things that you've left on your timeline by accident, like you might not notice, but if you zoom in, you might not see that over here, you've got some random little video clip. And so what's going to happen is that permeability is gonna render it out and it's going to be all black. And it's gonna render all the way to the end here. And I've seen that on a couple of videos on YouTube. So make sure you just check your timeline, make sure it's clean. Zoom all the way out. Make sure there's nothing over here. But the easiest way to ensure that you don't pick up any artifacts is just select all of the footage. Hit the question mark key. You're telling Premiere Pro to only render and only export that section that's highlighted. Then you go File, Export Media. And guys get really complex and technical when they explain the exact settings. But honestly it is very, very straightforward, but keep it really simple for you. So all you need to do is where it says format. It says H.264, make sure that's selected for YouTube. This is the common format here, H.264. And then where it says Preset, if you hit the drop-down, you have different presets for different platforms. So we have Facebook, Vimeo, YouTube down here, Twitter. So it's up to you. But typically, and Adobe makes us so easy. If you scroll down to the bottom here you've got YouTube ten ADP full HD, and YouTube 2164 K. So if you've shot your video in 4K and you want to export in 4K, and you should always keep it consistent. So always shoot. If you're shooting in 4K, make sure you work in a sequence that's 4K. Makes sure you export in 4K, Just keep it consistent from beginning to end. Then this is the option that you're Select. If you have shot your footage in ten ADP. Or 1920 by 1080, your sequences, 1920 by 1080, then we're going to export it 1920 by 1080. So this is the option you are select by hitting that preset. Premiere Pro is pretty much going to do all the work for you. It's going to populate all of the fields for you so you don't really have to do much. But I'm going to walk you through it anyway just real quick. So we have our output name. This is gonna be the name of the video. So we have talking head sample video dot mp4, right? We're telling Premier Pro to Export Video, export audio. So by default, Those two are going to be selected. Alright, so make sure they're both selected. And then we've got here where it says source. And it says, if you read that 1920 by 1080 is the source footage from the camera shot at 25 frames a second, progressive, the stereo audio at 48 thousand hertz. Look, that probably doesn't make a lot of sense, but this is the information of the source clip. And then from there on we have a number of tabs. Now, to be brutally honest with you, you're not going to use most of these. I'd, I never used most of these effects. If you want to add a certain effect or certain lookup table, like color grading that we talked about in another video. You can actually get Premiere Pro to apply that to your footage. It's rendering. I don't do all of this. I don't adjust my color grading or anything else here in the effects tab of export. I do all of that inside my actual timeline. So I don't touch the effects tab. In terms of video, we'll come back to this one, audio, we'll come back to this one, multiplexer captions and publish. I don't touch these three either. Don't worry about them. If you want to click on publish and scroll down, you can tell priming approach to automatically upload your video to YouTube, to your YouTube channel. If you want. I have done this a few times. I've clicked on YouTube. I have signed in my YouTube channel. I've selected my channel name here, what playlist I wanted to go into, title description. I make it private, make sure you set it to private. Because when I had a very, very slow internet connection or used to render our export my video overnight. And then while it was, while I was sleeping, it would automatically upload to YouTube. And so by the time I wake up, it would have rendered my video, and it would have uploaded to YouTube. Now that I've got a fast internet connection, I don't bother with this anymore, but this is an option for you, right? To automatically uploaded to YouTube or Facebook or Vimeo or twitter or whatever. Otherwise, you won't touch that tab. The ones you'll be concerned with is video and audio, mostly video. So let's have a quick look. So we're gonna get a preset. Make sure you've selected Chu Chu ten ADP in this case because we've shot footage in 1080 P. And then we go to video here, the video tab, and we scroll down. We have a quick look, 1920 by 1080. That's correct. Frame rate 25 frames filled order progressive. To be honest with you, you only the touch any of this, right? It says here performance hardware encoding, right? If it says software, just like hardware, it just because it means all run faster. Profile was going to be high. Make sure set to high level, make sure it's set to 4.2. If we keep moving down. You don't need to touch anything else except bitrate settings. Now, the, the setting that is directly proportional to the quality of your export is going to be the bitrate settings here. So where it says bit rate encoding, VBR stands for variable bit, right? One pass. Now that's not gonna make any sense for most people if you hit the drop-down, we have three options. We have CBER, which stands for constant bit rate, and then we have variable bit rate 12 pass. Now, there is a lot of conversation about which one you should select. Now, to be brutally honest, to keep it simple, because you're making these videos for YouTube. It's best just to keep it at VBR one pos. Now, what that means is that when, when Premiere Pro is rendering your video, is essentially rendering your video at the target bit rate. This is megabits per second of 16, which is what YouTube wants. And it will do a single pass over the entire footage at the same time, it's going to render your footage at the same time, at 16 megabits per second. Now, you don't need to change this, and I'll show you why. When. If you go to YouTube, the recommended Render Settings for YouTube. Youtube have specific requirements for how to render your footage. And this is a table which I'll include after this video which you can have a look at. So it says here on this table here, recommended video bit rate for HDR videos. We have 1080 P, right, which is the one we're concerned with. And for footage that shot at twenty four, twenty five and thirty frames a second, the bit rate is ten megabits per second. For footage shot at 485060 frames, the bit rate is 16 megabytes per second. So essentially Premiere Pro has selected 16 megabits per second. We have shot our footage at 25 frames per second. If you have a look here where it says source, 25 frames per second. If you go over here, 25 frames per second to ten megabits per second is all we need. Some people teach, you should set this to maximum. And the truth is, is that if you do that, YouTube is going to compress down your video. Anyway. It's going to take you longer to render the video. It's going to take up more space. And at the end of the day, this video was probably only shot at around 20 megabits per second Anyway. So just make sure VBR one passes selected and target bit rate is 16. That's exactly what YouTube wants. Nothing more. If you want, you can set it down to about ten, right, as per the table. But between ten to 16 is all you need for YouTube. Okay? And then we just move down and have a look. We ignore keyframe distance, videos, not virtual reality. And then we go down to these settings here. Use maximum render quality. To be honest with you, some guys selected, I don't it takes a little bit longer to render the video, and I don't notice the quality difference that much. So otherwise, we have a look at our estimated file size, 249 megabytes. And then one quick look. This here is the preview window of what our what Premiere Pro is gonna render using the scrub tool here. And you'll see these little markers here. So I can click and move those. You need to make sure that works as source range, entire sequence is selected. We want to render the entire sequence from beginning to end. And I can use my scrub tool here to have a quick look at what's going to be rendered. And that's pretty much it. And then all you need to do is hit Export and that's going to export that video to wherever you've selected. So that's the easiest and fastest way to export videos to YouTube. I hope that was helpful if you have any questions, let me know. And that is it. I'm now going to play the end result of this talking head video right now. Hey everybody, thank you for joining me in this course, in this section of the course, this video is a practice video for you to practice everything you've learned so far on this video. So we're gonna be working on this video so we can apply everything you've learned. But if you want, you can bring your own video and you can practice on your own YouTube video. Otherwise, this is a practice video. And I want to say thank you so much for joining me in this course. It's been an absolute pleasure to teach you what I know through my years of editing my videos, 700, maybe more videos now using Premier Pro. And I still have a lot to learn as well, but I've definitely come a long way. So it's an honor to bring you along with me on this journey. I want to say I we're actually locked down at the moment as I shoot these videos. Here in Melbourne, it is writing like crazy outside and I just had protein pancake. So what more could you ask for rain and protein pancakes in lockdown? But as every YouTube is says, If you like the video, hit Like subscribe and hit the notification bell so you never miss a video. That's the typical YouTube speak. But anyway, thanks again for joining me. This is a practice project video. Use this one or use your own. Otherwise, I'll see throughout this section and we're going to work on this video. Or you are in video. It's up to you. Thanks for watching. See you guys. 63. Social Media- How to Create Instagram Videos (Portrait, Square, Stories, IGTV): In this video, I'm going to show you how to create Instagram videos. So Portrait square, stories and IGT videos here in Premier Pro. Kinda like what you saw in the introduction. Those videos were taken from my Instagram account that I made a couple of years ago. So I'm going to show you how to make them here in Premier Pro. So essentially, the only major difference here with making Instagram videos in Premier Pro is the sequence settings. All you need to really do is set the correct sequence settings depending on the type of video for Instagram that you want to make. So whether it's an IG TV video or a story's video, or you're changing the sequence settings. So on your screen right now, I've got an image here. And after this video, I'm going to include this image so you can reference it. And essentially on the left-hand side here we've got nine by 16. So if you want to make Instagram stories or HGTV videos, this is going to be the aspect ratio that you'll set. And that works out to be 1080 by 19 twenties. So in each of our tutorial videos so far we've been working with 16 by nine. So essentially this is just flipped vertically to nine by 16 or 10.192080. Don't worry about the sequence dimensions. I'm going to include them in written form after this video or in the project section of the course. So don't be too concerned if you can't keep up. And then we've got here one by one. So this is 1080 by 1080, or just a square video. And then we've got portrait which is four by five aspect ratio, which is also 1080 by 1350. And so this is a taller, taller format that you'll see in Instagram feeds. So I will show you how to make each of these and we'll get started. So I will use some sample footage that I've taken from pixels.com. And I'll use two of these clips here in the example. So the first thing we need to do is go over to File, go to New, and then click on sequence. And this box will pop up here. And all you really need to do is create a new sequence. And we're going to go to sequence settings. So here, the top settings. And in editing mode we've got DSLR selected and time-based 30 frames per second, right? So Instagram videos, Instagram only supports a maximum of 30 frames per second. But to be honest with you, that's really not what you need to be concerned with. You only really need to change the frame size here for your sequence. So the first one we're going to create is a portrait and which is four by five. And all you need do is type in 1080. By 1350, which we've already typed in. And that's going to create a four by five aspect ratio. And then everything else, you can just leave the same. You don't need to touch anything else. You can actually create a preset. So you can click on Save Preset and you can type in a name and just call it Instagram portrait. Just so you don't have to keep typing in the frame size every time you're creating a new sequence, you're just creating a preset. And it looks like this. So down here, you'll see Instagram portrait and it's automatically saved that as a preset and you just click OK. And we've created a brand new sequence. And as you can see, we have our little canvas here which is black, and you can see that it's taller. And then all you really need to do is, is take your video clips and just drag them over to the timeline as you would any other projects. So in this case, I've got this clip here. I'm just going to drag over to my timeline and you'll see this box will pop up. So just click here where it says keep existing settings. And then you'll have your little clip here. And so it's up to you what you do. You can double-click here in the program monitor box. And you'll get these little things here and you can just drag them in to shrink the video or you can just pull that right out to fill the canvas and it's up to you. And then if you play this back, it's really just a matter of positioning the video clip so that it fits within the canvas the way you want it to fit. So if you click on the clip down here, go to Effect Controls, and then use the position sliders. You can just kind of pull this left and right, and then up and down as such. So you can get it fitting inside the canvas the way you want and you can adjust the scale as well. Another thing I like to do is I like to. And you would have seen this too on Instagram where people use captions top and bottom of the video. And so I'll show how to do that. It's really easy to do. So we've got our clip, it's positioned inside our canvas here. And I'm just going to pull it out as such. And I'm just going to take this clip. I'm going to drag it over to video track layer two. And I am going to create a white collar Matt. And so I'll show you. So down here, new item, click on that, go to color Matt, click OK, and then you can select whatever color you want. So you will typically find white is used on Instagram. And click OK, and then you can just call it wide and click OK. And then we've got a white color mat here. You just click and drag that over to the timeline on video track layer to zoom in a little bit. And I'm going to extend this all the way out. And so now we have this white collar mat there which is behind our video. And we can use that white to type some text over the top. So we can take our type tool. We can draw a little box there and we can type in my vacation. So it could my hiking, vacation. You can play around with this. So just as we have discussed in the text section of the course, I talk about how to customize text using all these controls over here. So if you click on Graphics at the top here, and you'll see a central graphics on the right-hand side. Like any other type of texts, you can manipulate the font, the size, and the centering, and all of that. And so just waiting for this to load. So I'm not going to bore you too much with this. We've already discussed it, but I'll just quickly make some changes so you get the idea and I will center it. So I'm just very roughly putting this together. So that's one, that's one type of Instagram video you can create using a portrait. And to create a square Instagram video. Again, you just go file new sequence and go to settings and then leave everything else the same here under frame size 1080 by 1080. And we're getting the one-by-one aspect ratio here, leave everything else the same. You can save it as a preset if you'd like. We can just call it Instagram square. If I know how to spell correctly Instagram square and then click OK. And for some reason takes like ten seconds to load. So down the bottom here, it's disappeared on me, or There we go. So Instagram square and then click OK. And again we have a square canvas. Same thing. Just take your clip, drag it over, click on keep existing settings. And we have our subjects here. And again, we just use our under effect controls. We use our positions slider to center our subject as we please. And if we play this back. So it's up to you, you can either keep the video sort of kind of stretched across the entire canvas or you can shrink that down and position like this and then have some text top and bottom on top of this image, if you like, it's completely up to you. So I'll just undo that. Right? So, but you might want to just have a nice square video that's completely filled out just like that. And the last one is creating an Instagram story or IgE TV video. So we're their Instagram story or HGTV video. I'll just show you real quick. They're exactly the same aspect ratio, nine by 16, right? So it's essentially 16 by nine but flipped vertically. So again, file new sequence. I'm going to move a little bit quicker this time. And then here and a frame size, we're going to type in 1080. And horizontal is going to be 19-21. And here it's has nine by 16. Everything else is the same. We can save the preset. I'll let you do that in your own time. Click OK. And we have our vertical video. And same as before. We're just going to take a sample clip and drag it over. Click on keep existing settings. Take out clip, go to Effect Controls, scale it up, position it, and play this back. And we have our IG TV video or our story video, but perfectly centered, but you get the idea or we can scale it down and we can put some text top and bottom using a white color map or any colormap for that matter, it's up to you to your choice and undo that. And that's pretty much it. I'll play this back one more time. And we have our nice IG tv slash story, Instagram video ready for export. So that's essentially all you need to do when it comes to creating Instagram videos. After this video, I will write out the exact sequence settings that you need to type in in case of mood too quickly for you. Or you can just rewind the video, but it's essentially that simple. So in terms of how to export these Instagram videos, I'm going to explain that very quickly in the next video. And I hope this was helpful and I'll see you there. 64. Social Media- How to Export High Quality Instagram Videos: Okay, so now that we've created our Instagram videos, I'm going to show you how to export these Instagram videos using Premier Pro and the best export settings for Instagram. And so this video here, which we created in the previous tutorial is what we're going to be exporting. And so this is a portrait type video which has 1080 by 1350 or four by five aspect ratio. And we're going to be exploiting this little video to Instagram. So we have our timeline here. I'm just going to close these sequences. Actually really neat trick in case you need to find your sequence in your project, is to right-click here on the sequence in the tab, and then click where it says reveal, sequence and project. And it's a really nice way of locating your sequence in your project. Because sometimes you can have hundreds of little clips here. And trying to find the sequence file can be quite intimidating and time-consuming. So anyway, to export, there's several ways of doing it. You can take the playhead, marker and endpoint by pressing on the keyboard and then Mark and out point. And then essentially the shaded area in the timeline is what you're telling Premiere Pro to render out. We can just click and drag this to the end, and that will snap into place. And so essentially we're telling Premiere Pro to render that out. Otherwise, if we just right-click on that and where it says Clear in an out. Essentially, if we don't select anything on our timeline, Premiere Pro will render everything here in our timeline. All we need to do is we can do control command and when your keyboard and our little Export window will pop up, or we can just go File Export Media, and it'll also pop up. So all I need to do is versus format. Make sure you've got H.264 selected. This is the recommended encoding format for Instagram. So make sure that's selected here. On preset. Match Source is usually what I leave it as high bit rate, I just leave that as is. You give your project a name and then make sure these are two, these two options are ticked Export Video, export audio. And then the only two options that you need to be so concerned with his video and audio, there are these two tabs here. You can ignore the rest. All I'd like to do is I click on maps source here. And I scroll down. As you can see, we've got width and height. So 1080 by 1350, remember that's four by five. So we're matching. Output is matching our source. We've selected these settings here when we started our project. Frame rate is maximum 30 frames for Instagram. So 29.97 is fine. 25 frames, 24 frames completely. Okay. Leave everything else the same. Square pixels, hardware encoding, main, you can leave level 4.1. That's completely fine. Other guys change it. You don't really need to. And we just keep moving down. And in terms of bit rate encoding, some guys like CBER, which is constant bit rate, some guys go with variable bit rate, single and double pass. To be honest with you, doesn't really matter the fact that the is being viewed on a very tiny handheld device. You're not really going to notice the difference between these different options here in real life, right? All I like to change here is the target bit rate, which this is megabits per second. And I set this to anywhere between 510. So usually seven or eight is what I select. And down here the estimated file size is 17 megabytes. So remember Instagram's video length is 60 seconds maximum, right? For HGTV, it's longer. But for normal Instagram videos, the maximum length is 60 seconds. So for this video of this size, we've got 18 seconds. So under 20 megabytes is good enough, but usually around seven to between five to ten megabits per second is what I select here. I scroll down. I don't even bother ticking maximum render quality and all of that kind of stuff. Because it's a little video being displayed on a handheld device. It's not going to make a difference. You're not going to notice the difference and you're going to save time. Alright, it's all about saving time. And then click on the Audio tab and make sure AAC is selected. So this is the audio format that Instagram supports and AAC here, and which you shouldn't have to change. And that's it. That's all you need to do. And then you're ready to export that out. Once you export it, you can then copy it over to your phone. And you can just upload it directly from your phone to your Instagram account. So that's how you export Instagram videos in Premier Pro. I hope this was helpful. If you have any questions, let me know and I'll see you in the next video. 65. Captioning- How to Manually Create Captions and Subtitles: So there is a brand new captioning workflow that Adobe has just released as of March 2020. One inversion 15. If you're not running version 15, go and do so. Otherwise you're not going to be able to follow me in this tutorial. So if I click on about here, make sure you're running version 15. You can update it through Creative Cloud version 15, and then you can follow along with me. But finally, Adobe have come out with a long awaited brand new captioning workflow to make captioning inside Premiere Pro super easy. This was a painful process years ago. I used to play with this back in two thousand, fifteen thousand 2016. And it was really difficult to make captions inside Premiere Pro. This is so much easier and I'm going to show you in this video how to do it manually. And then I'm going to show you other methods in other videos. But essentially this is what it looks like. We've got here. If you see at the top here we have captions as a separate workspace civic. Click on that. On the right-hand side you'll see essential graphics. On the left-hand side, you'll see a text panel. If you don't see it, click on the two arrows got in the text. Okay, So we have all of our captions inside this panel here. And then down here on the timeline, you'll see here that there's a separate track just for subtitles or captions. It's called C1, or you can have multiple caption or subtitle tracks. And if I make this bigger, so the subtitle or subtle caption track is pinned to the very top of the timeline. We can add our tracks as many tracks as we want, right? But essentially the caption track will just be pinned at the very top the entire time. And we can essentially just click on each one of these little caption captions and we can move them around. So that's essentially what it looks like. And if I play this back here, we'll have a little captions there. So I'm going to show you how to manually create these captions right now. So I'm going to jump into another video project. This is from my YouTube channel. This is a final video that I've already completed, and I want to add captions to it. Now before I go any further, this is something that I I made this mistake when I first started make your captions after you finish your video project, I made the mistake in the very, very beginning of making my captions almost at the very end. And then I'd have to make changes to my video and that would screw up the timing of my captions. So make sure you complete the video project first and you are 100 percent done with it. And then make the caption file or sendoff and to rev.com to get your captions professionally produced, which I've also done and I'll talk about in another video. So what do you do to create manual captions? So we have our final product video in your timeline already. We go to the captions workspace panel here, Essential Graphics on the right. And then we've got this text, text panel on the left. And we have two options now. There'll be a third option eventually. But right now we have only two options. So we click on the first one, which is create new caption track, and this little box pops up. Now make sure you select subtitle. Make sure that's ticked. And that will create what they call burned in captions or open captions. These are captions that will be burnt into the video when you export it, but you don't have to. And I'll show you how to do it in a second. And then under style it says none, which is okay, we'll come back to that. I'll show you how to create textile for your captions later on. Click OK, and we're ready to go. So we have our timeline here. And essentially what we do, we play the video and then we type out the captions. So annual from London. So we go over here to the text panel. There's a little ad or plus button. Add New Captions, segment, click on that and we start typing. So and this is a very, very tedious long process. I'm not going to sit here and do the whole video with you, but I'm just going to demonstrate a couple of sentences and then how to play with the style and things like that. And then you can go away and do it in your own time. So essentially it's very, very easy to do, right? And so we're just going to create one or two. And then what we do, we take out our play head here, we move it across. I'll just mute this for now. Now, right up here, you'll see that the plus button has been disabled. It's because we have to move your play head over to an empty, an empty part of our subtitle track. Once we do that, it becomes enabled again and we can create a new segment. And we can watch the video and type in some more subtitles. Okay, So pascal, Pascal Mueller. And I'll show you some things in just a second. So okay, so to get the timing right, so we play this video back. Okay, So at this point here, the scene changes. So then we can just click on this little caption and drag it over and play it back. So all you need to do really is you just click on the actual caption file and you can just make it longer, make it shorter depending on how long the speeches on screen. You can click move it around if you want to adjust the timing of when the caption starts or ends. So if you look over here in the text panel, we have a little time code. These are time codes here on the left. So this caption here starting from the very beginning 000, 000 and finishes 0, 1, 2, 9. This one starts 0129 and runs 400, six, 11. Okay. So that's essentially called our time code for our caption. Now what we can do, we have other options. We can click on the caption file here and we can split it. If we want to split the segments or if we want to merge them. So we can just hold down the Control or the Command key on the keyboard for multiple segments and we can just merge them together, right? And you see how that works there. And once you've created your caption file manually, you can then export that caption file as an SRT file. Or clicking on these three little dots here. And clicking on Export SRT file, which is also known as a subgroup file, and then just saving it as a separate caption file. Now, if you want to adjust the style or the font for your caption, or you need to do is just click on the first caption that you've created and then go over to a central graphics click on Edit here, and you'll see all of the normal styling options that we do talk about in other videos. So not going to spend a lot of time on this, but essentially you can go to Text, you can modify the font, and this is where you can get creative. You don't have to use the standard Helvetica or, or, you know, a reall or it's up to you. I mean, you can use Roboto. It's up to you. Just change the font there, make it bold and you can see it changed down here. We can center, we can do whatever we want. And this is where we can manipulate the caption blocks. So if we want the caption to be located in the center or the top or the bottom center or the bottom left. So the industry standard of course, is the bottom center. But, you know, if you're making videos, view YouTube channel, you can get creative and you can do whatever you want. So we can modify the fill color so we can make it yellow or blue or whatever we want. You can be creative and different. It's completely up to you. Stroke is the out, the outline that we want to create with. So we can have a black stroke or a white stroke. We can change the stroke thickness. Anyway, I talk about this in more detail in other videos when I talk about Essential Graphics. Now once we've finished creating a certain style for our captions, we can then save that and apply it across all of our captions. Now what happens? Now if we just jump to the next caption here on the timeline, it's still like it hasn't applied, it only applied to this first one. Now, the new workflow means that we can push out this style across all of our captions on our timeline. If we just go to Track style, drop this down, create style. And I'm going to call this the fitness street caption style. And when you do that down here in the Project panel, a new style file is created, which we can also export here onto our computer and we can save it somewhere. And what we can do over here is we can push out this track or style, push the style out across our entire track. So if we click on that or captions on track, click Okay. And now if we click on the caption here, it's now been applied, right? Pretty cool feature. So as you can imagine, this is a very, very time consuming process, right? If you look at this video length, It's like 2.5 minutes long, three minutes long, almost. Now, some of the videos have made 15, 20, 30 minutes, 40 minutes long. I would spend hours and hours and hours typing our captions and I just didn't I didn't like it. I did not enjoy it whatsoever. And then I discovered that I can actually use YouTube as a free caption generating tool. And then I can just go in after and make small changes. Now, I'll show you what I mean. Now this is really, really cool and I recommend you do the same thing. So what you do once you've finished your video inside Premiere Pro, you export it File, Export Media as you normally would, and then upload that video onto YouTube. Do your own YouTube channel, but you don't have to publish it. Just make sure it's private. And then you go into your subtitle section on our show you. So now I'm in my YouTube channel here, and this is the video that I'm working with inside Premiere Pro. And so I've clicked on subtitles down here on the left-hand side. And then over here, it's very hard to see. There's three little dots. If you click on the little dots, click on download. Here you can select how you want the captions to download your them to VT B2B or BTT file or SRT. So if you click on SRT, it would download automatically generated captions that YouTube has generated for you. And that would download that SRT file onto your laptop or computer. And then you can just import that into Premier Pro. And then you can just go through and make any small corrections to spelling and punctuation and that kinda stuff. So I'm going to show you how to do that. So we go over here back into Premier Pro and we just delete this track, right? So the subtitle track has been deleted. Now we go to Import captions from file and we look for the YouTube generated SRT file, which has captions dot SRT, double-click on it. Now this little thing pops up again. Make sure subtitles selected under style, you can select fitness three caption style. And then where it says start point, click on Source time code. So we'll use the time code inside the file, the SRT file. So click Okay, and watch what happens. We now have a YouTube automatically generated caption file right here. Now, the great thing is that YouTube does most of the work by using its algorithms and its software to generate the caption file for you. But it doesn't mean that it's completely accurate. If I play this back, you'll see that there are spelling mistakes and words that should be capitalized or not capitalized. So you get the idea, it's mostly correct, but like words like the Maldives should be capitalized, right? But this is a great place to start if you want to save a whole lot of time and you don't want to spend any money by getting your captions professionally produced by somebody else. And so once you've finished with the captioning inside Premiere Pro, you can then go File Export Media. And you can essentially, if you're creating this video for Facebook or for Instagram, because a lot of people watch Instagram videos with the captions on so they can see what's being said. If you're in a place where you don't want to disturb anybody and you're watching Instagram videos or Facebook videos on your phone, then you can, this is great. There's a great workflow. So in the Export window you'll see captions and export options or say burn captions into video. And as you can see as we preview, this was C are captions down here. Right now, customize blue captions. And then we can export that out with our very own handmade custom captions. So I hope that was helpful if you have any questions, let me know. In the next video, I'm going to show you how to get your captions professionally produced to make them much nicer, but also save you a whole lot of time, but it does cost money. So I hope this was helpful and I'll see you in the next video. 66. Captioning- Creating and Importing Professional Captions: So I'm going to show you the second method of creating captions and subtitles for your videos in Premier Pro, which is more or less than method of sending off your video to get professionally captioned by a captioning service. And then that captioning service will send back a caption file that you can then use in your video projects. And so This video tutorial is more targeted for students that want to get into professional video design and production. You're working with professional clients, or you're creating content for Amazon Prime or Netflix, where they have a very strict standard for caption production. So if, for example, you're wanting to submit video content to Amazon Prime, and you've just manually created those captions by typing them out. There's a good chance that they're going to reject those captions. I did this back in 2016 when I was creating kept, when I was creating content for Amazon Prime for the first time, they would often reject my videos because they weren't the captions. We're not to the correct standard, the correct industry standards. So this is one title that was recently produced. Here's my girlfriend here and I helped to produce now this tile which is on Amazon Prime, using professionally produced caption files. So I'm going to show you how to do it and then how to work with that in Premier Pro. So obviously this is, this is not a tutorial for everybody. But I'm sure that there are a few of you that are interested in the professional side of caption productions. So I thought I'd put this video together and show you what my most recent as of three years now, my most recent way of getting my captions produce sada and do it manually anymore. I pay for a service to get it done. So definitely not for everyone but for what will be for some people. So what I usually do once I've finished my video project, as I already explained, you have to make just make sure that you finish your video first and you're happy with it, and you export it out. What you then do is you send your video off to a professional captioning service such as rev.com. So I'm obviously I'm not sponsored by this company. They're not paying me to make this video is just a service that I've been using for about three or four years now. And it costs a dollar 25 per minute. Nader have to use RAB. You can there's plenty out there. This is a service that I've personally used for years now. And essentially what you do is you kind account and then you upload a very small version, like a smaller file size version of your video. And then a professional team of people will watch your video and create professional captions. And so they'll send the caption files back to you. Usually there's like a one to two day turnaround time. Usually is sometimes within 24 hours as well. And then you'll get these SRT files that you can then upload onto YouTube. Because you can upload their SRT files onto your YouTube channel. Or you can send them off to Amazon Prime When you submit your titles to Amazon Prime. Or what you can do is go into Premier Pro. And I'll give you an example. So we're in Premiere Pro now. And the second option here is where we can import captions from file. So this is, this can be a file that was sent back to you from rev.com or some other professional captioning service. And you want to import that into your project and Premier Pro because you want to create burned in captions or what they call open captions, which is where you want to create videos like what you see on Facebook and Instagram, where you feel on your phone and you're on Instagram and you're watching a video, you get to see the captions at the very bottom, right. You might be in a public place, you don't want to disturb anybody. And so they're called open captions are burned in caption. So this is how you would create those kinds of videos. So click on Import captions from file. And then we look for the caption file that we've had returned from RAB.com. So this is the one that they return back to me. I click on Open and all I gotta do is, you'll see down here the SRT file has been imported into our project panel. And then we make sure subtitle is selected. And then style, I mean, we can use the same style that we've created or we can just create another style. And then here we just click on where it says source, the time code for the source, which is written inside the SRT file. We want to use that as our start point and not the other two options. So click Okay. And then automatically, our SRT file, which has been professionally produced, gets populated into our text panel. And then what we can do is we can jump over to our essential graphics. We can click on any one of these here in our timeline. And then we can adjust any of the settings here for fonts, or we can change the zone, as, as mentioned before. It's the same process and then you can create a brand new track style or you can use the one we've created in the previous video. And then all we need to do if we want to burn this into, if we want to burn this caption into our video, is we go File Export Media. And then we go to the Export window, which will pop up in a second. And then here on the captions tab it will say burn captions in the video. And then again, those captions will be burned into our video and then we click Export and that is it. So hope you found this useful. If you have any questions, let me know. I'll be more than happy to help you out and I'll see you in the next video. 67. Cool Effects- Smooth Speed Ramping, Reversing, and Directional Blur: You're absolutely going to love speed ramping. It is an awesome technique to use in your video is to just make them a little bit more interesting and dynamic and fun to watch. It really does help bring the audience into the story if you use it correctly. And so I'm going to give you a very basic introduction to speed ramping. There's obviously a lot more that goes into it. And I'm just going to show you as an absolute beginner, how you can start using speed ramping in your own clips. So over here we have a sequence, and this is what you saw in the introduction, that this is kinda what it looks like. We have our clips here on our timeline and we have these little lines here. So these are our velocity lines that we use for speed ramping. We have a little bit of background music and sound effects. So this took me a couple minutes to put together for this tutorial. And so I'm going to help you recreate most of that in this video. I'm also going to include the videos, the clips here, the drone clips. If you want, you can download them from the project section of the course and you can follow along with me. So it just makes it a little bit more fun and dynamic if you're following along with me as opposed to just watching what I'm doing. So feel free to pause the video, come back, download the footage, and then we can do this together. But anyway, I've got here three clips on the timeline. I've got my drone clip here that I shot in Indonesia couple years ago. And then I've got a clip here For guy skiing, which I've actually taken from Pexels.com, mentioned the website quite a few times. It's a great website to get a lot of free stock video footage to play around with. And then this one over here, which is a guy and escape board, which I filmed back in 2018 on my ARs cameras. So I'm going to include these clips that you can download and play around with. So essentially with the speed ramping, I mean, there's a few things that you need to keep in mind. It's kinda best when you're shooting your videos to kinda shoot them at a higher frame rate, like 60 frames or 50 frames or a 120 frames per second. It just makes it easier to kind of play around with the footage when you are in Premier Pro. And then obviously consideration to shutter speeds and things which we'll talk about in another video. Because there is a little bit to think about. I'm just going to keep this simple and then we can get more advanced later on. But I'm just going to jump straight into it. So we've got three clips on the timeline here. And I'm going to show you how to speed ramp. So first thing is you need to expand out the video track layer by clicking here and just dragging it up like that. And it just means that you can see everything much clearer on the timeline, right? So just make sure that's nice and big there. And the next thing we need to do is we need to right-click where it says effects. And then go down to time remapping, which is another name for speed ramping. A time remapping, click on speed, and then do that for the other two clips as well. So right-click and speed, and right-click and time remapping and spade. Fantastic. And all you need to do is you can just pick a point on the clip that you want to stop the spade wrap. So as you can see, we've got like a 40, 42nd, 45 second drone clip here, 52nd drawing clip. And no one's going to really sit here and watch a drone clip for 50 seconds. And so we need to speed ramp this system. I get a little bit more dynamic. So how do you do it? You just pick a point with your play head that you want to stop the speed ramp as such. And then there's several ways of doing this. You can either click here where it says Add, Remove Keyframe. So you can click right there on that icon. And that creates a luteal keyframe there. And if we go over to Effect Controls, you'll see the same key frame up here as well. Under time remapping, click on this little arrow here as well. And then click on this arrow here under speed. And we have a velocity curve here as well. And we have this line here is called a rubber band. It's also our velocity line that we're going to be playing with. So now we've dropped a keyframe and then we just kinda move the playhead along where we want the speed ramp to finish. And we might just take it all the way to the end, around here. And around here, I'm going to drop another keyframe so I can either press P on the keyboard, we'll use the pen tool. And I can either click here or I can just hit the little icon over here, Add Remove Keyframe, It's up to you. And again up here we have two keyframes, one here and one here. And then only need to do is go back to your selection tool. And then you just click on this rubber band, a rubber band, and then just drag it up and watch the little percentage increase. So as I push this line up, the clip is getting shorter, the percentage is getting higher. So now we have ramping this up to 250 percent. Right now, we're going to keep going to 300 percent. I don't know, maybe 500%. Just push that all the way up. You'll see the percentage there, so 50, 100 percent. And then I'm just going to play this back. So now we've normal spade. Now it's 500%. And then, and then it's going to continue playing through and drops back to normal spade. Now of course I can push this up higher to say a 1000%. I mean, you get the idea. But what we need to do because this velocity is going from normal speed to a very phosphate and then back to normal speed. That's a very abrupt change. We want that to be a much smoother ramp. So that's why it's called a spade ramp. So we want to ramp the speed gradually. So I need to do is click on the keyframe and then drag it. And brought now is splitting it in half. And then we do the same thing on the other side, would click on this keyframe here, and then we split it. We hold down the mouse button and we split that one as well. So now we've split our keyframe into two parts. And if we click on any one of these parts of the keyframe, it gives us a little handle called a Bezier handle. And what we can do is we can click on the handle bar and we can kinda like drag that to the right. And this creates a like a little S curve, as you can see, an S-shaped curve in our velocity line. So what that means is that the speed of that clip is going to go from a normal speed and then it's going to gradually speedup. And then we're now for velocity. And then on the other side, It's just a very linear drop in speed. But we want to create a bit of an S curve on the other side as well. So I'm going to zoom in here a little bit and I'm actually holding down the Alt key on the keyboard. Hold that down, use the scroll wheel on the mouse. And that will zoom into my timeline. So that's what I'm doing there. And then you just click here on any one of these split keyframe. So click on this one that gives us this little handled called a Bezier handle. And then we do the same thing. We just click and pull it to the left to create an S curve on the other side. And then if you want, you could actually take the selection tool, which we've already got selected. Click on this rubber band here, and then we can push that up if we want the ramp to be faster. So right now it's at almost 3000 percent. There we go. And if we play this back, we have two S curves on either side that watch this. There we go. So we have normal speed ramp and then back to normal spade. So I'm gonna go one step further. I'm going to show you how to reverse this clip as well. So now we're at normal speed here. I'm going to trim this clip back a little bit. And I'm just going to zoom out. I'm going to duplicate this clip. So I'm going to hold down the Alt key on the keyboard, click and drag this clip over to the right. So now I've got a duplicated clip here. And then all I do is I right-click on this clip, go to speed duration, and then where it says Reverse Speed, I click on that click, Okay? And I essentially have the same clip playing forward and then back into reverse. So this is how it looks from start to finish. So speed ramp normal and then reverse speed ramp normal. So that's essentially what I did in the beginning of this tutorial. Okay, so the next clip I'm going to show you is I'm going to show you how to speed ramp this skiing clip here. So I'm gonna drag this a little bit closer. Now, I want to point this out real quick. I didn't shoot this clip as I mentioned before. But if you go, if you right-click on the clip and go to Properties, you'll see here that the frame rate of the clip is at 25 frames a second. So the problem is if we slow this clip down by 50 percent, then it's going to essentially be playing back at around 700 frames per second, which is going to look really terrible. But I'm going to show you a little work around just in case you've shot your clip at a low frame rate by accident, and you want to play around with speed ramping to slow down your clips. So again, I'm going to take this clip here and I'm going to essentially look for a pivotal moment that I want to slow down. So this bit here where the ski is kind of kicking up the snow, I don't want to slow that all the way down. So this is what it looks like at a normal speed. Pretty cool, but I want to slow that down at that point. So I take my play head there, around here somewhere, and then I hit P on the keyboard and I create a little keyframe here. And then I move the playhead along around here. I want the speed ramp to finish. So click here to create another keyframe. So now we have two keyframes. I go back to my selection tool and then now I just pull this down. So as you can see, I'm pulling this rubber band down and you'll see the percentage dropping. Now I'm going to drop this down to say, I don't know, say 40%, right? And if I play this back, we now have a speed ramp down to 40 percent and it's really it's not good. It doesn't look good at the moment, but I'll show you a little trick that will make it look pretty awesome. And again, I'm just going to take these two, these two keyframes. I'm going to split them. So click and then just pull that apart. Actually pull it to the left there and pull this one, split them in half. There we go. And I'm just going to create a little S curve just like that, right? Pretty straightforward. There we go. And then what I'm gonna do is I'm going to right-click on this clip, go to speed duration. And then under time interpolation, I'm going to select optical flow. I do talk about optical flow in another video. Click, Okay, and then I have to render this clip. So I select this clip, go to sequence, go to render effects in an out. That's important. Okay, So we finally finished the renderer there. So it does take a while, but it's worth the wait. By the way, if you're running an older version of Premiere Pro like 2017 and earlier, going to see the optical flow options. So you need to upgrade your Premiere Pro Dave and see that option. But essentially this is what it looks like with the eclipse slowed down and with optical flow. So apply this back. That looks really cool. So one more time. Fantastic. So that's really cool. So that is essentially the basics of applying speed ramping to your clips in Premiere Pro, if you want to take a clip and go from normal speed to a faster speed or normal speed to a slower speed. That's essentially how you do it. It's really easy to do. And I suggest you play around with it, but I want to take it a little step further. I'm going to show you how to apply motion blur so that when you're doing a speed ramp, it's not just a clip that spins, sped up or slowed down. We want to kind of blur the clip a little bit during the ramp. So it looks like it's actually being sped up and it's in motion. So I'm going to show you how to do that. We go to down here it says new item. We get an adjustment layer created. We click Okay, we take our adjustment layer, we drop it straight over the top. And I'm only going to show you how to do the motion blur on one clip just to save some time here. So we're gonna go to effects and we're going to look for directional blur. We're going to take the directional blur. We're going to drag it onto our adjustment layer. And we'll see it over here and Effect Controls. Now this is essentially where we apply the parameters for directional blur. Now the point is, is that we need to apply the directional blur essentially as the ramp is happening. So we take our play head here and essentially where the ramp begins is where we want the motion blur to start. So right at this point here, we can see it on our timeline. Make sure you've clicked on the Adjustment Layer and that you are applying the directional blood to the adjustment layer itself. Okay, so I'm gonna go over to directional blur. So pay attention to this one because it might get a little bit confusing, but I'll go slow as possible. So we have two parameters here, direction and blow length. And I've taken my play head here and I've positioned at just before the ramp kicks in. That's when I want the directional blur to start. I want to time the directional blur so that it coincides with the actual ramp. And then I want to stop the directional blur when we get to the other side and we're back to normal speed. So take your play head there and just kinda position it so that ran the S curve here you can see where the ramp begins. So somewhere around here. Good at play head here. Make sure you've got the adjustment layer is selected. Then go over to directional blur. The first thing we're gonna do is create some keyframes. So these two little stopwatch icons click on both of them to create two keyframes right here. And then what you're gonna do is you're going to move across a couple of frames using the right arrow on the keyboard. So maybe 123. So we'll call it three frames. And then we're going to change these two values here. So direction I'd like to set to around 90 degrees and then blow length around 10. You can play around with these values. And as you can see, by creating these two values, we've actually created two keyframes right there. And you'll see that this is now blurry. So if I take my play head and I take it back before the keyframe, just say it's clear and then it gets blurry because we want it to be blurry during the speed ramp. And then at the other end, we want to kind of remove the directional blur when it slows down. So around here on the S curve where the ramp slows down back to normal speed, we want to remove that motion blur, well that directional blur. So we have to create some more keyframes. So over here, we click on these two little keyframe where we can add keyframes. So we click on this one here and that one there. So for both direction and blow length, we've got two keyframes there. And again, we just shift our playhead across by, say, three frames to the right, using the arrow on the keyboard, the right arrow on the keyboard to add moved three frames. And then we just click on these values here and we just set them to 0, so 00. And we now have two more keyframes. We have four keyframes all together. And if we play this back really slowly, but we have nice and sharp. We have the speed ramp with the motion blur, really, really blurry, and then it's slow and clear. So that's essentially how you can use directional blur to add a nice little finishing touch to your speed ramps in your project. So I'll play this back. And that's it. Now for the last clip, I'm going to let you play around with this in your own time just to save time. The skateboarding clip, that's all going to be part of the sample footage. So go ahead download the sample footage in the project section. Play around with this speed ramping technique. It's a really awesome technique. Throw in some background music which unfortunately icon include because it's licensed under my name with Epidemic Sound thrown some sound effects and you can really make your speed ramping awesome. So I hope this is helpful if you have any questions, let me know and I'll see you in the next video tutorial. 68. Cool Effects- Fast and Easy Luma Fade Transition: So in this video, I'm going to show you how to apply the luma fade transition to your video clips in Premier Pro. And so as you saw in the introduction of this tutorial, we're going to recreate that. So I have a couple of clips on the timeline at the moment, I've got here two clips of a free diver and that we're going to apply the luma fade transition to. And then these two clips here of a couple of drone shots over a nice beach. And so it's very easy to apply this transition. I mean, it does get very advanced, but this is an absolute introduction for absolute beginners like you that are wanting to learn how to do luma fade. So I'll show you how to do it. If you click on these two arrows who go to effects. And then I've already searched for, but if you type in gradient wipe up here, just type in gradient wipe. It'll pop up down here in the search. And essentially all you gotta do just keep that one in mind. The very first thing to do though, is with these two clips. We take the second clip and we put it down on the video track, layered one, and then we drag it underneath the first clip like that. So we have a bit of an overlap between these two clips. It's really important to stack your clips for this transition to work, and you need to stack them this way. So we have this clip here over the top of the second clip there. So all you need to do is click on, take your timeline. So take your play head and position it right here, where the two clips overlapping there. And then take the gradient wipe transition effect, then click and drag it over to the first clip. And then over, in effect controls over here, if you go down to where it says gradient wipe, this is where we're going to make some adjustments. So we have our playHead in position right here, where it's at the very beginning of the second clip, and where it says here, transition completion. If you just click on the stopwatch icon there, that creates a keyframe at that point where the playhead is located. And then you just move the play head over to the end of the first clip as such. And then over here where it says 0%, we're going to increase that up to a 100%. By doing that, we have a second keyframe that has been now created. And all we're gonna do is click on this keyframe and just push it right to the very end of that clip to have two key frames there. So if I play this back, you'll get to see the very beginnings of the Lumiere fade transition, right? So it's quite fast. And so for this transition to be really effective, you should really increase the distance between the two keyframe so that the transition takes longer to apply. And so I've just pulled out these two key frames here. If I take my play head up here. Position over this keyframe. I'm just going to take the second clip. I'm going to shove it that way. And I am also going to make another adjustment. So I've clicked on my first clip here on the timeline. I'm going over two versus transition softness. I like to set this to around 30-40 percent. It just means that the Lumiere fade transition won't be as intense and it will be much more gradual and softer. And so if you set 40%, you'll see already that it's quite smooth, that transition is much smoother. So if I play this back so far, we have a nice smooth luma fade from the first clip into the second clip underneath there. Right? So you can make further adjustments to this effect if you click on the first clip and go here where it says invert gradient, and you'll get to see what that looks like. Right? So it's quite nice. It just, it's a very, very much a personal taste thing. So I'll untick that. If you need to select both clips on the timeline, press Enter on the keyboard or go up to sequence and select where it says render selection. It just means that the red bar will disappear. And you'll get to see what this vector really looks like when the everything is rendered out. So that's very much an introduction to the Lumiere fade. Now we'll play with the second to Clips over here, the drone shots. So all we do, once again, we need to stack our Eclipse so we take our first clip and we're going to drop it underneath our second clip. Because we essentially want to, we want to fade out luma, fade the other direction. So in other words, we're going to start at this point here with our play head. And we're going to click on auf clip up here. We're gonna take our gradient wipe and then drop it straight on top there. And then over in effect controls we have gradient WIP, and again we have transitioned completion. Now, this is where we set a keyframe. And we're gonna set this to a 100%. So we're going in the opposite direction. We're starting at a 100% and then we're going to fade out to 0%. And so we've got one keyframe here created. If you have a look closely, we have one keyframe there. We take our playhead was shoved it across and tool. We were here at this point where you see the second clip. And then we change the value from a 100% down to 0% to create a second key frame. So we have two key frames now. And if I play this back, this is what it looks like. There we go. So again, we just play with those settings that we played with before. So we go to transition softness changes to around 30, 40% to, so it's not as harsh. And we can also increase the overlap or the distance between these two keyframes by stretching them out there. And if I take my play head positioned at here, alright, so I've got my play head down here, so I need, need to move this clip over a little bit more. So now we have much more of an overlap with our luma fade. And again, if I play this back, it should be smoother, last longer and look nicer. There we go. And again, for it because it looks choppy and it's playing back quiet choppy. So we just select those two clips, go to sequence. And then up here it says render selection. And we render this out so that we can play it back much faster. So I'll just wait for this to finish. Okay, so let's play this back. Perfect. So we have a nice little luma fade. So this is very much a introduction to had a luma fade. It gets more technical than this, which I won't cover in this video or this whole series. Just play around with this, get to clip, stack them up, play with this effect. And see, hey, go, if you have any questions, let me know and I'll see you in the next video. 69. Cool Effects- Adding Film Grain (Vintage Film Look): So I'm gonna show you how to add film grain to your videos to give your videos of vintage film look. This is a question that I've had brought to my attention in the last couple of days to make a tutorial video on how to add some artifacts and some graininess to your digital videos, give them more of a nostalgic look to them. This is something that I played with years ago. It not something that I play with very recently when I edit my videos, but nonetheless, I'm going to include some film grain and you'll be able to download it so you can follow along with me. So essentially what you saw in the introduction there is what we are going to be recreating very quickly in this tutorial. So you might be thinking, why bother even playing around with this kind of editing style? It's pretty much no different to, you know, for example, my father who likes to listen to music on old vinyl records, like you'll listen to modern music on an old record player. And It's that whole feeling of you listening to a vinyl record player, like case what you saw in the introduction and the pops and the hissing noise that it makes. It kind of makes you feel like you're reliving your teenage years, right? And and so I grew up with my dad playing the record player. And so when it comes to making videos, some people like to add a little bit of an histology kinda feel too. Videos have shot on their digital cameras. So I'll show you how to do it. And there's two methods essentially that I'm going to show you in this tutorial. So the first one is, the first method is pretty straightforward. So what I'm gonna do, I'm gonna take some of this stock footage that I've taken from pixels.com. And so this stock footage that you saw in the introduction you can get from pixels.com. So I'm gonna use this record clip here. Linda duplicated across and I'm going to show you the first method of creating some, some noise in this, right? So at the moment is pretty clean. And I'm going to show you how to add some noise to that. So the first thing is I like to create an adjustment layers. So down here it says new item. I click on that and then go to Adjustment layer. And then I create a brand new Adjustment Layer. And I dropped it over the top. And now when I talk about the use of adjustment layers in another video, but essentially you throw everything inside your Adjustment Layer and everything below the Adjustment Layer is affected by the adjustment layer. So I'm going to throw the effect of noise inside the adjustment layer. And then I'm going to go to the two arrows who go down to effects. And then I'm going to type in noise. And so Premiere Pro actually has a built-in effect called noise noise alpha, HLS and so forth. And the one I'm going to show you real quick is noise. If you click and drag that over and drop it into your adjustment layer. Right now, it doesn't do anything because we have to tell it what to, what we want. So if we go over here to effect controls here in the top left, scroll down. Here we've got noise has been added to our list. And here we can stipulate the amount of noise we want to add. So using little thing here, we can select. As you can see, if we select a 100%, you get to see what it looks like at its maximum. And then you can obviously manipulate it down to whatever you desire. And then what I usually do or what I did when I play with this years ago was I usually just untick this option here. It says use color noise, removes color. And then you can just adjust the intensity of the noise. And if I just play that back, just by adjusting the amount of noise there. Okay, so that's the first one. The second method, which is what you saw in the introduction to this video, is what I'm going to show you right now. So I'm going to delete those two there. And I'm going to play this back. And so the introduction is of this video. Is this part here on the sequence. I'm just going to mute the track. And I'm just going to play this back. So you can see the artifacts there. You can see the lines, right? So if I isolate this down and just play back the actual artifacts, this is what it looks like. And this here is literally just an overlay. Alright, so the second method I'm going to show you is called an overlay method. And it's essentially where we just take the overlay of artifacts and we drop it over the top of our footage, right? So this is essentially what it looks like on its own. And if we go to our bin here and we go to film grain, these he, you'll be able to download these different overlays so you can follow along with me or you can just use them in your own footage. But essentially, the first one I'm going to show you is the old film artifacts overlay. You double-click on that player back. That's essentially what it looks like. And really all you need to do is you just select an endpoint at an outer point and you just drag it, oops, you just drag it onto your timeline over the top of your footage. So for example, if I take the same the same clips, I'm just duplicating them now real quick for you. And I play them back. So this is what they look like without any kind of film grain or any sort of overlay. And these clips here I've taken from pixels.com to they're just ordinary looking clips. And if I take the old film artifacts overlay and just drop it straight over the top. This is what happens. So we've got our artifacts overlay here, we have our clips here, but we still need to do something else for it to actually work. And I'm going to show you how to do it so, well you need to do is you click on the Overlay clip. You go over to effect controls. And we actually need to blend the two clips. Blend the two clips together, right? So at the moment we've got here under capacity, we've got blend mode set to normal. And so right now, you're not seeing any blend between these two clips here. So if we just like the clip here where it says old film artifacts, go over to blend mode, drop that down. And if you go to scream. Click on screen. Now the blend has been applied between the two clips. And if I play this back, we now have our overlay blended. We have our artifacts blended with the clips underneath. Now you can adjust the intensity of the overlay by adjusting the opacity slider here. If you find that the artifacts are coming through too strong, you can just drop this capacity down to say 60% or 50%. You could play around with this. This is just a personal taste, but typically 50%, 60 percent feels right for me. And you can just stretch this out. Now. You go on to Google and type in search terms such as free grain. There are so many different sites you can download this kind of grain from with different lines and different types of artifacts and things of that nature. What you'll typically have to do though with those free grain clips is you might need to duplicate them across the top of your footage. So for example, if I, if I try and stretch this out, this particular grain clip that I'm including with this tutorial is quite short. So what I need to do is I need to duplicate this out so that it covers the entire length of the footage. So this have several ways of doing this. What I like to do is hold down the Alt key and I can just drag that across to duplicate it. And that just duplicated across the entire length of the footage there. A few other grains that I'm including with this tutorial. If I just delete those ones, there is a 35-millimeter fine grain and a coarse grain. So if you're not sure what that means, I'll just click and show you. Now just make sure when you're watching this tutorial video that you've got a set to the highest resolution. Because if you are watching this tutorial in a lower resolution, you're not really going to see the difference between the fine and coarse grain. So I will make this larger and I'll play this back. So this is the 35-millimeter fine-grain that I'm including. And again, this is an overlay that you'll put over the top of your footage. And so this is a way you can make your footage not necessarily look like it's filmed in 1927, right? That it was filmed kinda more recently because of the size of the grain. And essentially, we have here coarse-grain, which is a little bit courser, little bit bigger for pi this back. Right? So it's best if you just download the grain from the download link that I'll supply and you can have a look and see. The difference is if you're not seeing it through this tutorial video. But I'm going to show you if you use coarse grained, you can give your videos more of a nostalgic look. Then if you're using fine grain, but essentially you just take the grain and you just drop it over the top of your footage and you extend that out. And again, you might need to just duplicate that so it falls across the entire project as such. And as you can see, we still need to, we still need to fix the blend mode. What you can do is select all of these clips in the overlay clips and actually nest them and create a nested sequence. So if you select them, right click, go to nest, click. Okay. It just makes things a little bit tidy on your timeline. I don't haven't talked about nested sequences yet, but essentially you're just grouping a whole lot of your clips together into one sequence. It just makes things nicer on your timeline. If you double-click on the nested sequence, you'll see inside the nested sequence these three overlay clips. So then all we need to do, if we click on the nested sequence, go over to effect controls and then where it says blend mode, drop that down. Now we cancel x screen. I mean, you can, but see it doesn't look very good if you use the same blend mode as we did with the other overlay here with the artifacts. So if you hit the, if you click on the nested sequence and select blend mode of overlay. And you can adjust the opacity if you want it to be not as intense, you can drop that down to 50% or a 100%. It's fine. Now again, I'm going to make this full screen. I'm not sure if you're going to be able to see that. But I'll play this back and you'll see the grain. And that just gives the video just a slightly different, slightly nice, nostalgic look to it. And this is using course 35-millimeter grain. So if I just play this back one more time, and you can see that grain there slicing grainy. And that's, hey, do it. So I hope that was helpful. I will include a download link to download these three grains, the different film grains that you can play with the own footage if you want. You can also go to pixels.com where I've taken the stock footage from. And you can just experiment with footage from this website. This is exactly where I've taken this footage for this tutorial. And you can play around with the film grain. So if you have any questions, let me know and I'll see you in the next video. 70. Cool Effects- How to Create Awesome Film Burn Transitions: So I'm gonna show you how to do really awesome film burn transitions in this tutorial is another question I've received. And so as I've mentioned before in other videos, I'm not a big fan of complicated over the top transitions. I like to keep my transitions very simple, clean in my own projects. But in response to a question, I decided to put this video together to show you how to really nice film bone transitions in some of your video projects. So with what you saw in the introduction of this video, I've used some stock footage from pixels.com, some boxing footage. And if you're not familiar with pixels.com, it's a really great website that I talked about in other videos to get stock footage from. You can download it for free and you can play around with this footage. And the music that you heard in the introduction came from epidemic sound.com, which I talk about in other videos. So this is it real quick. We've got our film burn transition there, and I'm going to show you how to do it. I'm going to delete those three and we're going to start over. And so I'm going to mute the music track here for the purposes of the video, but also I'm going to include the film bones as a download link after this tutorial or in the, in the resources section, you'll be able to download these different film burns. And you'll be able to apply this to your own footage. So there'll be four of them. And off we go. So let's do this. So at the moment, I've removed those film burn transitions. If I play this back, we just got simple cuts here, right? Just really, really simple cuts. And we want to apply the transitions between these cuts. So all you need to do is double-click on the film burn and it will come up here in the source monitor box. And like you would any other clip, you select an endpoint and an out points and you just click and drag it over onto your timeline. And in this case, we're going to drop the film burn in-between. As you can see, we've got our two clips here. Whereas a straight cut, we're going to drop the film burn in-between the transition. And we'll play this back and you'll get to see what it looks like. Right? So clearly we need to do some work on that, right? So firstly, we need to make the transition, the film burn, the actual full size of the frame. And so we go to Effect Controls. And we're going to go to scale, and we're just going to scale that up to the full screen there. Alright, if I play this back. So we've got the transition there, but it's a little bit clunky and it doesn't looks a little bit tacky. So we need to make we need to do a little bit more work to it. So I need to do is we're just going to position this transition. So it's a little bit sort of in between the two clips there. I'm gonna play this back one more time. Okay, so we need to blend these two. We need to blend the film burn with the clips underneath it. So you click on the film burn, you go over to effect controls over here. And then where it says blend mode, you hit the drop-down, and then you go to screen and click on that. So as you can see, we've now blended the film burn with the footage underneath. Just like that. And if we play this back, what do we have? A TVA look? So there we go. So it's looking pretty good. What I like to do is I like to just add a bit of a, a transition on the actual film burns. So if I play this back, so it's not, it doesn't look as abrupt. Server play this back here. Alright, so as you can see, in my opinion, the film Burn comes on a little bit too strongly. So just gonna get my pen tool here, click on this, and I'm gonna create some keyframes here. And I'm just gonna make that fade in and fade out over here. So I talk about how to use keyframes in another tutorial video. So I'm moving pretty quickly here. And then I'm going to play this back. So essentially we're just fading in and fading out of our film just there. Okay, so if we play this back one more time, alright, so that looks good to me. And then essentially you just do that with the other cuts in your, in your project there. So I have here three other different film burns, burns that you can play with Soviet. Just click there, select what you want by creating an input and an output points. And then just dragging the video only to the timeline, drop it between the two clips, and then just shorten that down. Just like that. If I'm moving too fast for you, just stopped the video and rewind. Again. We need to fix this so we click on the film burn, we go to Effect controls. So you get the idea right, and then we have it full screen. Now, we go to blend mode and we select screen. And there we go. So we've effectively blended the two together. We then just play this back. Like that. Looks pretty good to me. But we need to say that it's a bit too much of an abrupt. That's too abrupt for me. So what I'll again take my pen tool, marks and keyframes. The rubber band, there are two key frames, so that's going to fade out like that. So that looks a little bit better, not as harsh. So that's essentially how you do it. So I'll let you play around with these different film, but film burns and then just go from there. Remember you can download these as well from the download link and the footage you can get from Paxos.com and let me know. Hey, go if you have any questions, let me know and I'll see you in the next video. 71. Cool Effects- Create Rolling End Credits (Like a Movie): So I'm going to show you how to add rolling end credits to your videos to make them more like a movie, kinda like what you're seeing now on your screen. And I'm gonna show you how to do that in Premier Pro. So the first thing you'll do is click on graphics up here at the top. And then over on the right-hand side you'll see a central graphics. So make sure you see essential graphics. If you don't see it, go to Window and then go down to a central graphics and make sure that's ticked. So first thing we're gonna do, I'm gonna delete this and we're going to start over and we now have an empty sequence. And so the first thing we need to do is we need to create a text layer so we can use our texts to or type tool over here. And we can just click anywhere in the box, in our program monitor box. And we can start typing. So we'll call it producer. And then enter and my name Brad Newton. And then we're going to hit the selection tool here. And then we're going to click off and then click back on our layout. And the reason why I'll show you this, if you click on the text layer itself, over on the right-hand side, you'll see a central graphics and we've got our little text layer that we've just created. We have all of our adjustments. We've talked about this in another video where we can center everything and change the font and all of that sort of stuff. So I'm not gonna go through that again. However, you might be thinking, well, where, how do I make the text role? How do I make it crawl from the bottom to the top of the screen? If you look through here and a lot of people can't find it. And so I, that's why I'm making this super CLIA. If you click off the text layout and then click backup on it. We've now selected the whole layer itself as a graphics Leon. And over on the right-hand side, you'll see where it says responsive design. And then here it says role. So if you click on that, then we get all of our options for rolling credits, which includes a little scroll bar here, right? But if you don't click this tick box, then it's just a, it's just a normal text layer doesn't do anything. So if you're using an old version of Premiere Pro 2018 or earlier or anything prior to 2018, you won't see that option. So this is for only the newer versions of Premiere Pro, which I'm assuming most people are using. So we have our scrollbar here and we can click on this text layout and we can obviously make the adjustments to font and all that kinda stuff. I really good end credit and credit font to use as Arial, Arial Black. So you can always change this here to Arial and call it regular. And you can even just double-click on the text here and make it smaller. And this is something that you can do in your own time, right? And then click over here. But what I want to show you specifically in this video is you've got here all of the settings for your end credits. So you can ease in and ease out when you want the credits to start or you want them to slow down and speed up as they move in and out of frame. To be honest with you with the ease in and ease out times and the pre-roll and post role, which is the amount of time that you want to elapse before the credit shows up on the bottom of the screen and so forth. Like, I don't usually chain owes to play with these settings, but I don't usually touch them anymore. I just made sure that it says here start off screen. So if I click on that, I want the end credit to start off screen and end off screen. And down here, if I zoom in to my timeline, the length of my graphics layer over here is going to be the length of time it takes for the end credits to move from the bottom of the screen to the top of the screen. So if I click and drag this out to make it longer, you'll see that the end credits just crawl very, very slowly. If I shrink this down, it speeds up quite dramatically, as you can see. So that's how you can control the speed of the crawl of the end credit. It's just by changing the size of that Graphics Layer. Just like that. Now, if you have a lot of em credits now, I'm sure most people watching this don't. But usually what you can do and what I've done in the past is go from a text file here and copy all of my n credit details from here. And then take the directly into Premier Pro and then just create a new texts layers such and then pasted straight in. So I'll just delete that right now. So that's essentially how I create rolling and credits for my videos. As such, very straightforward. And in terms of font choices, are usually stick with Arial, Arial Black or narrow, which is very nice on the eyes when watching onscreen. And that's pretty much it. I hope that was helpful and I'll see you in the next video. 72. Cool Effects- How to Record Perfect Voice Over: So I'm going to show you how to do a very basic voiceover recording in Premier Pro. And how you can apply this to any of your videos if you wish to story tell in this way. And so we're going to start by using a very simple clip here on the timeline of what a drone clip here. And I'm going to show you how to do a simple voiceover recording for these kinds of clips. So the first thing is make sure that you are in editing, the editing workspace. So click up here where it says editing. And we just need to check a few things before we get started. So the first thing is, is that if we come down to our timeline helium, we need to add a little button to the audio tracks here. So I already have it added. It's called the voiceover record button. If you don't see this little microphone icon, or you need to do is right-click here. Go to customize, click on that, and you'll see the icon here. And then you just click and drag that down to the audio track. And I've already done that, in this case, click OK. And you'll see these little icons here. And so that's the first thing you need to do. The second thing you need to do is go over to Edit, go down to Preferences, and then go to audio hardware. Click on that. And we just want to make sure that you've selected the correct source of your microphone. And in this case, I'm using my Yeti stereo microphone, the one I'm speaking into right now. Just as a side note, this is a fantastic microphone. If you're looking for a really affordable USB microphone. I've been using this microphone for four years now, and I record all of my tutorial videos using this microphone. So if you like the quality of the audio, I would definitely consider a Yeti microphone. You can buy them. They're really, really cheap anyway. So where it says default input, make sure you've got the microphone that you plan on using selected. And so that's great. And then the next thing, if you click on audio over here, make sure where it says mute input during Timeline recording, make sure that that's ticked. If it's untyped, there'll be a really strange echo. And you'll hear yourself speaking in real time as you're recording the audio to very, very distracting and used to bug me a lot. And so make sure that's ticked to mute yourself while you're recording in real time. So besides those two settings, you will pretty much good to go. Click, okay, and that is it. So essentially we have a clip on our timeline. And wherever our play head is positioned on our timeline is where our voice over recording is going to start. So I'll show you in just a sec. There's actually one more thing I want to show you. If you right-click here on audio track layer one, click on voice-over recorded settings. This little dialogue will pop up. And so just as a final check, make sure you've got here the microphone source selected. So in my case, Yeti stereo Mike. And we've got it selected here as well. So just make sure those two are selected. And over here it says pre-roll. I've got it, I've got this one ticked and offset it for three seconds. So essentially what that means and you'll see it in just a second, is that when you hit the record icon, there will be a 3 second delay before the recording begins. It just gives you a chance to clear throat and prepare yourself before you actually start recording the post Role of two seconds. I just turn that off by default, I think it's turned on. So I usually just untick that and leave the pre-roll on. And I have that set for three seconds. Otherwise, I click Close and then I position my playhead. And I then click on where I want to drop my voiceover recording. So I want to drop my voiceover recording onto audio track layer one. So I'll click over here where it says voiceover record, and then the three seconds will count down. That's our pre-roll. And then a recording begins, Hey everybody, this is snake Island here in the Philippines. Amazing. Check it out. And if I hit the space bar on my keyboard, that will stop the recording. And then Premiere Pro will drop down our voice ever recording as a sound byte. We can just click and drag this around wherever we want. We can move that to a different track. We can move it around. It's up to us if I play this back. So that's essentially how you do voiceover recordings. So if you have any questions, let me know. I hope this was helpful and I'll see you in the next video. 73. Cool Effects- How to PiP (Picture in Picture): So a question I've been receiving is how do I pick or how do I do Picture in Picture in my tutorial videos. And so I'll show you how to do it. In this video, I'll show how easy it is to do it. There's two ways to do it in Premier Pro. And essentially, if you're not sure what it is, then think of it like you've got to videos and you've got a smaller version of a video playing inside another video. So I'll show you in just a second what that looks like if you're still not sure, but essentially what I have here on your screen are two video clips. He on the timeline of my flying. So I've just moved that one across. So I've got two GoPro shots here. I've got a camera behind me and I've got a camera on my face, right? And so I'm going to put them on top of each other. And I'm going to show you the first way of doing a picture in picture. So I, for example, what this face shot to be smaller. And I want that to be inside the other video. And so all I need to do it, there's two ways of doing it. As I click on the first clip, the one on the top here, which is my face shot. And I go over here to where it says scale. And I can reduce the scale of this video clip down. So if I hit the arrow over here, you'll see this slider. If you click on that and just drag it to the left, that's how you can shrink it down to create this thing called pip or picture and picture. And then once I've shrunk it down, I can then use my position sliders to then slip this anywhere I want. So in this case I might just drop it in the top right-hand corner, just like that. And so, because I've sync these two videos together as I'm playing this back simultaneously, you could to see two views at the same time, right? So you can see my face, you can see the shoulder view. So this style of editing is quite popular with tutorial type videos. There might be, you might have a two camera setup where you're wanting to show the viewer another perspective of the same thing or another. If you're doing fitness videos, you might want to show people a variation of an exercise or routine. And so you'll use picture and picture or what they call piping in Premier Pro to do that, it's very easy as you have seen. So there's actually, this is one way, the other way of doing it is also pretty fast. It's pretty easy. They call presets. And what I'll do is I'll just undo. I'll just undo and reset all these changes. So the undo arrows that will take it back to the beginning. So if you go to effects here, and in the search box, if you just type in p pi, p, right, you'll see that there were all these presets that you can select from. And so these are built into Premier Pro. And so where it says Pip, you got Pip percentage to twenty-five percent, LL means a lower left. So we've got all these options here for PIP, twenty-five percent low left. We can scale down from full. You can play around with this. I'll show you how easy it is to just click on one of these options, sees presets and you just drag it over to the clip that you want to apply it to. And then you'll see by default, up here, it changes the scale down to 25%. It, as you can see here, we've scaled it down to the lower left corner, that 25%. If I play this back, then you'll get to see how that, how that looks, and it's very easy. And so that's one option. I'll let you play with these different scaling options in your own time. You can spin out, spinning. You can scale limb, scale out. You can go twenty-five percent lower right, lower left, lower right. You can add motion pips. So I'll let you play with all these different options in you are in time. So there's essentially only two ways of applying a pip and that is it. So if you have any questions about that, let me know. Otherwise, I hope this was helpful and I'll see you in the next video. 74. Cool Effects- How to Fix Shaky Footage (Warp Stabilization): So I'm gonna show you how easy it is to fix shaky footage that you may have filmed on your smart phone or camera. And I'll show you how easy it is to do that using warp stabilization in Premier Pro. And so essentially by the end of this tutorial, you'll be able to take a video clip like this that I filmed on my phone. As you can see, it's pretty shaky. It's pretty crappy. And then I'll show you how to make it more like this. Nice and smooth. And so this clip was shot on my phone and this was during my Kilimanjaro climb back in 2017. So pretty much all I use to film that trip was a GoPro and a phone. So the GoPro has incredible built-in stabilization. The phones, smartphones don't. So in terms of how to do this, I'll show you how. Now, as I'm showing you how, it's probably good to mention that when it comes to cameras shakiness, sometimes it's a good idea to incorporate shaking this into your videos if you're doing it more for stylistic reasons. So if you're filming like action scenes, like for me, if I film a lot of videos or filmed a lot of videos on fitness Street, which is all moiety kick boxing. And so there are times when I'm making those videos where I'm deliberately wanting to incorporate camera shake because that's the stylistic choice that I made at the time. Because, you know, where there's more action, it just makes a little bit more dynamic. Having a little bit of extra shake in your videos. However, if you going for something a little bit more cinematic, then you'll want to go for slows, smooth and, and controlled. And so if you don't have stabilizers, cameras, stabilizes, then you have to use software. And so I'll show you how. So we're gonna use warped stabilizer. So if you go to Effect Controls and just get that up on your screen, and then down here, you look for all the effects tab. If you don't say click and find effects. And we're going to type in warped stabilizer. And you'll see this here is an effect inside Premiere Pro. Or you need to do is click and drag it over to the clip and drop it onto the clip. Like that. And when you do that, over here, it adds the effect. And you'll get to see here that Premiere Pro is doing some calculations. And it can take, you know, it depends on the length of the clip, who could take five minutes, ten minutes, three minutes. But as you can see here, it says that we have 37 seconds remaining since analyzing every frame in the clip. And then it's figuring out based on the settings that we've selected here, which by default, these are the default settings while that's processing in the background, I'll just quickly show you that by defaults are usually set smooth motion. My smoothness are usually set to o. I'll leave it at 50%. You can't play around with this, dropping this down to 10% or 20%, or 25%. By default, Premiere Pro users, the subspace warp method of calculating stabilization. You can change this to position, scale and rotation. And you'll get to see without me explaining each of these options, I encourage you just to click on them and just see how it looks. Because sometimes, you know, subspace works perfectly on some clips and terrible on other clips. So you can just change the method and see what works best for your clip. And then what else is there? If we click on this here, Premiere Pro typically crops in the video clip to achieve stabilization. So you'll see here that autoscale is a 105.3%. So essentially Premiere Pro has cropped in this particular video clip by an extra 5% or so around the edges to help achieve the stabilization. So if we play this back, this is the, after. So much smoother, much nicer. So yeah, that's how easy it is. And the next clip I have is just me filming here on Kilimanjaro on my phone. Right? It's pretty shaky. So again, you just click and drag it over to the clip and it'll analyze in the background. You can work on other parts of your project while that's analyzing, if we go to Effect Controls and just click and drag down. You'll see here warped stabilizer has been added. And again, it's calculating each of the frames and figuring out how to, how to apply the stabilization. And that's pretty much it. So as I said before, it's always best if you're trying to get that smooth cinematic shot to try and achieve it in, in camera using cranes and using, you know, different types of devices that you can get for your phone these days that will help smooth out the panning and the shots that you that you take. Otherwise, if you don't have those those options, then the only thing you are left with this software, and that's what we're doing now. So I'll just wait for this now. I might just speed that up a little bit and almost done. Okay, so that's scroll down to see what is done here. So as you can see, autoscale is a 100 and almost a 109%. So it's cropped in almost 10% of our clip. And if I play this back, so that's much smoother. You would never ever tell that this was filmed literally on a phone with my hand rehabbed. So that's how easy it is to stabilize your footage. If you have any questions, let me know and I'll see you in the next video. 75. Cool Effects- How to Freeze Frames (using Frame Holds): Keep thinking. Good dancer. But now we're going to show you how to use freeze frames, using the frame hold function in Premier Pro to create a really cool snapshot effect like what you saw in the introduction just now. It's a question I've had brought to me last couple of days and I thought I'd make a short tutorial on how to do it. And so I will show you using some stock footage from pixels.com and we're gonna get straight into it. So I'm just going to take this footage and I just kinda duplicated across over here. And I'm just going to play with it over here on the timeline. So essentially, there's several ways of going about this, creating that freeze-frame effect or that snapshot effect, is to position your playhead anywhere along the footage and right-clicking on the clip. And then there's several options here. You can either add a frame hold and, or you can select insert frame hold segment. And so the choice is yours. I personally use insert frame hold segment. I'll show you why in just a second. So if we select the first option, add frame hold at the point where the playhead is positioned, you'll see that the clip has now been sliced in half. And so now Premiere Pro effectively frozen the frame from this point where the timeline is with the play head is located right to the very, very end. So if I play this back, watch, what happens? Now we have a freeze frame from the point where we were are playhead was located right through to the end of that same clip. Okay, so that's one way we can create a freeze-frame. Now that's a method I don't like using. I only ever use that option. If I'm at the very, very end of my clip, then I use it. But otherwise I use the second one on the list. So again, you just take your playhead. So wherever you want, wherever you want to freeze a frame, you just select your play head and you position at, at that point to might be at this exact point, I want to create a freeze-frame. Again, right-click on the clip. I then click on insert frame hold segment that tells Premiere Pro to credit a little segment here, which is a frozen frame, which is one singular frame. Before then continuing on with the rest of the clip. And I'll show you. So I'll play this back. We have our video, we have our freeze-frame segment, and then we had the rest of our video. So all you need to do, if you want, you can adjust the length of this frame hold segment so you can zoom in and you can see with the bracket changes with our cursor, we can hold down the Control key or the Command key and see the color of it change. It changes from red to yellow. And then we just click with your mouse and drag it to make it shorter. So we're doing like a rippled trim, right? So we can make it shorter or we can make it longer. The choice is completely up to you, right? So I'll let you play with this. Again. I'll just report the trim that down. So we have a much shorter freeze-frame. So that's the second option, and that's the option that I use when I'm using this effect in my video projects. And lastly, you can just export a frame using this option here, which says export frame, which I explained how to do in other videos. So I'll just quickly go through it because it is related to this concept. So I'll go over it real quick. So again, you just take the playhead, you position at where you want on the clip and just say for example, you want to take this image here as a frame from the video. And this is great if you want to create thumbnails as well. And you haven't taken a specific photo for your thumbnails, for your videos, which is sometimes the case for me. I don't always have that ability to take specific thumbnails for my videos. For YouTube, sometimes I also forget. So this is what I do. I then position my playhead, I click here where it says export frame. I then give it a name. So I'm just going to call it example, right? Really exciting, boring name. And then format, I've got JPEG, you can select whatever you want, PNG, tiff, and so forth. You select the location where you want to store that frame. But I also tick this option here, import into projects. So what that means is that not only is it going to save this as an image, as a JPEG frame on my desktop. But it's also going to automatically import that back into my project. So click OK, and then I'm going to find it. Here it is. So that's the example.bam JPEG file. And then I can just click and drag it into my project. And so I've got a still image that I've just created as such. So there's three ways soil that you pick and choose which one you want to use. It's that simple and I'll leave it at that. If you have any questions, let me know. I hope this was helpful and I'll see you in the next video. 76. Cool Effects- How to Auto Reframe Video (CC 2020): In this video, I'm going to show you how to use the auto reframe feature in Premier Pro. This feature actually came out in 2019 in version 14 and I shot a video on how to, how to use this feature. So if you're using an older version of Premiere Pro, pre version 14, you're not gonna be able to follow along this tutorial, but I'm assuming you are. So if you would like to know how to auto reframe your videos for social media, where Premiere Pro uses artificial intelligence to find out where the action is happening in the frame and will automatically re-frame the main subject for you. Then this is the tutorial. So I am going to show you two ways of doing this. The first way is I'm going to take a sequence here, which I've already created for IG TV, for Instagram. And so I explained how to create these Instagram videos in a separate video. But essentially, the first thing we do is we go over to File New and sequence and go to settings. And then you'll select whereas DSLR. And then hear frame sizes where you can set nine by 16 to create your IGT video. But I explain that in a separate tutorial. So I've already got my sequence setup here for Instagram. And I'm going to drag one of these clips over that I've taken from pixels.com. Again, pixels.com is a great little website for free. You can download these clips and play around with them if you wish to follow along with me. But I've actually got here a skateboarder clip on, just going to drop that straight into the sequence. Just click on where it says keep existing settings. And we've got that clip now on our timeline. And so right now I'm just going to quickly expand that out and scale it up so it fills up the entire, the entire frame. Now, if I leave it as is if I play this back. Now, obviously this is a little bit off. I'd have to make the adjustments to get the subject in frame. Now clearly, this would be a tedious task if I were to do this manually by using keyframes, position keyframes. But Premier Pro makes life much easier with the order re-frame function by literally doing it for you. So I'll show you how to do it. So the first way is we go to effects and we type in auto reframe. And down here you'll see it if you just click and drag that over and drop it onto the clip. Premiere Pro will analyze the clip using artificial intelligence to figure out where the action is, where the subject is in the frame and will automatically create all these different key frames, position keyframes for you. And so right now if we play this back, we have our perfectly framed subject. And literally I didn't do anything except just drop or diary frame on top of my clip. So I'll show you what it has done in the background. If you go click on new clip here, go to Effect Controls IV here. And then just scroll down. Or I reframe has been added as an effect. And if you just click here where it says overwrite generated path. If you click on that, you'll see what Premiere Pro is done behind the scenes. It's added all of these different position keyframes here, which you don't have to do. It does it for you. And if you just click on this little arrow, drop it down. You can see here, if I play this back, premier pries dropped all these keyframes in and you can see how rapidly the position is changing there, right? And it's doing this to try and keep the subject in frame the entire time. Imagine doing this manually, right, so just think of that you can use that feature if you need to create Instagram videos based off a single clip. Now the second way of using auto re-frame, if you have an entire project and you've created that project 16 by nine, you know, typical project. And at the very end of the project, you want to make that into some kind of Instagram video like IGT VA or vertical form video. What do you do? So the second method is actually applying the auto re-framed the entire sequence and not just to one individual clip. So right now in front of you, you have got here sequence of created, literally just with a single clip. And I've taken this from pixels.com. But we're just going to assume that this is an entire project. And I'll show you how to apply auto re-frame to this sequence. Or you need to do is you go to your Project where the sequence is located. So we have our sequence here and you right-click on that and where it says auto re-frame sequence, you click on that and this box will pop up. And so this is where you tell Premiere Pro, what kind of sequence do you want it? What kind of aspect ratio do you want to create for your sequence? So you give you sequence a name, right? And then target aspect ratios. So obviously this is more for Instagram. So if you want to create a square video with auto re-frame, vertical, non-biased 16, and so forth. You can just click and select that option. So I'm just going to go with the IG TV nine by 16 option. And with motion tracking, you can just leave it as default. If you have a lot more faster motion in your video, then click on this. It just means that Premiere Pro will actually create more key frames if the subject in the frame is moving more rapidly. So this is the case with the skier. In this clips, I'm going to select foster motion. And then where it says clip nesting. I just like Don't nest clips because I'm not using any, you know, any transition. So I can just leave that selected. Click OK. Click Create and then watch what happens down here. It's applying the auto re-frame effect across the entire sequence. And what's this? If I play this back? We now have a Ischia. And you can see the order re-frame has been applied and is tracking the subject. So perfect. That literally took no more than about 40 seconds. So that's all we need to do when it comes to auto re-frame. It is that simple. And if you have any questions, let me know. I hope this was helpful and I'll see you in the next tutorial video. 77. Cool Effects- Super Smooth Slow Motion (Optical Flow): So I'm gonna show you how easy it is to apply super smooth slow motion to your video projects. I'm going to show you a method I've been using for several years now in my video projects. It's a little bit of a tweak and not many people talk about it, but I've been using it for a while and I'm going to share it. So with what you saw in the introduction of the video, we're going to recreate some of that, so we're gonna get straight into it. So I'm going to show you how to apply slow motion. And then I'm going to show you how to use optical flow. So I've got here some clips on my timeline here that I've slowed down. I'm just going to take a clip here from my project ID. Now, you can use one of the clips I've supplied in the course or you can bring your own. And I'm just going to take a small piece of this footage. And I'm just going to drag it over to the timeline here. And so if I play this back, we have a video clip which is playing back at a normal speed that you might be thinking, how do I slow that down? Or you need to do is right-click on the clip and where it says Speed and duration, you click on that. And then here it says speed 100%. Now obviously, if you hit 50%, it's going to reduce the playback speed by half. And if I hit Enter and I play this back, we have now reduced the speed down to 50%. Now, just quickly show you now this is important. I shot these clips at 50 frames per second. So if you're not sure, you can just right-click on the clip and go to Properties. And here it says frame rate 50. So typically when I'm filming these kinds of videos, I typically like to film it 50 frames or 60 frames. The reason being is because I have the ability during editing to slow any one of those down by up to 50%, down to 25 frames to get that nice smooth slow motion look. And so that's something to keep in mind. However, if I want to slow down 50 frames per second by more than half, then this is what happens and I'll show you. So if I right-click on the clip, goes speed duration and I select, say 25%. Okay, so slowed it down to 25%. And I play this back, watch what happens? So it's a lot jittery. It's a lot, it's not very pleasant to look at. And so if you're, if you're using footage that was shot at 24 frames per second and you want to reduce that by half, then it's going to look really choppy like this. So how do you fix this? I'll show you. So I'm going to show you how to use optical flow. So if we go back to where we were, right-click on the clip, go to speed duration. And I've selected twenty-five percent. However, if I go down here to time interpolation and select optical flow, then I'm telling Premiere Pro to essentially make up frames out of nowhere using an algorithm. And I'll show you how it looks. It looks really, really nice. So click OK and watch what happens. So I've essentially slowed this clip down further where it was really jittery. It's now super smooth. So this is a really cool technique I encourage you to play around with. Now, if you see a red bar here. So in my case it's green, but if yours has read, it just means that you need to render it first. So we need to do is select the clip and go over to where it says Sequence. And then here it says renders selection. If you click on that, it'll render the selection out and the red bar will change to green. So obviously minds already rendered. However, there is a drawback when using optical flow, and I only really encourage it every now and again. And I'll show you why Now, if you watch this closely, because Premiere Pro is essentially making up these frames out of thin air to fill in the gaps, you'll see that there are some blurry frames. Right? If I slow this down further, you can see there's a little bit of blur, but not too much. You can see that blow right there. So that's not really good, it's not that good. So I probably chop that out and use the rest of it. So this is something to keep in mind. It's not it's not a, it's not a feature without its flaws. But I suggest is using an every now and again, if you just want that smooth silky slow motion every now and again in your videos. Ok, so let me know. Hey, go with that. If you have any questions, let me know and I'll be more than happy to help you out. Otherwise, I'll see you in the next video. 78. Cool Effects- Create An Awesome Strobe Effect (2 Methods!): So I'm going to demonstrate to ways of incorporating a really awesome strobe effect in your videos to make your video is a little bit more interesting and dynamic and fun. And so I'll show you two different ways of doing it in this tutorial. So I will jump straight in and show the first way. So I've got a couple of clips on my timeline here. I'm just going to use this clip here and I've got some background music. And that little scratch there is where I'm going to apply the strobe effect, just like what you saw in the introduction. So the first way of doing it is going into the effects. And we're going to use an effect built inside permeability called strobe lights. So you just type in strobe, it will come up here strobe light. So what we're gonna do firstly, we're gonna zoom in a little bit and I just want to find that little bit of a scratch and the background music. So essentially, if you have a look at the wave form, whenever I'm matching a strobe to the background music, I'm looking at the wave form that's going to help me kind of figure out where I'm going to put the effect. So essentially I'm just going to take my razor tool here and I'm just gonna chop this piece out. So essentially this is, and I'm going to color it differently so you can see it and call it lavender. So this little piece here is where we're going to apply the strobe light effect too. So just kinda take it and then drop it straight on top. And then it's white right now. So we're gonna go over to effect controls is click off there, click back on it. We have effect controls over here. I'm going to scroll down. And firstly, we're gonna change a couple of settings in here. So with strobe duration, I'm gonna set this to o, usually like around 0.10. And then the stroke period, I like to double it. So double 0.1 is 0.2. And so I also want to increase my strobe probability to around 50%, something like that. You can, and what I suggest you do is play around with these settings and just experiment a little bit with stroke color. And we're just going to select, I mean, you can select black. I like to use black personally. That's what I used in the introduction to this tutorial, but you can go read something different, right? So click OK. And we've selected here under strobe, operates on color only. So we've, we're telling Premiere Pro to use the color we've selected there. And then we're just going to play back and see what happens. And this is where we can just mark an end point and an out point as such. And then we can click here where it says loop playback. But just kinda keeps looping the playback there so we don't have to keep dragging the play head back. So we can make adjustments to this. And I'm going to show you some really cool things so we can set blend with original. We can just kind of bump this up to say 40%, maybe a little bit higher, 60%, and play this back a little bit better and not as harsh. We can even change the color. I'll show a black looks like actually. So that's what I like to use personally, I like to use black. But then you can manipulate. For example, if we change this back to read, I'll show you something really cool. So change that to red. And then under strobe operator, if you select, for example, x4, then you get some really cool, like interesting effects happening with the color, right? Or if you select difference for example. Right, so you get the idea. So this is essentially one way of incorporating a strobe effect into your videos. And if we just kinda turn off our loop here and just remove the clearer it in and out points and play this back. Great. So that's essentially what the first way of incorporating a strobe effect, the second way. So I'm just going to delete this and I'm going to start over. The second way, which is the way I prefer, is we're going to be using a black mat. So I'll show you. So what you do is you'll go over to your project panel and down here you'll see where it says new item. Click on that, and then go to color Matt. Click on that, click OK. And then as I said before, I prefer to use black, but you can use whatever color you wish. So I'm gonna go with black and click OK. And I don't know, we'll just call it black man, I guess. Call it whatever you want. And okay. I'm just gonna take this black matte and drop it straight over the top of the section of footage that I want to have this strobe effect. So if I play this back, this is what it looks like. There's this black over the top of my video. But what I'm gonna do is zoom in as much as possible. And you can do that through using this little bar down here. Zoom right into your timeline. So essentially, you can make frame by frame adjustments. So using the right arrow, we can move our playhead one frame at a time, 123. And I'm going to take my razor tool and I'm going to cut 123. I mean, you could do single frames, double frames, triple frames. It's up to you. Three frames, three frames. So essentially I just go through here and I'm doing this very, very quickly because I don't want to waste your time. And just cut, cut, cut. You get the idea. And then I'm just gonna go through with my selection tool and every second one, I'm going to delete it. So delete, delete, delete. Just like that. And if I play this back. So that is the second way of creating a strobe effect. And I can just come in here, pull this back by a frame just to tighten that up a little bit and play it back. So it's up to you which way you prefer. They pretty much produces the same result. I can also come in here and change the color from black to a different color if I wish, I can go read. Right, so that's the second way of creating a strobe effect. So let me know what you think. If you have any questions, please send me a message. Otherwise, I'll see you in the next video tutorial. 79. Cool Effects- How to Make an Underwater Muffled Sound Effect: All right, welcome back. So I'm going to show you how to create the really cool underwater muffle effect, like what you heard in the introduction, which is very common in travel videos. And I've used it in the past myself. And I'm gonna show you how easy it is to do it in this tutorial. So I am going to get straight into it. I'll get a little clip here. I'm going to meet this actually for now. And essentially what I like to do is I'll just play this through the camera above water. And we go below the water and then it's my girlfriend there. So essentially what we do is we add an effect to our background music track. I'm going to unmuted and I'm going to show you how it works. So we're gonna go to effects. We've already got it selected and we're going to go for low pass. So we're going to use a low pass filter. And so we type in low pass. And it will come up here under Filter and EQ. And we essentially take that and we drag it over to our background music track. Okay, and then we just play this back. So at the moment, that low-pass filter has muted the entire track, we don't want that. We just want to mute the moment the camera goes under water. So we pick that point with our play heads. So okay. So round here, right, is where the camera begins to go underwater. So I'm gonna go over to effect controls here. And under low pass filter it will say cutoff, right? So what I like to do is I like to maximize this. So I'll just scroll it to the right and the maximum numbers like 23,770 hertz. So that's the maximum. And so that's the starting point. So if I play this again, alright, so the background music is normal. Let's go back to the moment we go into waters and just around here. So this is the moment where I want to set a key frame. So over here in effect controls, we have our play head here and we have cutoff here set to 23,770. I'm going to hit this icon here, which is setting a keyframe. And then what I'm gonna do is zoom into my timeline and I'm going to move maybe five frames or so to the right, 12345, something like that, right? And then I'm going to set another keyframe. So I'm going to click on my music track. I'm going to go back over to cut off and I'm going to reduce this down to around four hundred, five hundred something like that. Right? Somewhere like that. It doesn't really matter. There's no exact science to this. And that's pretty much it. We've got to keyframes. So let's play this back. There we go. We have our muffled effect. I'll play this one more time. And that's it gives you the illusion that we're underwater, listening to the music underwater. And then if you like, and you can make it returned to a normal volume or an muffled volumes. So I'll keep playing this. So I'm gonna pretend that we're above water right now. And you want to restore this to the original music. So we go back to our music bed, click on that. And then what we do is we click here where it says add keyframe. So we click on that. And then we move a couple of frames to the right. So maybe five frames, 12345, it's up to you. And then look back over here. And then we increase this back up to the maximum value that creates another keyframe. If you want, we can click on this here and then hit the tilde key. And you can see here that we've got to keyframes here and two keyframes there. If I drop this down, you'll get to see how, how it looks. So it's muffled. There we go. So that's what it looks like from a keyframe perspective. Let's play this back one more time and then you can play around with this in your own time. And that's it, guys. I hope that was helpful. If you have any questions, please let me know and I'll see you in the next video. 80. Cool Effects- How to Put Video Inside Text: I'm pretty sure you would agree that that looks really cool having video inside of texts like that. So I'm going to show you how to do exactly what you're seeing on the screen right now in this tutorial to very easy to do. And I'm going to show you how to do it, how to put video inside of text. So we have a project open in front of us right now. I'm going to delete that off the timeline and start from scratch so you can follow along with me. So I've got a couple of clips over here that I've taken from Pexels.com, waves crashing, drone shot here of a coastline. So I'm just going to use the waves crashing clip and drag it over into my timeline as such. By that back. So really cool. And then I'm going to get some text. And so I'm going to click over here type tool. And I'm just going to type something like travel, right? Exactly how I did before. And as you can see on the timeline, it's created like a little text layer here. So I'm gonna hit my selection tool. And then I'm just going to drag this out so that the text covers the entire length of the drone clip. So you'll notice here that I've got the video and this is important that the drone clip is on video track layout one, and the text layer is on video track layer 2. That's important and I'll explain why in a second. So don't worry about the text size and that kinda stuff right now. We'll get to that in a second. So the important effect that we're going to use is called the Track Matte key. So you would just go to where it says effects. So click on Effects and then overhear your type in Track. Matte key. And you'll see here, that's the effect that we're going to be using it under Video Effects, keen. And it's called Track Matte key. So you're going to click and drag that over to the drone clip or your video clip. And when you do that, you'll go over to Effect Controls. Over here. Make sure you've got this clip selected. Go to effect controls over here. And then scroll down. And you'll see where it says here Track Matte key. This is what we're going to be playing with. Now watch what happens down here where it says Matt, it says none. But I need to tell Premiere Pro where to apply the mat. So am I going to apply to video 2 or video three? So what happens if I select video to? Video 2 is the layer in which the text is located. Video track layer to make sure that you select the correct layer. So Matt, Video 2 is where our text layer is located. If I select Video 3, nothing's going to happen. So video to selected, if I move this text layer away from this video track layer 2 and dump it on to video track layer 3, you'll see that the effect is gone. So just keep that in mind that it's applying to video track layer two. Now, all I need to do is just move the text around. So click on the text and then expand this out. Right? And I'm just going to reposition it like this. And just as I have explained in other videos on how to manipulate text and change the font and stuff. The same thing, really apply it. So just make sure you go to essential graphics here and you make all of the essential changes to your text in here. So you can center it vertically and horizontally center the text. You can make it bigger. It's very, very easy to do. But the most important thing, one of the most important things to keep in mind is the actual font that you're using. So I'm using impact. Now, you want to use a very bold font. You know, a really thick font where the actual video is visible inside the text. If I use a different type of font where it's really skinny, it doesn't really have the same, doesn't really have the same impact. Playing this back, I'm, I can't really see the video. It just doesn't have the same impact. So you get the idea. So if I just undo that, so this particular font that I'm using for this example is called impact, but there are other ones that you can use. So after this video, I'll give you a list of different fonts that you can play around with Gill Sans. So we'll try this one here. That's okay. I think there's another one here actually. Yeah, it's this one here, ultra bold. So o, provide a list to you after this video of different fonts that you can play around with and experiment with. So I'll play this back one more time and you'll get to see what it looks like. And there we have it. That's how easy it is to add video inside of text. 81. Cool Effects- Video Inside Text (Animated): All right, so I'm going to show you how easy it is to animate the video inside of your texts and have that text animate onto your screen. And so in the previous video, I showed you how to put video inside of text. Very easy to do. I won't repeat that part. So if you haven't seen that previous video, go and check that out where I show you how to put the video inside of the text here. I'm just going to show you how to animate that text so that it kind of flies in from behind and onto the screen like that. It's very easy to do. And in this video, I'm going to show you how so Let's get straight into it. I'm going to click on this here and I'm going to delete these keyframes. And we're going to start from the very beginning. Okay, so we've now deleted our keyframes and we have our text. So I'll just reset this back here. So there's our text on your screen. I might make this a little bit bigger. Okay, So at the moment we've got here a little video on video track layer 1, and then we have some text on top on video track layer number 2. And the font that I've used here is impact. And I talk about this in the previous video, where you should select a font, where the font is quite thick and you can actually see the video inside of the text. And then you just want to make that quite big so that it fits up almost the entire size of the frame. And then you want to center that here. So clicking these two here, center, vertical, center, horizontal center. And then that's pretty much it. And then just do set up the text and the video tracks or that they're pretty much at the same length. So I've got some music here, but I've just muted that track here. We don't really need it. So the void need to do is you click on the text here and we want to zoom. We want to scale that text as much as possible so that it kind of not, is not visible in the frame. So if I keeps like scaling this up, we're going to get to a point where we just can't see the text, right? So I'm then going to take my play head here, take it back to the beginning. And we've got our scale set to some crazy number, 37, 55 in my case here. And I'm inside Effect Controls just in case you're wondering. And under scale, all you need to do is you just set a keyframe so you click on the little stopwatch here. They're quite a key frame at that scaling point. Then move the playhead along and we'll just drop it here somewhere, right? And then you'll see the play head here as well. And then you can just click and then just scale that down as much as you need to. I'm just going to scale it down to around here. And by doing that, it automatically creates a keyframe at the position of the playhead. And then if I play this back, we now have two keyframes. And we have our texts, they're flying in from behind. Now, there's one small adjustment we can make to this. Now, if you watch closely, you'll see that the text will fly in from behind, but then it was slam onto the screen like that. So we may not want that, we might just want to have that sort of ease in. So just select that key frame there, right-click on that and go down to where it says, ease in. Click on that and the keyframe will change to an hourglass. So it'll ease in as opposed to slam onto the screen. So let's play that back again. There we go. So that's how easy it is to animate the text that you have video inside of. So let's play this back and then give this a crack. Let me know what you think and if you have any questions, let me know and I'll see you in the next tutorial. 82. Bonus- 7 Ways to Optimise Premiere Pro: So you're editing inside of Premier Pro and you find that as you scrub the clips or as you edit your video, it's just really choppy, really slow, and it's bras striding and I've been there before. I know how it feels and you don't want to go out and buy a new laptop, you just want to find some way that you can speed up Premiere Pro. And I'm going to show you seven ways that you can optimize the performance of Premiere Pro. Grading your laptop or your computer necessarily, although that will help. One of the final tips that I will give you in this video, we'll talk about a potential upgrade, but the first six tips that I have for you, we'll just be improvements and changes inside the software itself. So the first thing that you can do to optimize Premiere Pro is reduced the playback resolution. So at the moment, I'm here inside Premiere Pro and I've got a little drone clip here. Now this drone clip was shot at four K, which is high resolution. You might have 8 K red footage. And so this is when you should really apply the first one, which is reducing the playback resolution. So I've got that drone clip on the timeline here. And if you go over here to the little program monitor box here we've got a drop-down which says full, which means that when I play back this clip here in the program monitor box, it's playing back a full resolution. If I just hit that and then drop that down to say 1.5 or one-quarter of the playback resolution. And then I scrub that same footage already. There's an improvement, a huge improvement, because it's only playing back at a quarter of the original resolution. So that's one little tip to keep in mind. You can maybe dropped down to one. It's completely up to you. So the second one is changing to GPU acceleration. What does that mean? So if you go over to File and then you go down to where it says Project Settings and then click on General. This is usually the first window that pops up when you're creating a new project. Exactly the same window. If you've got a general here, it says renderer, Mercury Playback Engine, GPU acceleration could've, which is for NVIDIA graphics cards. I have an NVIDIA graphics card. And so if you click the drop-down, it might be set to software only makes sure it's set to either cuda OpenCL for running a Mac. Opencl, if you're running Windows with an NVIDIA graphics card, make sure you got cuda selected. This will definitely improve the performance of your editing experience inside Premiere Pro, make sure that's ticked. The next one on my list here is the global effects mute button. So what that means is that when you are editing your footage inside Premiere Pro and you're adding all these different effects if you go to Effect Controls, I didn't have any in this case, but it gets quiet, resource intensive and your laptop and get really slow when you start adding all these different effects and color grading and color correction and all that kinda stuff to your video clips. Then Premiere Pro really starts to slow down what you can do. Is if you go over here to the program monitor box and click on the little plus sign over here which says button editor. And you'll see a little icon there called if you run your mouse services, global effects mute. If you just click and drag that over to toolbar, which I've already done. You'll see this little effects icon. If you click on that, it changes blue, which basically means that it, it just mute, temporarily mutes all of the effects that you've created and put into those clips. And we'll just make the clip playback much, much faster. And so that's one thing to keep in mind is global effects mute, really, really handy feature when you're working with a lot of clips with a lot of effects added to them. So it doesn't remove the effects, it just temporarily mutes. The next one on my list is the media cache cleanup. So if we go over to File and we go down to correction, go to Edit, and then Preferences, and then we've got immediate cash. And this little window will pop up here. So this is essentially cleaning up the mess that Premiere Pro makes behind the scenes. What I like to do from time to time is I like to come in here and click Delete versus removed media cache files. I click Delete and then click, Okay. Premiere Pro will clean up everything that is done behind the scenes. And then what I like to do is come down to where it says media cash management. And then I select this option here, automatically delete cage falls older than seven days. I've manually selected seven days. So after seven days, it just cleans out the old case files because typically my projects take around three to four days and I don't need those cage falls after about four days, but I said seven days. So don't have to keep coming back into this box and then clicking, Delete every, every time I finish a project. So keep this one in mind. It is super handy and it will say, it will also free up a whole lot of space on your hard drive as well. If I come down to the next one on the list here, it says Memory. And he, in my case, my laptop has 16 gigabytes of internal memory, which I talk about in another video. You should really be using a laptop or a computer that has a minimum of 16 gigabytes for editing your videos. But what I like to do is down here where it says RAM reserved for other applications. I think by default for memory in Premier Pro to set to five. I'll just go back into that. I accidentally closed it. So we go Preferences and then we go to memory. I think by default it's set to five. What I like to do is I like to reduce this down to three. It's the absolute minimum. So essentially I want to give Premiere Pro as much internal memory resource access as possible. I want to give everything to Premier Pro and three gigabytes to everything else, right? So this is super handy to give as much memory to Premier Pro as possible. And then once I've done that, I click Okay. And then the last one is creating proxies. So it sounds complex and a little bit mysterious, but all a proxy file is, is essentially taking your high resolution clip that you've might have shot on your drone. Or as I mentioned before, red footage, which is 8 K for age, it takes a high resolution version of that clip and creates a proxy, or in other words, a duplicate. File, which is much, much lower resolution. So when you're editing inside Premiere Pro and you're editing with the proxy file or the duplicated file, which is the lower resolution file. It's going to be much faster. And then when you export that project out to your final video, then Premiere Pro actually renders the original high resolution video clips in the final product. But in the meantime, working with proxy files or lower resolution files, it just makes the workflow so much faster. And so I'll show you how to do that and I'll explain how to do proxy files in another video. But this is how you create proxy files. And it's very, very easy to do. So over here in the project window, I've got here my original four K clip shot on my drawing. And I want to use, I want to work with the proxy file of this original clip. So I right-click on this and I go to where it says proxy and then click on Create proxies. And so I'm telling Premiere Pro to create a lower resolution of this original clip. And I'm going to work and edit with the lower resolution of the original clip. So and format I usually select QuickTime personally. And then under Preset, I usually go with prioress, Apple ProRes low resolution proxy. You can go with Sydney form low resolution proxy. It is up to you. Again, I'll make a separate video going into this and a little bit more detail later on, but progress is fine. Click on that. And then here it says destination. I usually just set it so that it creates the proxy and it puts that proxy file or that low resolution clip in the same folder as my original project. So I usually just make sure that's selected. And then I click Okay, and then what Premiere Pro does is it opens up Media Encoder and it will start to create the proxy files. Now you can select multiple for k clips and you can create a proxy file with multiple clips simultaneously. Just let Premiere Pro do its thing. It's doing this all for us now as we're talking, and it's done. So now we have a proxy file. It says here proxy dot MOV. Now come back into Premiere Pro. Now, I want to use that proxy file, that low resolution file, so I can edit my, my video. So how do I activate it? So all you gotta do is you go back over into the button editor, click on that. This will pop up again and just look for this little icon here where it says Toggle Proxies. You just click and drag that over into your little toolbar thing here. I've already done it, so I'll click Cancel. And then I need to do to Toggle Proxies is you click on here, it says Toggle Proxies, it changes blue. And now it might be very hard to see this, but now we're actually looking at the lower resolution proxy file and not the original clip. So right now this is the lower resolution file, which makes it so much faster to scrub left and right. Now, if I take this drop-down menu here, the playback resolution and changes back to full. And I scrub this, it's so much faster because now I'm using the proxy file, but what's this? If I click this and turn this back to the original footage I0, I'm turning off proxy files. What's this? It's really slow, right? And so as you can imagine, if you're editing a fork, a drone video, this is just a painful experience. When you turn the proxy on and I scrubbed the same clip, it has so much faster. Look at that. Now you can also click on this drop-down box over here, which is the Zoom that you want to set for the program monitor box. And you go to say 400%. And right now, so we've zoomed in here to our clip. Now, if I turn proxies off, you'll see that that's the original four K clip. If I turned proxies on it, then I'm now looking at the lower resolution clip. And so this is how I this is my personal way. I like to check to make sure that the proxies are turned on is I just zoom in here to about 400%. And then I just confirmed to myself that yes, I am working with the proxy file and that's fantastic. All you need to do when you're about to export your completed project, premiere Pro will automatically export the video with the proxies turned off. So if for example, I leave proxies turned on, that's all blue. I then go over to File Export Media. And then I'll show you over here, I'll prove it to you. That Premiere Pro here and the video width 3840 by 2160. So Premiere Pro is definitely going to export this clip in for K and not the proxy files. So just for a few people there that are worried about exporting their final project as a proxy and not the original clip resolution. And the last one that I want to cover with you is actually not related to any kind of changes inside the software. It is relating to a tip for upgrading your laptop or your computer internal storage to SSD. I'll talk about this in more detail in another video. But what I first purchase my, my laptop, which I've had for five years now, it had internal storage, which was an older type of internal storage. But when I went out and bought an SSD, which stands for solid state drive. And I put this into my laptop myself. It looks like this. Then the performance of Premiere Pro just went through the roof. It was incredible. My rendering speeds. What we're just I to go for a walk while my laptop was rendering and then I'd come back and it would still be rendering. But after I upgraded to an SSD, then I just would sit on my laptop and then kinda wait 10 minutes and then it would be finished. So if your laptop or computer has the ability to support SSD and you can afford it. I definitely recommend this as an option to upgrade. If you find that all the other tips I've given you hasn't really helped you that much. Otherwise, I hope that was helpful. If you have any other questions, please let me know. And I hope that this helps a few of you out there with the performance of Premiere Pro in your editing projects. I'll see you in the next video. 83. FAQs- How to Flip Video Clips (Horizontally): So there might be a time where you need to flip your video clips inside of Premiere Pro, I'll show you how easy it is to do that using a clip here on my timeline. And we have here robin is learning meu tie. And so I'm going to show you how to apply the simple effect of horizontal or vertical flip. So click on the two arrows here, go to effects. And in the search box you're typing in flip. And under transform you'll see two options here, see horizontal flip and vertical flip. So for example, if you want to use vertical flip, you just take the effect and drag it onto the clip and that will obviously flip it vertically as such. Feel free to play around with that option if you wish. I'll just undo that because the one that I want to show you specifically is horizontal flip. And if you take the effect, drop it onto the clip, it will flip the clip horizontally as such. Now really cool trick that I had been using for a couple of years now. And I've never seen anyone else used this before. So I'm going to be sharing, sharing that with you in this tutorial is by sort of using the horizontal flip to simulate multiple camera angles. Now, this clip here, for example, I'm filming Robin with the instructor in one continuous. I'm filming of this sequence. One very long clip from one angle. And so with videos, people get bored very quickly if you're not switching between camera angles as often as needed to keep the audience engaged in your videos. So what I like to do is I like to kinda move the playhead along and then take my razor tool and just place a cut somewhere here in the clip as such. And then I go to the second clip. Then I'll take the horizontal flip effect and I apply that into the second clip here. And what I have essentially done is I've got one camera angle here, Right? We're Robin is doing more time. And then that cuts to a different angle of Robin doing the same meu tie movement. But it gives you the impression that I'm working with two separate cameras and shooting from two different camera angles, right? And I can do the same thing. I could place another cut here and I can, you can remove horizontal flip side press Delete to restore back to the original angles. Have a play this back from the start. Okay. So it gives you the impression that there are two different cameras that were cutting between. But actually I'm just using one camera angle and I'm using the horizontal flip effect. Okay, So I'll give you another example here. We've got Robin walking up the stairs here in myeloma and one camera angle, one continuous shot. However, if I want to simulate two separate camera angles, take my razor tool, cut, go over to Effects, go to horizontal flip, and apply that to the second clip. And it looks like I'm shooting from the other side. Right. So she's walking up on this side and then on the other side. So that literally Simulating two separate camera angles, even though it's actually the same camera from the same angle. And one last thing is you can actually apply this to still images as well. Sometimes I want to put text over here in the top left-hand corner. But there might be situation where my subject is kind of in the way, right? So all I gotta do is take horizontal flip, drop it onto the still image, and that will flip around the other side so that I can put my text over in the top left-hand corner. This is an example, right? So just a couple of ways that I like to use the horizontal flip effect inside of Premier Pro. So if you have any questions, let me know. I hope this was helpful and I'll see you in the next video tutorial. 84. FAQs- How to Trim and Cut Video Faster (with Shortcuts): I'm going to show you how you can trim and cut your video clips inside of Premiere Pro using a couple of shortcuts that will really save you time in your editing workflow. And if you're like me and you're making tons of videos, trust me, these little shortcuts are going to make the world are different. So I'm going to share them with you in this tutorial. So firstly, when you're just starting out editing, you're probably using simple trim and cut techniques inside Premiere Pro, such as taking your mouse here on the side, got some clips here on the timeline, going to the edge of a clip and then just kinda dragging it in, going to this edge here, holding the mouse, right? And so this is the simplest and easiest way of trimming your clips inside Premiere Pro. And obviously by doing this, you're actually creating these little gaps here on the timeline, right? So we just trim away and you might take the razor tool. So you go over to the razor tool here, right? Or press C on the keyboard, and you might just chop away at what you don't want and then go back to the selection tool, click out what you don't want to press Delete on the keyboard, delete, delete. So as a result, we have all these empty spaces here on the timeline. And you might even just right-click and then go ripple, delete, ripple delete, or you might select that, drag it and close those gaps up. So what I first started my editing journey, this is how I edited my clips on my timeline. And so this is obviously not the most efficient way. So I'm going to show you more efficient shortcuts that are really going to save you time. I'm just going to undo all of this and start over. So the first thing is I want to make sure that you've got a couple of settings set first. So when we drag our playhead along our timeline, it automatically selects the clip that the playhead is sitting on top of. So I'll show you how you can turn that on. If you just go over to sequence and go down to where it says, Selection Follows play head, make sure that's ticked, right. So that's the first thing I want you to do. Just make sure that you've got that selected so that the play head hot automatically highlights the clip underneath it. So I'll show you a really cool technique. It's called the ripple edit tool. This is the first one. So what you can do instead of just clicking to the edge of a clip and then dragging it and then having this empty space here where you can actually do is hold down the Control or the Command key on the keyboard. So if you hold that down, watch what happens to the bracket. It changes yellow. So hold down that key, use your mouse and then drag the clip where you see you don't want that part of the clip and then release the mouse and while up automatically, it trims that clip, but then it also drags the rest of the clips along the timeline condensing that gap. So if I continue along, hold down the Control or the Command key, the bracket changes, yellow, tag, my mouse, click and drag it so I can trim that off. And it automatically fills that gap. So it trims to clip and it fills the gap. It's called ripple edit. So again, if I just hold down the Control or the Command key and just hold it there. And definitely I can just go through each of my clips and I'm just really quickly demonstrating how this works. So it's fantastic. Now what you can do, what, which is what I like to do. Instead of holding down the Control or the Command key every time you want to use the ripple edit tool. What I like to do is automatically enable the Control or the Command key. I'll show you how to do it. It's much easier to show you if you go to Edit, down to Preferences, go to trim. And this little box pops up here, it says here, allow selection tool to choose role and ripple trims without the modifier key. So the control of the command key is the modifier key. So if I click OK, watch what happens. Without even pressing the control of the command key, the bracket automatically changes to yellow, right, so I can free up my left hand here. And just like that, I can go through ripple edit these clips here on the timeline. So this is one really effective way that you can speed up your editing workflow. The next one I want to show you is the ripple delete or the ripple trim tactic which I've been using for years now. I'm just going to undo all of that. So what I like to do when I'm going through and doing a first pass on a clip, I'll just mute this. So what I'll do, I'm pressing the space bar on the keyboard. And what I like to do is I like to use the Q and the W key on the keyboard to actually ripple, delete what I don't want. So if I position the play head here, this part of the clip and then press the Q key, it automatically cuts and removes the beginning part of that clip. If I drag the play head over to the end of the clip and press the W key. Everything from the play head to the end of the clip will get deleted. Watch this. Look at that. And if I drag it back here and then press W, and if I drag the play head over here and I just want to remove everything, that's where the play heads located right at the beginning of the clip. If I press Q, watch what happens? So it automatically deletes the first half of the clip. So what I can do using my Spacebar, I can play the clip and then I can stop it by pressing the spacebar, hit the W key, hit the Spacebar again to play Space bar q. But then I also go another step further, and I use JKL. So JKL, the shuttle keys on your keyboard. So if I press the L key, it shuttles 4D. If I press K, It stops and j is rewind. So shuttled back, shuttle Ford, stop. And then what I can do, and I don't even have my mouse and I don't have my hand on the mouse. I can just use L, stop Q, L. And if I press L Again, it's shuttles faster. If a k, it stops, DJ is shuttles back. J again, j again. The more you press J or the more you press L, The more shuttles forward or back. So I didn't even have to touch my mouse. I can just use my keyboard here. So using L, shuttle forward, pause, and then w to ripple, delete, and then L, stop Q. And so this is what I usually do. I'll just go through my clip and I might just see what I like and then what I also like to do. I'm going to take this one step further, is I like to use Add Edit. So add edit is essentially where wherever the play heads located on the clip. If I add an edit, it essentially splits the clip and half. So I'll show you what I mean. If we go into the keyboard preferences, we just want to make sure we got our keyboard setup properly. So go to keyboard shortcuts here under Edit, and click on that. And firstly, actually if you have a look here, we've got ripple trim, which is Q, and ripple trim. Next edit to play head, which is w. So this is the standard Adobe Premiere Pro keyboard layout. Now in the search box if you type in AD. And here it says Add Edit. Now by default it's Control or Command K. That's the default keyboard shortcut. But I've actually set it to E as well. So what you can do is you can click over here, just click on it with your mouse, type in E. And then click Okay, so we've essentially just programmed another letter. And so what that does is if I press E on the keyboard, it automatically splits the clip. So I don't need to get my razor tool click over here and then put a cut into the clip. I can just position the play head, press E on the keyboard, and it automatically creates that same cut. So I'm just going to undo, undo, undo, and put all this together for you. So if I'm playing this clip, if I'm playing for this timeline, so I hit L and then k, and then q, right, to ripple, delete. And then I play it. And then I go, Actually hold on a minute, I want to keep this. Then I hit E on the keyboard. Continue. Pause, cue, continue. My goal. I want this bit so I'm going to pause and I'm going to add edit and have no actually don't want that. So I go back a little bit to J. Little bit too. Yeah, great, That's good. And then w and someone's in the next clip. So this is my next step point. So I'm going to add edit there. So IE, I don't want this bit, so Q continue might go a little bit faster. So l, So you get the idea. So this is essentially how it feels a little bit weird at first. But once you start incorporating this kind of workflow, you'll be surprised how fast your workflow will become inside Premiere Pro. Another one I like as well is if, for example, you, if you have used the Razor Tool and you have made a couple of cuts in your timeline on your clips. You can actually just click on the piece that you don't want. And rather than just pressing Delete on the keyboard and then just kinda go and ripple delete to close that gap. What you can do, which is much faster, is click on the piece that you don't want and then just hit Shift Delete. And it not only deletes the clip, but it also closes the gap. So that's another cool little shortcut as well. So I hope this was helpful. Just a couple of little shortcuts that you can use and implement. If you have any other questions, let me know and I'll be more than happy to help you out. I'll see you in the next tutorial. 85. FAQs- How to Add a Background Image: So I'll be showing you two ways of adding a background image to your videos. And in this case here we have some footage on the timeline. And if I click on that, I've just changed the scale of it just to shrink it down a little bit there. So we've got this black background here. So we're going to put a background image there. And I've got here one already inside my project. So the first thing you're gonna do is you're gonna take your stock footage here and just click and drag it up to video track layer number 2 in this case. And with our background image, we're going to drop that into video track layer number 1. So we'll take this image here and drag it underneath. There we go, so we can see there already. And we're going to stretch that out. So it's the same length of our video. And then I'm just going to click on the background image and I'm just going to scale it up so that the black is all gone and there we have it. So that's the first way of adding a background image to your videos. If I play this back there, it looks quite nice. Just like that. And the second way is actually by using what they call a color matte. So I'll just delete that background image. And if we go down here to project, click on project, go down here to New Item. And then where it says Color Matte. Click on that click. Okay? And then this is where we can select the color for our background here. So we can select any color we want. So because we've got like a nice little Antarctic could clip there, we might just keep it sort of a blue color. Click Okay, and then we can give it a name, but otherwise click Okay. And then down here we have a color matte created. So we just take this column Matte, drag it on to video track layer number 1, and we just stretch it out like we did before with the background image. And there we have it. We have our nice little blue color matte. Now, if you want to change that color, you can just double-click on the color matte and then you can just make it any other color you want. Maybe a darker blue click, Okay? And that will change the color, matte color. And that's as easy as adding a background image to your videos. I hope this is helpful if you have any questions, let me know and I'll see you in the next video tutorial. 86. FAQs- How to Adjust Volume for Multiple Clips: When it comes to adjusting the volume for multiple audio clips on your timeline, you might be going through and manually doing it clip at a time. So you might, for example, take the rubber band to you on the first clip and you might be dropping that down a little bit, go into the second audio clip, drag and that down the third one and the fourth one. So as you can see, very, very inefficient. I'll show you how quickly it is just to select them all at the same time. Just by selecting them like that, right-clicking, go to Audio Gain. Click on that where it says adjust gain by click on that. There's a little box here, click inside there, and just, you can either put in a positive value or negative value. So either minus 10 or plus 10, it's up to you if you want to increase or decrease. And then click Okay. And just like that, we've reduced the volume by minus 10 decibels for all four clips at the same time. So if I undo that now, for example, if you just want to reduce the volume or increase the volume for selected clips, just hold down the Shift key on your keyboard. So hold down the Shift key and we'll click the first one, the third one, and the fourth one. And then do the same thing. Right-click go to Audio Gain and adjust game by, make sure that's selected. And then this time we're going to increase it by 10 decibels. So 10 click, Okay. And that's it. It's as easy as that. If you have any questions, let me know and I'll see you in the next tutorial. 87. FAQs- How to Use Adjustment Layers: Using adjustment layers in your project is going to save you a ton of time and messing around. And I'll show you how to use them. But firstly, I have a couple of clips here on the timeline. I'm going to show you what it's like to not use them. And then you'll appreciate why you need to incorporate them in your projects. So we have three clips here on the timeline, pretty random clips here. And just say for example, I want to add an effect to each of these clips. So for example, if I type in noise and I want to add some noise to the clips. If I click and drag it onto the first clip here and then go over to Effect Controls. And I've got this clip selected here. And then I'll just drag up the noise a little bit. And I'm just going to exaggerate that. And if I move the play head across to the second clip, and I want to add some noise to this one as well. I just take the effect, drag it over to the second clear. Click on that clip, drag up the noise a little bit. K. Third clip. Click on that one so you get the idea. Now, if you're not using adjustment layers and you're wanting to use the same effects or the same color grading across multiple different clips. As you can see, it gets very time-consuming if you're applying those effects to each individual clip on the timeline. And for example, if I want to change the amount of noise on the first clip, I click on the first clip, I go here, I drop it down, and then I'll move this across. K are going to drop this down. So as you can see, very time-consuming. And if you're working on big projects, you'll be wasting a lot of time doing it this way. Welcome to the adjustment layer. So I'm going to go through and I'm going to delete the effects that have applied to each of these clips. And I'm going to show you how easy it is to use an adjustment layout. So all you need to do is go down. So click on Project over here. You'll see this little icon here, new item, click on that, go to Adjustment Layer, and then just click Okay, right. And then you can give it a name if you like, to you. And then just click and drag that adjustment layer over the top of the clips on your timeline. So we are using video track layer one for these three clips. And so I've got the adjustment layer sitting on top of the first clip, but I want to stretch it out so it's going to affect all of the clips underneath it. So the adjustment layer sits on top of all the clips that you want it to affect. If you only want the adjustment layer to affect half of one clip, then essentially the adjustment layer, as I move the play head there, where hits the adjustment layer is where the effect will take place. And then all I gotta do is go back to this little icon here. Go to Effects noise. Click and drag that and drop it into the adjustment layer. And then click on the Adjustment Layer, go to effect controls over here. And then just pump up the noise a little bit. Right now you can't see it because I've got my play head in the wrong position. Boats this, if I take my play head and move it just where it hits the adjustment layer. Boom, we have that noise. And as you can see, that noise effect has applied to each of these clips wherever the adjustment layer is sitting on top of them. Now of course, I'm going to tighten this up a little bit, right? And as you can see, the adjustment layer is only going to affect all of the clips that it's sitting on top off. So in this case, I've only got the noise effect applied to this part of the clip. If I move the play head this way, there's no effect. And then we have the noise, right? And then if I just want to change the effect, I just go and click on the Adjustment Layer. And then I just adjusted over here. So rather than having the same effect in three different clips, I have the one effect in the adjustment layer. And that affects all of the clips that it sits on top of, that you can use adjustment layers for many different things such as color grading and color correction. And I'll show you extremely quickly. So if I just click on the adjustment layer, make sure you've got the adjustment layer is selected. And we're just going to click here on noise and just delete that for now. So we now back to where we started and we have the adjustment layer across all three clips. And then I'll go over to Lumetri Color. I click on say for example, I don't know. We'll start with basic correction. And then just say for example, I want to adjust the exposure, the exposure up a little bit and then pump the, I'm just randomly playing with the sliders here of the contrast up a little bit. And then the saturation that's take that up heaps. I'm just exaggerating this a lot. So now if I move the playhead, now by the way, I've got the adjustment layer selected here, and I'm applying the color adjustments into the adjustment layer. And if I click over here to Effect Controls have got Lumetri color. It's added that in there as I've adjusted these sliders. And what's this? Now, all of the color parameters have been affected inside the adjustment layer for all three clips. So you can do so much with an adjustment layer. It is that easy. If you have any questions, let me know and I'll see you in the next tutorial. 88. FAQs- How to Blur Faces in Videos: Okay, so there might be a situation where you want to blur or pixelate someone's face in a video that you've shot. Or you might even blurt out something within the video itself, like your dress or some identification or something like that. You don't want anyone to see. I'll show you how easy it is to do that in this tutorial. So as you can see right now, we've got a clip here, the original clip on the left here, which shows everyone's faces. And then on the right here of blood out this guy's face. So I'm going to show you how to do that. And by the way, these clips I've taken from pixels.com, really awesome website for free stock videos and photos. Not sponsored, not affiliated. But that's where I've taken these particular clips from. So first thing you need to do is we're going to delete these clips on the timeline we're going to start over. And I'm just going to select this clip here and drag it into my timeline so we have a fresh clip. And so I want to blur out this guy's face. Very easy to do. Just click on the two arrows here, go down to effects. And then the effect that we're going to be using is mosaic. So if you just type in Mosaic and it'll pop up here under stylize. And we click and drag that over to a clip. Now, obviously it's applied the effect across the entire frame. And I'll show you how to use a mosque in just a second. Take you play head, take it to the very beginning. Go-to effect controls over here. If you don't see effect controls, it's probably going to be hiding in here in the list. So Effect Controls. Click on that and you'll see mosaic popup down here. And all you need to do is you have three options here right now, but going to be using the first option which is create a ellipse Mask. Click on that, and a little mask will be created automatically. We're just going to click and drag it over the guy's phase. We use these handles here to just shrink it down a little bit like that, right? Very easy to do. And we'll just play around with it. So that looks pretty good to me. We have our play head. Remember at the very beginning. Now, if I play this back, obviously we have a problem here. The mask is staying in one spot, but obviously the video is not. So we want the mosque to stay in, to basically follow the face and stay on this guy's face the entire time. So I'm going to show you how to do that. Before we do though, I'm going to show some of these options down here. So what I like to do is play with these two options here. So we have horizontal blocks and vertical blocks. So I usually just set a 100 and then I just kind of move it around from there. So a 100 at horizontal and vertical blocks, we'll set to a 100 as well. And you can see how that's changing there. Feel free to play around with these in your own time. And then we can change things such as the feathering. So how smooth that mosque is. If you need to, you can actually zoom in by clicking this drop-down here, going to a 150%. And then using these sliders here, moving, it just gives you a better idea of what's happening. And you can just move that further and you can just see what is happening. So I'll leave it at around a 120. Looks good to me. And that's about it. So I'm going to take this out to fit. And then what I'm gonna do is I'm going to hit the play button here where it says masked path. I'm going to hit the play button. And now it's going to track this mask across the subjects phase. Now depending on the length of u clip, this might take five minutes and might take 50 seconds. So for the purposes of this tutorial, I'm going to speed this up a little bit. Here we go. It has been applied, so I'll take the play head back and I'll play this through. And you can see that the mask is now moving with the subjects phase. And that's how you do it. Okay, so I'm gonna use another example here. I'm going to go back to where all of my clips zone. And I'm going to use the second clip, drag that over to my timeline. And I'm going to show you another method if I just expand this out very quickly. Okay, so want to blow this little girl's face out, but I don't want to use the Ellipse tool this time of goto effects. Mosaic is already selected. Click drag it over to our timeline. Ok, so this time I'm going to undo the effect controls tab here. Instead of clicking on the create ellipse mask option, I'm going to hit the pen tool. And this allows me to free draw the actual mask over the subject's face. So I'm going to click on this and I'm just going to quickly draw something like that. And essentially you just want the final points to join up at the very end. And then I'm just going to click and move it over this little girl's face and watch what happens now. This is a perfect tool that I like to use, the pen tool if I want finer detail and more accuracy with creating a mosque. And so this is how I do it. I usually spend maybe five or ten minutes, you know, creating the mask like this just to get the subjects phase mostly masked. And which is push that out. So this is something that you can definitely play with in your own time. And just remember, as you're moving the cursor around, it will change to a pen. So if you move your cursor away from the blue line, it changes to a hand so you can then move the entire mask around like that. If you move your cursor over the blue line, it changes back to a pen again. And wherever you've got the pen, you can then click anywhere on the blue line, and that creates another point just like that. So move it anywhere in the blue line and click and then drag it out. So that's essentially how you create a mask by just free drawing it over the subjects phase. And again, we just move our play head here so that we are at the beginning of the clip boy, you can just hit the up and down arrows on the keyboard. So the up arrow will take the playhead to the beginning and the down arrow would take the playhead to the end of the same clip. And when we're at the beginning of the clip, we just want to position that mask over the subject's face. We make some final adjustments here. So you get the idea and you might spend a couple minutes doing this just like that. And fantastic. So then all you need to do is as we've described before, we just changed the block sizes. So a 100100, right? And you can play with the feathering if you wish. You can move that around. Okay, great. So I am now going to hit the Play button over here where it says mosque path. And we'll be waiting a couple minutes and then I'm gonna come back to you once. It's all finished. Ok, great, so that's all done. So if we play this back, this is what our end result looks like. We have the mask which is tracking over the subject's face. Looks pretty good to me. And if you want, you can just click on the clip and you can make adjustments to the block sizes to make them bigger. And you can play around with the feathering option and then go from there. So I hope this is helpful if you have any other questions, let me know and I'll see you in the next video. 89. FAQs- How To Dynamically Link Premiere Pro & After Effects: So this entire time we'd been working exclusively inside Adobe Premier Pro to edit our videos, learning how to cut and edit, add background music, add text, and so on and so forth. Some of you have asked me, Well, Brad, I have Adobe After Effects and I want to be able to take in my project from Adobe Premiere Pro and add visual effects and motion graphics and tracking and 3D effects and things like that. Inside of After Effects, how do I do it? How can I make Adobe Premiere Pro and Adobe After Effects talk to one another? That's the concept of dynamic linking, which allows these two amazing bits of software to communicate with each other in real time. So before I jump into it real quick, if you're not familiar, Adobe aftereffects is another piece of software by Adobe. It's a professional level software used to add visual effects, motion graphics, animation, keying, tracking 3D effects. It goes on and on. Essentially, it is used in the post-production phase of making videos. So once you make your videos, you know, like a rough cut in Premier Pro, you've got all your cuts on your timeline here with the background music and so forth. Then you can go over to aftereffects and add special effects and things of that nature to the finished project. And so I'm going to show you really quickly one way that you can add simple effects to individual clips from within your timeline in Premiere Pro. And so I have on my timeline at the moment three drone clubs here inside Premiere Pro. And just say for example, I want to add some animated text to one of these clips using Adobe After Effects. How do I do it? So if we go to file over here, go down to Adobe Dynamic Link, the three options that we have here for creating a composition using the dynamic linking function. There's three options, but I'm only going to show you one of those options, which is replaced with After Effects composition. So there's one way of accessing it. The other way is right-clicking on the individual clip that you want to apply a composition to using After Effects and then going to replace with After Effects composition. Or I can select multiple clips. And then if I want to apply effects to all three of these clips, select all of them, right-click and then click on replace with After Effects composition. So I'm just going to select one for now. Right-click on it. Click on replace with After Effects composition. It's going to load up Adobe aftereffects in a separate window. Right here. It's going to ask me to give it a name. I'm just going to click Save. Yes. And that same clip that I've selected here has now dropped into the timeline inside Adobe After Effects. So if we go back to Adobe Premiere Pro, you'll see that the change here on the clip, it has now turned into a composition, right? So it's changed color. And so essentially what that's telling us is that now that's linked to Adobe After Effects. So if we go to aftereffects and we can scrub this footage. Now we can add any effect we want. We can add animated text or we can do color grading, anything we want. So for example, I don't know, I might just type in rain for example. So I want to do, I want to add some rain effect to this clip. So I just click and drag it and drop it onto the clip. And if I play this back, you'll see the rain there. Now if we go over to Adobe Premiere Pro, you'll see that that applies in real-time to this clip inside Premiere Pro. So for just make this big and you'll see it. See you now see the rain there. So you get the idea. So essentially I have now applied a special effect for this clip inside aftereffects, and it's now simultaneously applied to that clip inside of Premiere Pro. Now I'm going to undo this. And now that effect has been removed. If I go back to Premiere Pro, the rain has now disappeared. Now I can do the same thing with text. I can type in. Actually, we'll go over here, type in something like, I don't know, Philippines. Right? I'll just give you I'll just show you really quickly how this works. And then once you've finished adding any special effect that you want inside After Effects, you can then export the project using Premier Pro. So I'm just going to make this big here Philippines as such. Okay, so once I've got my texts there, I'm going to add the effect of maybe, maybe dropping by character. So once you start playing with Adobe aftereffects, which is amazing software, you'll find that there's so much more that you can do with this software that you just can't do with premiere probe. It just doesn't have the capacity to do all of this stuff. So I'm going to take this effect, I'm going to drop it onto my text here and then I'm going to play it back in. You see that the text there is dropping From the Top. Great, if we go back to Premiere Pro, What's this? And there we go, we have our effect. So want to show you one more thing before I let you go. And that is if you're using more complex special effects from within after-effects and trying to play that back into Premier Pro. The performance of playback inside Premiere Pro will be dramatically reduced. So I'm going to show you an example of that. So I'm going to undo the texts that we've done just by deleting the texts layer there. And I'm going to use a more performance intensive special effect here. So for example, I'm going to, I don't know, Bad TV, I think is one. So bad TV is a special effect here. I'm going to apply this directly to our drone clip here. And so this is going to give our drone clip a nice old TV look. Right? So much more performance intensive. Now if I go back to Premiere Pro, the effect has been applied, but it's much slower. And if I play this back, it's kinda chunky and it's really straining my laptop here. Now you can click on the drop-down menu here. And then if it's set to full or half the playback resolution, you can reduce this to a quarter, but even with a quarter set, it's still playback really slowly. So what you can do is to speed this up. You can just right-click on the clip here and go over to where it says renderer and replace, click on that. And then this little box will pop up here and just make sure that where it says source, you've got individual clip selected. Sometimes it has sequenced selected, just click on individual clips, leave everything else alone, and then click Okay. And watch what happens when this finishes the coding process. I'll show you how quickly it plays back. Okay, it's finally finished. So if I play this back now, it's much faster than water was before. All right, That is much better and much easier to work with if we're still making changes inside of Premiere Pro with our project. But watch what happens if I go back into After Effects. And I decided that I don't want this effect anymore. I just want to undo it and go back to how I, how I had the clip and I want to add some other effect. Then if I go back to Premiere Pro, then it hasn't made any changes. And I think to myself, Oh, what's happened here? Like I, I've removed the effect inside aftereffects. It's gone back to the original clip. But then in Premiere Pro, it's still. So what I need to do to fix this problem is right-click on the clip and go to where it says restore and rendered. And that will now sink it back with the clip inside After Effects. So that's essentially how you use one of the workflow processes of dynamic linking between Premiere Pro and After Effects. I hope this was helpful if you have any other questions, please let me know and I'll be more than happy to help you out. I'll see you in the next tutorial. 90. FAQs- How to Reverse Video: Okay, so there might be a situation where you want to reverse the video in your projects like what you saw in the introduction just before. And so I'll show you how easy it is to do that in this tutorial. So I am going to delete all these clips on the timeline. And I'm going to start over and I'm going to show you. So I'm gonna take this clip here of a scuba diving adventure that we went on in Indonesia. I'm just gonna select an endpoint in an app point very quickly and then drop it onto my timeline. And so right now if applied this back, it's playing in Ford in the forward direction, right? So all you need to do to reverse this clip is to right click on it, go to speed and duration. And then where it says he reversed speed, you click on that, click OK and it reverses it. It's that simple. Now the alternative to this is if I undo that, you select the clip. You can press Control or Command. And the box will pop up. The same box will pop up, click on reverse and click OK. So if you want to shortcut method, you can just press control or command R on the keyboard. So that is essentially how you reverse your clips. What I did as per the introduction of this video is I just put in two clips into my timeline. And with the second clip, I just right clicked on it or controlling command R, then went to speed duration clicked on reverse speed clicked OK. So the first clip plays normally and then the second clip will reverse. And that's how you do it. That's how you reverse video in your projects. I hope this was helpful and I'll see you in the next tutorial. 91. FAQs- How to Add a Logo to Videos: So I'm going to show you how easy it is to add a logo or a watermark to your videos in this tutorial. And I'm going to start with a little drone clip here on the timeline. And I'm going to use the example of adding a couple of like a YouTube logo and an Instagram logo to this drone clip. But feel free to bring your own logo if you wish to follow along with me. So it's really, really straightforward. Essentially, I'm going to use the YouTube logo first. I'm going to click and drag it over to the timeline. And what you need to do is just make sure that the actual logo is stretched out across the entire clip. Because you want the logo to be applied across the entire duration of the video. And then we'll need to do is double-click on the logo. And when you double-click on it, these little handles will show up. And all you need to do is just resize that down to whatever size you want. And then you can just click and drag it anywhere inside the frame down the bottom left and bottom right. It's up to you. And that's pretty much it now if you need help in terms of guidelines to place your logo in your video. What I usually do is I use this. I'll show you if you click on the wrench icon here and see where it says safe margins. If you click on safe margins, these two lines will pop up around the frame. And I'll explain what these safe margins do in another video. That's for another video. But I like to use the safe margins as a bit of a guide for placing my, my logo. And so if you need to, you can just click here and then go to say a 100% to zoom in a little bit. And then you just use these little scroll bars here, right? And it just gives you better accuracy. You can just click and position your logo as such, right? And when you want to go back to the normal size, you just click here and then click on fit. So another thing I'd like to do is once I've added the logo or image, I click on it here in the timeline. And then I go over to effect controls here. And then I like to select a different blend mode because right now it's pretty harsh. It looks like it's a little bit tacky, so I share what I like to do under blend mode, there's two options. You can either change the opacity of a directly, so you can just pull that down a little bit. So blends a little bit better with the background. Or leave it at a 100% opacity and change the blend mode here. Now the blend mode that I would suggest using is screen. And as you can see if we play this back, the logo blend a little bit better with the background. Or you can use screen in addition to changing the capacity, pulling that down to say 50%. So it looks more like a watermark that an actual logo that you've, you've dropped straight on top. So apply this back and that's pretty much it. So what I'm gonna do, I'm going to show you how to add the Instagram logo. And I'm going to show a really cool technique because you might have a logo like this that has a white background. And so just as we did before, you just double-click on it and use the handles, pull it down. And then just say you want to put that over here on the left-hand side, and you want to remove this white, I'll show you how easy it is to remove the white. You go to these two arrows here, click on effects. And then here we're going to type in color key. And we're just going to scroll down to we see color key. So it's under keen. So you'll select colored key, drag it over to Instagram logo, right? Just drop it straight on top there. Go to Effect Controls here. And then you'll scroll down until you see color key. You'll then take this little eyedropper tool and you click on that and then you'll just click on the white and watch what happens. It completely removes the white. Now, you'll see that there's still a little, little bits of whites door left over. If I just click on this, drop down here and click on a 100%, drag this over to the left, pull this down using the scroll bars. Or we need to do is to tidy this up to remove all of the white. Is. If we just go to where it says color tolerance here, under color key, we have color tolerance. Hit the drop-down arrow, and then just pull this over to the right and you'll see the white slowly get, getting removed there. And that's almost disappeared or that why it has pretty much been cleaned up. It is that easy and then you can use the edge thin tool if you want. We don't really need to in this case, but you can just kind of move this to the right. But if you move it too far, it starts to chop into the actual logo itself, right? So we might have just leave that at 0. So that's essentially how you add a logo where it's got like a white or any other color background and you want to completely remove that background. You can do that using the color key effect. And they're just as we did before, we just double-click on the logo, use the handles and we can re-size that logo and position it using the safe margins here. Now, of course, we will restore this back to fit. And you might be wondering, you know, if I render this video, will these safe margins B. In my final video? The answer is no. They won't be. It's only for your inside your project when you, when you render this video, those lines will not be there. So if you hit the wrench tool, click on safe margins. That sort of looks like without the safe margin. So I'll just double-click on the Instagram logo and delete that. So that's pretty much how you add a logo or a watermark to your videos. If you have any questions, let me know, have a play with it. And I'll see you in the next video. 92. FAQs- How to Delete Audio from Video: So I'm going to show you how easy it is to delete audio from a video clip in your project. It's a question I've received in the last couple of days. I thought I'd make a quick video on it, so we'll get straight into it. So right now in my timeline, I have a clip of Kilimanjaro. And I've got here both the video and the audio of that clip. And when you click and select and drag that anywhere in your timeline, both the audio and video get dragged along at the same time. So you might be in a situation where you want to remove the audio completely or even the video completely. I'll show you two ways of doing it. The fastest and easiest way of removing the audio is to hold down the Alt key or the Option key, and then just selecting it as such. And I will just highlight the audio only and you can just press delete to delete it. And so now you're just left with a video by itself, or undo that. Or you just hold Alt or option and select the video only to doit the video, right? So super simple. The other way of doing it is by clicking, right-clicking on the clip and then going up to where it says unlink. And that will separate both the video and the audio. So then you can move these independently as such on your timeline. So one specific situation where you might want to do this is if you've recorded high-quality audio from a microphone or recording device, and you want to remove the audio that was recorded from your camera because it's not usually the best quality audio. And you want to replace that audio. This is how you would do it. And so I hope this was helpful or see you in the next video. 93. FAQs- How to Create a Split Screen Effect: So I'm gonna show you how easy it is to apply a split-screen effect in your videos. Just how you saw in the introduction just now. And I'll show you the way I like to do it. There are many different ways of approaching it, and I'll show you how I do it. And I like to keep it. These kinds of things, very simple. So right now I've got two clips on the timeline here in front of you. And I'm going to show you how to do it using these two clips. So essentially all you need to do is stack your clips as I have done, and I've got two clips on top of each other here on the timeline. And all you really need to do is go over to effect controls over here. If you don't see it, it'll be probably hiding in the two arrows here and the menu you'll see effect controls there. Click on that. And all we're going to be changing is the position value here. So if you click and drag that to the right or to the left, in this case I'm dragging mind to the right. And I'm just going to kind of move it over here, around to the middle somewhere. And that's essentially this is the beginning of our split-screen. Now the problem with this though is that our subject, our boat, not exactly centered in the frame. What I like to do is get the effect crop. So click on these two arrows, go to effects and look for crop. And click and drag that over to the top clip, which is their boat clip. And if we go back to Effect Controls, just say crop here. And essentially I want to crop this clip from the left. So you'll see here where it says left. I'll just click here and just drag that to the right. And I'm just going to crop that data a little bit. And then I'm going to go back to the position slider and reposition this clip until it around the center. And, um, I just bring that crop little bit too aggressive with the crop. That's about right, just about there somewhere. We just want to get the boat relatively centered there. And if we go back to the position slider, if I pull this back to the right. And you might be wondering, how do you get these two clips to align up exactly in the center? Again, there are different ways of approaching it. I like to use the safe margins. So if you click on the wrench icon here and go down to safe margins, click on that. Then Premiere Pro will give you these two box or two rectangular safe margin lines. I kind of use these as a bit of a guide. So you can see here we've got here the center of the frame marked with these two little dashes. So if I hit the position slider and just kinda line, line that up, and I'm just kinda eyeballing this as well. Right? So that's roughly Center. And I can just click on the program monitor box, hit the tilde key. It's good enough, right? So that's relatively in the center. And if I get the bottom clip and drag the position to the left, I can then centered this up as well. So our subject here is in the center of that frame. If I play this back, we've essentially done a split-screen effect. It is that simple. Now, you can play with different things. I mean, you can draw a line between these two, these two clips, or you can use the crop tool and feather the line out so it's not such a harsh cut. So if I click on the top clip, go back to crop and where it says edge feather. If I hit the drop-down arrow there, drag this to the right, I can just feather out that edge that's not such a hard cut. See how it's nicely feathered across into the second clip. If I just undo that, I can just draw a line and I'll show you how to do that. So if I get my pen tool here, and I just click off this and take my pen tool and I'll just click somewhere in the middle, right at the top there, and then click down here somewhere. And that is essentially creating a line. By doing that. Over here, your C under Effect Controls. We've now created a new shape. So if you click on the arrow here, you'll have all of the different things you can change. So here it says stroke. If you increase that, as you can see, that's a 100, that's quite thick, but we can change the thickness of our line by adjusting our stroke there. And we've essentially created a white line. So if I just click an a, by the way, I can change the color from white to any color I want blue, perhaps, right? And if I click off that, I've essentially created a blue line between these two clips, right? It's, it's quite rough. But I'll let you play around with this in your own time. And obviously I can click and I can make finer adjustments here to the line. I can click and drag this line over so it's exactly in the center. So I can spend the next five or ten minutes just fine tuning what I've done here. But that's essentially how you do a split-screen effect. And also you'll notice that the graphic here, if we just position that over so that it's extended across the entire length of our clip. If we play this back, I'll just turn off the safe margins so we don't see them anymore. If I play this back, we've essentially created a split-screen effect. It is that straightforward. Have a play with it. Let me know. Hey, go if you have any questions, let me know. And I'll be more than happy to help you out. Thanks for watching and I'll see you in the next video. 94. FAQs- How to Fade Audio In & Out (Two Effects): In this tutorial, I'm going to show you how easy it is to fade audio in and outs or music in and out in your projects. I have covered this earlier on, but I thought I'd just shorten it down and create a very specific video for this. So right now, I've got a clip and a music track here on the timeline, or play this back very quickly. So the clip I've taken from pixels.com and the audio track of taken from epidemic sound. So all you need to do to fade audio in and out is click on the two arrows here, go down to effects. The first method is if you want the music to fade in and out at a constant rate or a linear rate. Then I like to use, if you type in constant gain or just type in constant here in the search, you'll see here it says constant gain under crossfade. So if you click and drag that over to the audio track at the beginning, and you'll see that we've applied constant gain if I play this back. So you can hear that the music is coming in at a constant rate. And again, you can just click on that affect. And the cursor will change to a bracket. And you can just drag that out if you want the effect to apply over quite a length of time. So you hear the music. You can hear the music fading in at a constant rate. And you can do the same thing at the very end. You can just click and drag and drop it over to the end of the same music track. And you can make it fade out and you can just click and extend that out. There we go. So just faded out our music track using constant gain. So if I just undo that, so there's another option you can use as well, which is called exponential fade. So if you go to the search box here under effects and just type in a few characters there exponential at all, just pop up automatically. So click on exponential fade and drag that over. And essentially what that means is that the music will fade in exponentially. So at first there's not much of a change. And at the very end of the transition, the music will just pop straight in. So it's easier to just demonstrate what I mean. So if I play this back, so as you can hear that not much is changing. And then at the very end of the transition, we have the music just come straight in. So that's called an exponential fade. And again, you can just click on that and you can just drag that out. And so as you can see for most of that transition, you can't really hear any music. And at the very end, it all comes in almost at the same time. And again, you can just click and drag that to the end of the clip if you want to exponentially fade your music or your audio out. And that's pretty much all you need to do. I hope this was helpful. If you have any other questions, let me know. I love answering your questions. Otherwise, I'll see you in the next video. 95. FAQs- How to Fade Video In & Out (Two Methods): So I'm going to show you how easy it is to apply a fade in your video clips, in your projects and how to fade video in and out. So I'll show you two methods. And at the moment I've got a clip here on the timeline, just a simple skateboarding clip here, which I've taken from pixels.com. And I'm going to show you the first method. So all you need to do is click on the two arrows and go down to Effects. And here we're going to look for the effect called film dissolve. If you just type that in the search there and scroll down, it'll be here. So click on that. Or you need to do is click and drag it over to the beginning of the clip, drop it down and play this back. And you've essentially faded in the clip and you can do the same thing. You can just click and drop it to the end of the same clip to fade out of play this back. And there we have it. It's that simple. Now you can extend the duration of the dissolved by clicking on the effect. And where the cursor changes to a red bracket. You can just click and drag that out to the right and you'll increase the duration of the effect. So if I play this back, now, film dissolve is now taking effect. I've regretted a duration of time. And we do the same thing with this one here as well. Now, I'll just undo that and I'll show you the second method that I use to fade in and out of my video clips. And you'll see I've got a clip here on the timeline. Now, sometimes this can happen to an I do get this question. Where on the clip itself you'll usually see a line and you're not seeing that, that line right now on this clip. And all you need to do is right-click on the clip. Go down to where it says Show clip keyframes go to opacity. And even though opacity is actually selected in Premier Pro, for some reason, Premiere Pro doesn't always display that line, so I do get that question. So you click on that again. The line will now appear. It's called a rubber band. That's what they call it. And so this is the opacity line. And we're going to create some keyframes. And I'll show you how so we have the Pen tool over here. Are you press a key on the keyboard for short. So Pen tool, click on that. And you're gonna go over to the clip and where you've got that rubber band, you just going to click. Now I'm going to zoom in a little bit. So you can use the bar down here and you can pull that to the left to zoom in. And so all you need to do is just click sort of around the beginning of the clip. And you will create one little point there, one little key frame. And then you click somewhere else again. And then hold down that and drag the mouse down. And essentially created two key frames. And we've just pulled that rubber band down. So we've now creating essentially a fade in by using two key frames. So if I play this back, there we go with, so we now have a fade in. Now of course, you can just click and drag this keyframe to the right if you want the fade to take effect over a greater length of time, if I play this back and they have it, and if I can just click and drag that further to the right. So you get the idea. This is something to play around with and you can do the same thing at the very end. You can just create two key frames there and there. And you can always click and move their key frame around, pull it down, click on this one, drag it to the left, and play that back. And we've just faded out our video clip using keyframe. So I hope that was helpful. There's two methods for you in terms of how to fade video in and out. If you have any questions, let me know. I'll be more than happy to help you out. Otherwise, I'll see you in the next video. 96. FAQs- How to Render Video: So I'm gonna show you how easy it is to render your video projects in Premier Pro. A question that I've had recently is how to do that? So it's usually very simple or you need to do is select all of your clips on your timeline and press Enter. And I'll do that in just a second. But before we do, you'll notice here above the clips in the timeline where it's yellow, there's a yellow bar and there's a red bar. And if you play this back with the red bar, it gets really choppy and really slow to playback. And so this is perfect if you have transitions, as I have in this case here, I've got a couple of transitions between two clips. And so if you want those transitions to play back relatively quickly, then you need to render this out first. And so if you don't have any transitions, usually it's okay. You don't need to render your video. So this is what it looks like without the render applied. So apply the back, it's quite slow. And if I apply a rendered to it, select all my clips and press Enter on the keyboard. And depending on the length of your project, this might take, you know, 30-40 minutes or even a couple of minutes. In this case, it's taken less than five seconds because we have a 3 second video. And you'll see that the red bar has changed to green, which means that that has now been rendered out. And we'll play back much faster. Now, if you go over to sequence here, the top left, click on that. Here are all the options to render out your video. So right now I'm just going to hit delete render files in to out to pretty much undo what we've just done. So now we have that red bar again. So the other alternative way of rendering your video is going over to sequence, clicking on that. And you have several options here. It says you render effects into out, or we have rendered into out or render audio, right? So if we just select all of these clips and then go to sequence, and then click on where it says renders selection. Premiere Pro will do exactly what you tell it to do. It will render the selection in the timeline, and there we have it. So that's a really fast way of rendering at your videos so that it plays back very quickly inside your timeline. If you still find that you'll play back through, the timeline is very, very slow. And other thing I'd like to do is over here where there's a dropdown menu that you can select. The playback resolution here, at the moment of good is set to one over two or half. And see if I drop that down. I've got two other options here, a quarter and 1 eighth. It just means that the playback resolution will be playing back at a quarter or 1 eighth of the full quality. So that can also help speed up the playback as well. So I hope that's answered your question and I'll see you in the next tutorial. 97. FAQs- How to Draw Simple Shapes (Circles & Rectangles): So I'm gonna show you how easy it is to draw some simple shapes, rectangles, and circles inside Premiere Pro. It's a question I received a few days ago and is a feature that I don't often use myself, but I'll show you how easy it is to do that if you are wanting to apply it in your projects. So the first thing usually I like to do is go over to the graphics panel. So click on graphics at the top there. And so we're looking at the same screen. I'll just shuffle this around. And then over here you've got the pen tool here. If you click and hold down that there with your mouse, you'll see two other options. You'll see rectangle and Ellipse tool. So if you just click on rectangle tool and then you can just essentially draw a rectangle over the top of your video clip here in the program monitor box. And when you do that, a couple of things happen. A graphic layer is created inside the timeline. And then over here on the right-hand side, whereas you see essential graphics, you'll see shaped 01 that gets created. And you can then change all of the properties of that shape. Very easy to do. You can remove the fill by ticking that box. You can just use an outline. So if you click here where it says stroke, and click on the color box there, you can change the color of the stroke so, you know, you can, you can select black if you like or, or white. Click OK. But then if you change the thickness of the stroke, you'll get to see that rectangle box really pop up. And because I'm using a beach video clip, the white seems to work a lot better than using black or any other color. And so if I click off this here going to my selection tool, I can then click and move this around inside the program monitor window and then just use these handles here. I can make it bigger and smaller. Also as well. You can easily send to this as well. So you can use these two options here we have vertical center, horizontal center, that will make that rectangle centered inside the program on a toolbox. And if you make adjustments to it, and you want to easily recenter it, you just click these two icons over here. It's that simple. Okay, so you can also create a circle or ellipse as well. It's very, very easy. So just make sure you click off the graphic lay here inside the timeline. Go over here to where the Pen tool was, go down to Ellipse tool, click on that, and then just draw it on your program monitor box as such. And then you'll see another graphics layer gets created down here. So we now have two of them. And of course we can stretch them out so that they're both for the duration of the clip itself and we just play this back. You'll get to see what I'm talking about. There we go. So we can click on this graphic lay here. And then using our selection tool, we can click on our lips tool, our, our circle. And then again we go over here to the right-hand side and we can change the stroke of that circle. We can change the fill, we can put a fill coloring. We can make blue as our fill color and selected as such. Very, very easy to do. And again, if you want to, you can re-center that as well by clicking vertical and horizontal center. Otherwise, if you need to, you can just delete that straight off the timeline. And that's pretty much how you do it. If you have any questions, let me know, be more than happy to help you out. Otherwise, I'll see you in the next video. 98. FAQs- How to Recover a Missing Timeline: Okay, so there might be a situation where you're working on a project and you all of a sudden cannot find your timeline. It's gone missing. Your sequences gone missing. Right now on your screen I have a sequence, Just a quick one I've made up. And you might have by accident clicked here where it says close, where it says my amazing time-lapse and it's disappeared. It's completely gone. This happened to me when I first started my editing journey years ago, and I honestly thought I deleted it and wasted hours and hours of time when in fact, all I did was I just closed it and I couldn't even find where I had to go to reopen it. So you might have gone one step further. You might of not only closed your sequence, but you might have also close down your timeline as well. And so you might not even have a timeline inside Premiere Pro. So first thing is first, I mean, you can just go over to window of the top here, go down to where it says timeline, and make sure there's a tick there. And that will restore the timeline window. If I close that again, to make it disappear. You could also go over to window workspaces and then go to where it says reset to save layout. It's another option as well that you can select. And, or if you want to reopen your, your sequence, then you just got to find your sequence in here inside your project panel. And usually very easy to find once you know what you're looking for. So if you look closely, we have, this is the sequence file that I closed before. And if you look closely, we have a little icon here. Even if I run my mouse over it, it says its sequence. But here there's like a little block, like a little lego stack. And so that just is an icon for it being a sequence. So that is my sequence file. If I double-click on that, it reopened, sit here inside my timeline. So that's essentially how you restore your sequence and your Timeline panel. So this is something that you'll definitely come across if you haven't already in your editing journey, don't despair. That's as easy as how you restore it. So otherwise, I hope this was helpful and thanks for watching. 99. FAQs- How to Fix Media Offline Error Message: Okay, so there might be times when you come across this message. And when I first started my journey and I saw this, I freaked out because I thought I deleted my footage and I thought that I wasted a lot of my time. And when I saw this, I didn't know what to do. But there'll be times when you come across this, when you're making a project and you start moving around your original files, your original footage, and it disconnects inside Premiere probe. So I'm going to show you how to fix this. Common message is a common question that I get to with the course of how to reconnect my media. Because usually what's happened when you're getting those kinds of messages of Meteor offline. It just means that you've you've accidentally moved the footage somewhere off your onto a different drive or you've moved your footage to an external hard drive, you might have even deleted by accident the original footage. So but typically you might have moved the footage or you need to do if you've done that, is you right-click on the clip where it says Meteor offline. You just right-click on that clip. And then you look forward, says link media. And so at the end of the day, whenever you're editing footage and you're putting that into your timeline, all you're really doing is you are telling Premier Pro the location of that footage on your hard drive. Okay. So as you know already, you're not actually you're not actually manipulating or editing the original footage. You're just telling Premiere Pro where the location of that original footage is. So you right-click on it and you go to Link media. So we want to link this clip, the original source, and this box will pop up. So it's telling us that the clip name is this GoPro clip here. This is the file name and this is the path or the location. And so you'll click on locate. And we have to go and tell Premiere Pro where the new location, where the new location of this clip is. And so we know that it's inside this folder and overhears a last path. So the last time Premiere Pro was informed during our edit that the location was here. It's expecting to find that clip here, but it's not there anymore. But we're telling Premiere Pro that it's inside here. And so all you need to do is click OK and done. It's now read linked that media there. And it's also relink the meteor over here that you might have seen. But we still have another one. And you can see this on your timeline actually, if we double-click on that to make it bigger, you can see the thumbnails here. You can see that this one needs to be linked. So then we right-click on this phone, go to Link Media, click on locate, and then there it is. So you might need to go through your folders here. But otherwise, we know straight away that it's inside our drone folder now. And this is the clip that it's looking for. Click OK. And we've now successfully re linked all of our medium. So this, if this happens, do you, that's all you need to do. There's nothing to worry about. It's as simple as that. I hope that was helpful and I'll see you in another video. 100. FAQs- No Audio in Timeline! (Quick Fix): No, I can't drag him my audio. I can't drag it in. Okay, so one of the common questions when I do get questions about editing and Premier Pro that I've received in the last 102 years is why can't I, why can't I drag in my audio into my timeline? Even though the clip that I've filmed actually has audio in it. And I, I pretty much copied and pasted my response to people that have asked me this and I thought, it's probably not a bad idea just to make a video showing everybody the mistake. And it's a very simple oversight that people are making for why you're not able to drag your audio over into your timeline. So I've got a couple of clips here, my project panel, and all of them have audio filmed. So if you look closely actually you can see that if you look closer, there's too little icons here. It says like there's a little filmstrip icon, then there's a little wave form next to it. And if you look at each of these clips, they all have waveforms and a little video clip. So it just means that that clip has both a video and an audio component. You're trying to drag you GoPro footage or footage from your phone and it's just dragging over the video and there's no audio. What's going on? You, what you need to do is you need to turn on source patching for audio. So this is what happens when people have set me screenshots of their Premiere Pro screen. I always see this. I always see the V1's highlighted. Know A1, he just gotta click on, turns it on, and then it allows you to track in both audio and video just like that. So if you turn off source patching for video or V1 only drags in the audio and the video. And most likely you'll have this issue. So just make sure you've got source patching turned on for V1 and A1. And you want to have that problem. 101. FAQs- No Video Showing in Timeline (Source Patching Fix): See, you might be having the problem where no video is going into your timeline. So you've got your project here and you've got your clip over here in the source monitor box. You've shaded the piece of that that you want to include in the timeline. But then when you go to drop it into the timeline by either clicking, Insert or overwrite. Only the audio pops in and there's no video. And if you try the other option, I bright guy, back to insert, like all know what's going on. There's no video. But what's ironic is that when you scrub it over here, here, both the audio and the video, you'll see the video. So what's actually going on here? So this is actually a common question I've had and I thought I'll make a separate video on it. It's all to do with source patching. You don't necessarily need to know what that means. You just need to know how to turn it back on again. So down here in the timeline, we've got V1 and A1. So A1 is turned on. It's got like a blue shading around it. And you'll see here v1 is turned off. And so if we click on V1 to turn it back on, watch what happens. We now have both our video and our audio on the timeline. Now, I covered this in another video. The same thing can happen with the audio. If you turn off source patching for audio by clicking on A1 and just leaving V1 turned on, watch what happens. Only the video gets dropped into the timeline because that's the only one that's turned on. Again, if you turn them both on. And we do the same thing, you'll see that we can easily import that into the timeline. So it's a source patching problem, most likely if you just make sure they're both blue, you won't have any problems in relation to no video or audio getting imported into your timeline. 102. FAQs- How to Create A Simple Vignette: So I'm gonna show you how to do a very simple vignette in your video projects. I have two clips here on the timeline from the drone. And I'm going to apply a vignette to both of these clips on the timeline. So the way I like to do it is first and foremost, go down here to new item, click on that, and go to Adjustment layer. Click on that and create a brand new Adjustment layer. And then I'm going to apply the vignette directly to the Adjustment Layer, which I'll click and drag over to my timeline, and then drag that across. So the adjustment layers now across both of these two clips here on the timeline. And then the next thing I do is go to these two arrows, go down two effects like on effects. And then I'm going to type in circle. So type in circle and click and drag that over to my Adjustment layer. And now I've added a circle to my Adjustment layer. And then I go over here to effect controls. Click on that, and then scroll down. And you'll see here where so-called has been added. And I can change all of the effects for circle. So the first thing I need to do is go down to blending mode here, and then hit the drop-down menu, and then click on stencils alpha, right? So I'll click on Central alpha. And then the very next thing I do is I adjust the radius. So where it says radius, I increase the radius of my circle. And I pretty much increased the radius of the circle until the black is sort of around the right and left edges of the video. So around there somewhere, have a play around with this and just see what you like best. And then once you've set the radius, I go down to feather here. And you might have to click on the arrow. There's arrows are very tiny, unfortunately impermeable to click on the arrow. And then we go down to where it says feather outer edge, and then we just increase that. So we want to kind of feather the edge to kinda like blended a little bit. So if we increase that to around four hundred, five hundred, you'll see what I mean. This kind of blends out a lot to give it that nice vignette look. And somewhere around four hundred, five hundred kinda works. You can take this up to like eight hundred, nine hundred, which it just really depends on the clip that you're using. And it also depends on the kind of the mood that you want to create with the vignette. You might wanna bump it right up to 800 or something like that and play around with it. So now we have the feather set. And if I just move my play head around, you'll get to see what it looks like with the vignette applied on the first clip and the second clip. So you see, you can't really see much of the vignette there on the second clip. So it really depends on the type of clip that you're using. And also as well, if you go over here, back to circle, you can also reposition the circle. If you find that vignette is more on one side than the other side. So we can kinda move that to the left. So we can have more of a vignette on the right-hand side or more of a vignette on the left-hand side. So if we want to have that more in the center. So that's meant to be centered, but it doesn't look very centered. So I'm going to manually adjusted. So the centre looks more little bit to the left, so that vignette is more even on the left and right-hand side. And you'll see that this little cross hair will move as we move the center of the circle. Right? So this really comes down to the kind of clip that you're using. And you might need to play around with this depending on the type of clips that you're using. So that's pretty much how you apply a vignette to your video clips inside an adjustment layer. If I turn the adjustment layer on and off, you get to see the before and after. So a bit of a difference there. I like it. And let me know what you think. If you have any questions, let me know and I'll see you in the next video tutorial. 103. FAQs- How to Loop Playback: Okay, so I'm going to teach you how to set up a loop playback in Premier Pro. It's super handy when you're editing your videos. If you want the playhead to continually loop around and around and around a particular part of your clip. I'll show you how to set it up. It's super basic. Or I need to do is go over here to the plus sign and it will say button editor. If you click on that, this little thing will pop up here. We can add all these different buttons to your little menu. It's the one that looks like this one are Roma mouseover loop playback. So you just click and drag that down over here to the little menu here and just drop it down there somewhere. And then click OK. And you'll see a little button has been added called loop playback. Now, to loop a particular part of your clip. And this is really handy when you're wanting, when you're making changes to your clip. And you don't want to keep having to drag the play head back every time you want to replay it. I'll show you how it works. So I'm gonna play this back. Have ever looked. Okay, so we have a little clip here from a travel adventure from a couple of years ago. If you set an endpoint here, have a look, have a look, and an R point there. Just say we want the shaded area to essentially be looped back. Then all we gotta do is we've set out in and out point. We click over here where it says loop playback, so that turns blue. Now watch what happens. Evolution, evolution. Evolution. Now that we'll continue to look back until the end of time. So all you gotta do is literally while it's playing back, you can make changes to the clip itself. Evolution, evolution. I can cut this out, cut this out via evolution, evolution delete, drag this in. Okay, so the idea is that I can make live changes while this is looping around. And it just means I don't have to keep drag in this play head back dragon the play head back strain. You see you get the idea. Now. Of course if you want to, if you change the in and out points, I'll show you this, then watch what happens evolution. So essentially, the playhead will continue to loop back inside the in and out points. And you just changed the in and out points if you want it to loop back in a different section of the clip like this. Now of course, if you are looping it back and then you make changes to the in and out point. Watch what happens. So as you can see there, Premiere Pro hasn't realized that you've moved the out point, so you'll hit the half-day, the spacebar again and then play it again. There we go. So essentially, you get the idea, that's how you set up a loop playback in Premier Pro. If you want to turn it off, you just click here loop playback. And if you play that through, the playhead will now play through the outer marker or the mark out point in your clip. So I hope that was helpful if you have any questions, let me know and I'll see you in the next video. 104. FAQs- How to Export Individual Clips from Timeline: So there might be a situation where you want to export certain clips from your timeline and leaving everything else in the timeline behind. So for example, I have three clips here on my timeline. And you might have a very complex project with a lot of clips in your timeline. And you might just want to take one of those clips and exported completely on its own. So for example, this clip here where we're traveling through Indonesia, I might want to just export this clip. If I just selected here, I might just want to export this one on its own to use in a separate project. And I've only done this a few times ever, but it is a super handy tool to do and to use, and I'll show you how to do it. So what we're gonna do is select the clip that you want to export separately and then go over to sequence over here, click on that, and then go down to where it says make sub-sequence. It's also shift plus U. So shift you, so click on, Make sub-sequence, click on that. And then what will happen is Premiere Pro will create a brand new sequence with that clip inside it. So down here, you'll see a new sequence has been created. If we double-click on this, you'll see here it says travel adventure project, sub-sequence 0-1 or sub 0-1. And that clip that we want to export separately has been dropped into a brand new sequence. And then from here I just go Control or Command M on my keyboard, which is bring up the Export window where I can just go File, Export Media. And I can export this sequence out separately, which contains just one clip. And you'll just follow this through as you would any other export and export it as a separate clip. So I hope that was helpful and answer your questions about this. I've had one question about this recently and I thought I'd make a separate video on it, so thanks again, and I'll see you in another video tutorial. 105. FAQs- How to Reduce Video File Size for Exporting: So I'm gonna show you how easy it is to reduce the file size of your final video project if you're wanting to send it to your client, for example, to have a look at before you produce the final version of the videos. So what we're gonna do is go to file down to export and media, or just go Control M on the keyboard. And I'll show you how easy it is to reduce the output file size. So typically, you'd go through check OUT settings. Under preset. You might go to YouTube 1080 P, for example. But where you actually reduce the file size is if you click on video here, the video tab, and then go all the way down to where it says bitrate settings. And this is where you totally and completely influenced the size of the output video. At the moment, you'll see here where it says estimated file size is a 105 megabytes. Now, if we reduce the target bit rate down to say nine, for example, then what's the size of the output video drop? So it'll drop down to 60. Now typically I, if I'm giving a video to a client, for example, to have a look at it as a draft, then just to save space and time, uploading the video onto the cloud, I'll set this to something like five or six as my target bit rate. And then the file sizes around 40 megabytes and it's not too low, that is going to compromise the quality of the videos. So I'll then hit export. But then once I'm finished, I will then when I'm ready to do my final video, I will increase that backup to 16 or whatever was and then export that as the high-quality version. So I hope that was helpful if you have any questions, let me know and I'll see you in the next video tutorial. 106. FAQs- How to Delete Empty Space Between Clips: So I'm gonna show you how easy it is to remove any empty space that you might have between your clips. I have a couple of clips here on the timeline, and I've got some empty space between these clips. It's kinda common when you're going through with the eraser tool and you kinda chopping out what you don't want in your footage and then deleting it. You have all this empty space that's kinda left behind. And rather than just clicking on these clips and kind of dragging them together one by one. The other option you can do is you could either click, right-click in the empty space and then where it says rippled delayed click on that. And that will just close the gap there between the two clips. Or what I like to do. If you've got a lot of empty space between dozens of clips on your timeline is just go over to sequence over here, and then go down to where it says close the gap, click on that and all of the gaps between all of the eclipse will disappear. So that's how easy it is if you have any other questions, let me know and I'll see you in the next video tutorial. 107. FAQs- How to Adjust Volume for Multiple Clips: So I'm going to show you how easy it is to adjust the volume of multiple clips in your timeline. And this will save you a lot of time if you have a lot of clips in your project. And at the moment I've got three clips here on the timeline which have some volume. You'll see the audio component there because of drone clips here, but the drone doesn't record any audio. So you can either go through one by one and right-click on the clip, go to Audio gain and where it says adjust gain by, you can either just type in minus ten, for example. And you'll see the wave form or minimize. Or you can name if a zoom in here or see like a little line here, little rubber band, if you click and drag that down, that will also reduce that as well. But to do multiple clips at the same time, all you gotta do is just select all three of these clips at the same time. Right-click, go to Audio again. Do the same thing where it says adjust gained by make sure that's selected. And then here, click on that little box. Minus, I don't know, ten, for example, hit enter and you'll see that everything gets reduced at the same time. I just hit undo. There might be a couple of clips on the timeline that you want to adjust the gain falls and leave the rest behind. So I might just want to select the clip here. And if I hold down the Shift key, I can select the second clip there as well and ignore the one in the middle. Right-click audio gain, adjust game by and then minus ten Enter. And I've just adjusted the gain for two of these clips here and ignoring the one in the middle. So that's the easiest way and the fastest way of adjusting the volume for multiple clips in your video project. 108. FAQs- How to Unlink and Relink Audio and Video Clips: So another question I've received recently is how to unlink the audio and the video. And you'll notice if you take your clips and drop them onto your timeline, by default, they're linked up like this. So if you select the video, the audio gets dragged along with it. So they kind of paired up together like this. And it's like, well, how do I separate them? Because you might want to only just use the video for B-roll, or you might want to just use the audio for some kind of sound effect. So what do I do? It's quite straightforward. You just take the clip there, you'll see that both have selected the video and the audio. Just right-click there, go to unlink. And it's pretty straightforward. We've now separated the video from the ADA. We can move them around independent of each other. And if you want, you can just bring them back together, select both, right-click on them and then click on link. And that will relink them back up. So that's a very easy way of unlinking and relinking. You'll clips in your timeline. I hope this was helpful and I'll see you in the next tutorial. 109. FAQs- How to Use Markers: So I'm going to show you how to use markers in this little tutorial video. And at the moment I have a most recent client project up on your screen right now. And I'll show you how I've used markers in this tutorial and how you can use markers as well. And so firstly, markers are a really good organizational tool. It's to help you as an adult to keep yourself organized so you can be really efficient with your editing workflow. It helps you to identify intros and build-ups and dialogue and key moments. And like the outro of your video and any significant points in your video project, you can use markers with comments to help you keep organized and sort of identify which part of the project you're working on. And also if you're working in a team of other editors and you need to hand off your project to another editor. It helps your colleagues understand what you're trying to figure out and what you're trying to do in your edits as well. So real quick, I've got markers here that I've used. These are called span markers, wears his character intro and then we have intense here. So this is just a reminder to myself that I'm introducing the character in the beginning of the clip. And I've put a span marker there to show that. And then I've got an intense part of the clip which begins where I've marked it out. So this is just a personal reminder to myself that you will never see in the end product. So I'm gonna start from the very top and show you how to add markers. So there's two different types of markers that you have. There are a timeline markers and then there are clip markers. So even if we have a look at a clip here in my timeline already, we have little markers here. These are called clip markers. These markers are inside the clip itself. And then these markers on top of the timeline are called Timeline markers. And so it's very easy to add a marker. You just see this option here where it says Add Marker. Just click on that. It'll drop a little green marker on the timeline there. If you move your play head along, there's another option here. Addmarker does the same thing, click it drops another markup. And another way you can add markers is by pressing M on the keyboard, right? And that will drop another marker. Now, if you press M twice, it will automatically bring up this little dialogue box where you can name the marker. You can write a little comment. And you can also pick the color that you want to use for the marker. So you can pick whatever you want. It's going to be a comment marker. Then you press OK and you have your markup. So for example, I'm just going to call this one Intro to scene. And I'm just gonna give it an orange color and I'm gonna drop it onto my timeline. So that's it there. If I run my mouse over it, it says Intro to Seen. Now what's this? If I now hold down the Alt key and click right, so it's going to be the Alt or Option key. That little split comes up here in the marker. So I can essentially split my marker into two and watch this phenomena. People know about that to cool little trick. So you take a marker and you hold down the Alt or the Option key. Click on it and it splits the marker, right? So you now take an ordinary marker and you turn it into what they call a span marker, which is what I've used over here. This is a span marker and essentially any marker, the add onto your timeline here also gets reflected up here in the program monitor box. So you'll see here I've got my span marker called intense. It's also up here in the program monitor box, right? So let's go back over here. So we've got a couple of little span markers. So all you need to do, you can click and shift them around. You can make them smaller. You can also delete them so you can right-click and then go to Edit marker and then press delete to delete a marker. Very easy to do and to add clip markers. I'll show you how to do that very easily. So I'll just take one of these clips here from the project window and I'll just drag it over into the timeline and just make it to scout a frame size and then mute that audio for the time being. So essentially to create a clip marker, make sure your clip is selected. So if you don't select the clip and you've only selected the timeline window. Whenever you press addMarker, it's going to drop the market into the timeline as a timeline marker. You don't want that. So make sure the clipper selected then press either M on the keyboard, which will drop a little green marker here. And then you'll have a marker. And then if you just move your play head along and then make sure the Clippers selected press M, that will drop another market there. And so these clipped markers move around with Eclipse. So if I move the clip around, those markers will move along with the clip. The timeline markers remains stationary as such. And another thing is, well, you can click on the two arrows and go to markers. And you'll see with my clip selected, I can now changed. I can create a label for these markers here, two markers. So I might want to call this intense moment, for example, and another intense moment. And if I want, I can create a span as well. So if I want to mark a very specific point inside the clip itself, I can do that by going into markers over here and seeing all my clip markers here. If I click off the clip, then I will see all of my markers for my timeline. So remember we've got the character intro here at the top, which is orange. I have an intense scene starting there. So these are my span timeline markers. And then I've got a couple other ones which I demonstrated to you before, right? So this is an easy way that I can access all of my markers by going into the two arrows and then clicking on markers. And lastly, if you're not seeing the clip markers, I almost forgot to mention this. If you're not seeing these clipped markers here, just go to the wrench icon over here and where it says Show clip markers, make sure that's enabled. Because if you don't have it enabled and you try and add clip markers, it's not going to happen. So anyway, I hope this tutorial was helpful if you have any questions, let me know and I'll see you in the next video. 110. FAQs- How to Copy & Paste Attributes to Multiple Clips: So I'm going to show you how to copy and paste attributes from one clip to multiple clips in your timeline that will save you so much time. I have multiple clips already on my timeline, and I have already made several changes and adjustments to the first clip here. And I'm going to demonstrate how to easily apply the changes that I've made to the first clip, to the last three clips on the timeline. So firstly, if I go to Effect Controls, click on the first clip, go to Effect Controls. I've pretty much made some random changes of scales of shrunken down a little bit. I've also randomly rotated the video, and I've also added the effect of Lu metric color. I've added a lookup table to give it more of a teal orange look. So just essentially made some random changes. So rather than clicking on each clip in my timeline and going through and setting the scale and the rotation and adding Lu metric color and doing that for the next one and doing that for the next one, which is what I did when I first started my editing journey. I didn't realize that there was a faster way of doing business. So I'll show you how to do it. You, you take the first clip, you right-click on it, you go to Copy, and then you go and you select the other three clips, right-click and go paste attributes. And this is what pops up this amazing little window. So we essentially have our attributes which are grouped as video attributes and audio attributes. And we can essentially de-select what we don't want to copy and select what we do want a copy. So motion opacity, time remapping. And then we have the effect of limited color, right? Which is that teal look that we added. And then for audio, we can copy volume, channel volume and pan up. So I actually did reduce the volume of the first clip. So I want to copy that attribute across as well. And if I just hit OK, look at this, it essentially applies the attributes to each of the other clips with volumetric color, with the reduced volume down here, exactly like the first clip. So that is essentially how easy it is to copy and paste attributes to multiple clips in your timeline. I wish I knew about this when I first started my editing journey. I hope this was helpful and I'll see you in the next tutorial. 111. FAQs- How to Remove Green Screen (Chromakey): So I'm going to show you how easy it is to remove green screen in your video projects. And after this little video tutorial, I'm gonna give you the project files that you can download and follow along with me. And so essentially by the end of this tutorial, we're going to take this subject with the green screen. And we're going to remove the green and your project will look something like this over here. We're going to put like a little forests to video in the background and a little still image in replacement of the grain. So it's very, very straightforward to do so. First and foremost, I'm going to take our subject in the green and I'm going to create a new sequence, dropped it onto the timeline here. And I'm gonna go over to effects. And I'm going to look for an effect called ultra key. So I'm going to type that in. All tricky. I'm going to take it and trumpets straight onto my clip here. And then I'm going to go over to effect controls. And then I'm going to scroll down and see the effect ultra Kate. Now you can spend hours and hours playing around with chroma keying. It's also known as chroma keying. But in this tutorial, I'm gonna keep it very, very short. Maybe I'll make a more comprehensive tutorial later on explaining more of how this works. But essentially bidet background with green screens. Usually the more consistent the green is, the better it is when it comes to editing. So if you are using a green sheet, like a bed sheet or something, which is what I used to use. And you have wrinkles in the green sheet. It's very, very difficult when it comes to editing because it's not a consistent green. So you should, you know, iron out your green sheet for example, which is what I was doing back years ago anyway. So we'll get straight into how to edit a perfect green screen. And what I'd like to do firstly, is come down to key color and take my eyedropper tool here, click on that. And then I usually select any area of the green that I want to remove. And if we have a quick look here, you'll see that the green is actually not a consistently perfect green. You'll see that it's more bright here. And then sort of toward the edges. It has like a, almost like a vignette to look. It's kind of more of a darker shade of green. So that's going to, we're going to have to do a little bit of work to remove that shade song. Take my eye dropper tool and I'm just going to select somewhere around here, closer to the subject. And when I do that it turns black. And so we've essentially keyed out our Green. However, we still have a little bit more work to do. So what I like to do, what I'm working with green-screen editing is I go to output here and I drop this down. It's set to composite already. If you select Alpha channel, don't worry about how it looks. It just makes it easier to see where you need to do some more work. And as I pointed out before, the Green has been removed quite successfully in the really dark black area around the subject. But then we have this gray area here which needs a little bit more work to it. Now, if you're viewing this in composite view, you can't really see it. So that's why I like to work in Alpha channel. Just make sure after you finish all of your editing in your medial grains grading, just make sure you set that back to composite. All right, so back to alpha channel. And then what I'd like to do is go down to Matt generation here, drop this down, and I'll like to play with a few settings here. So for example, and usually what I suggest is play around with these settings. And for now we're just going to play around with shadow. And we're going to drop shadow down a little bit. And we're just gonna see what happens with that shade of gray there. So you can see we just kind of pulling that back. Looks pretty good. Okay. I'm pretty happy with that actually. And then if I go back to composite, I look at my subject, she's still in tact, go back to alpha channel. Okay, so a pretty happier that actually I suggest you play around with the other settings, but I don't think you need to go back to campus that here. And then we'll go down to, let's have a look at spill suppression. Now, I'll show you something with green screening. If you zoom in, you'll notice if you look closely and this happens when you're filming subjects that are close to a green screen. Some of the grain can reflect on to the subjects hair and onto their clothes and a little bit even in their fingers, right? So if this if you're if you're moving your arms and your hands around quite rapidly in front of a green screen. You'll see if you look at that her hand closely, you'll see the green there. Right. So we need to fix that as well. But I'll just okay, so over here, if we zoom in a little bit, hit the drop-down here, go down to say 200, and might be a little bit too close. You see that there's a bit of green tinge here. Little bit of grain reflection. If I just bring that back to 150, just to make it easier. So the edges are not too bad. Right? So if we look at the edge of the subject, It's not too bad until we get around here where it's reflecting onto her hair. So I will move this around, have looked at the edges. Now just say for example, and this can happen if the edges of the subject are green, like around these areas here, then you can go to mat clean up right here and choke. Under choke. You can actually slide this to the right and watch what happens to the edges of the subject was, as I slide this to the right, you'll notice that the edges kinda chop and a little bit, and it kinda eights into our subject a little bit. So if I take this back to 0, moved to a different area. Down here, for example, if I move this choke to the right, watch, what happens, see how it kind of bleeds into the subject and kinda chops away into the subject. So what I like to do if there's a little bit of green around the edges of the subject are kinda like to be moderate with the choke. And then what I like to do is then soften that edge. So much soften the edge that is not just a hard cut. So you'll see that edge softening up a little bit. Now you don't need to do that because the subjects edge looks pretty good. It's only around the hair that we need to fix and around the fingers. So I'll go back to a 100% and go around to the hair and to her fingers. And this is where we go into spill suppression. And I like to play with these saturate. And just one thing to point out, I'm not in Alpha channel anymore. If you go to alpha channel, you can't see those that spill. You have to be in composite to see any green spillage on your subjects. So just keep that in mind. We'll go down to D saturate or drop the arrow down. And again, you just playing with these settings. So if you take it to the extreme, I'll show it. Go to the Riot, we can completely do saturate our subject or saturate our subject. For somewhere. We've got to find a sweet spot where we're not completely desaturating are subject, but also where we're removing the grain reflection. So if we apply the before and afterwards, just undo that. Says a lot more green there. So we'll just redo that. And you see the green is relatively removed. So I've just done this very, very quickly, something that you need to play around with in your own time. But that's essentially how you remove green and how you clean up the mess. And once we've done that, we will go back to fit and we'll just play this back. Okay. So she looks pretty good, very happy with that. Right? And then what we're gonna do is now to put it in a brand new background, we just click on our video here, move it up to video track layer to go over to where our footages. And we have a little rainforest here. We're just going to drag that over on to video track lab lion number one. And that is it. If we play this back, we've now successfully removed are green and replace the background. And you can replace the background with whatever you like. We have a sky here. So this is just the wallpaper. So if I just play this back, I'll just wait for this to load first. Okay, there we go. So it's as easy as that. So once again, if you want to access the project files or the video that I've used in this project. You can do so by going to the resources section of the course or the download section of the course. And you can download it from my drive and you could play around with this. Otherwise you can use your own footage. I hope this was helpful if you have any other questions, let me know and I'll see you in the next video. 112. FAQs- Set to Frame Size vs Scale to Frame Size: So you're editing your projects and you realize that when you right-click on a clip or an image that you want to resize, you'll see that there are two options here, scaled to frame size and set to frame size. And you're not really sure they sound similar. And so you click on scale to frame size because that's kind of what you're wanting to achieve. The truth is it's actually a big difference in terms of quality between selecting set to frame size over scaled to frame size. And so I'm going to explain the differences between the two in this tutorial. Why, for the most part, you should be selecting set to frame size. And so I'm going to explain that in this tutorial and I've got a little sequence set up already and I've got some photos and some drone clips. So we have a 10801920 by 1080 sequence set up already. And we have a drone clip inside this, and that was shot at 1920 by 1080. Pretty straightforward. However, I've got a couple of photos here which I've picked. And these photos there resolution is 3368 by 6 thousand. And this photo here is 6 thousand by 3368. So pretty big photos. And then I've got another drone clip here, which is 3840 by 2160. So that was shot at 4K. And so I've got a 1920 by 1080 sequence. So this is probably going to be representative of a lot of people watching this way. You've probably shot videos and taken photos on your phone or your GoPro or your drone. Different resolutions and you're trying to conform everything into the one sequence of 1920 by 1080, for example. So I'm going to drag over some photos to show you the differences between selecting either set to frame size or scout a frame size. Now, essentially these two options both achieve the outcome of adjusting the clip, either it be a video or a photo to the actual size of the frame. Okay, so if I right-click on this and select scout or frame size. Ok, so essentially it is scaled this photo into 1920 by 1080 and has done at proportionately. If I undo that, right-click and select Set to frame size, it looks almost the same, right? Like the doesn't look like there's been any adjustment to the quality of the photo. It looks pretty much the same. So you might be thinking, well, they're just exactly the same option, right? So right-click set to frame size or scaled a frame size. Now, here is the difference and I'm going to show you when you right-click on the image and select scale to frame size, this is what happens. Your telling Premiere Pro to re-sample the image and treat this image as if it were 1920 by 1080 image, while still keeping the scale that a 100%. So if we go back to Effect Controls here, you'll see that scale is still a 100%. This has not changed, so Premiere Pro has re-sample this image, and now it's no longer treating this image as 3368 by 6 thousand is actually treating it like it's 1920 by 1080. So. It's actually killed the resolution and the quality of the photo. Now, it doesn't look like it has because we haven't adjusted the size of it. But what's this? If I now click on this image and scale this up so that it fits nicely inside the window and I get rid of those black bars, right? And I duplicate this image right here. And I right-click on this and select Set to frame size. Now, it looks exactly the same as setting scaled to frame size. But what we've done is we've told Premiere Pro to maintain to perceive this image as 3368 by 6 thousand, but over here to change the scale to 18%. So we're still maintaining the quality of the image. But what's this? If I scale this up to fit inside the window here, removing those black bars. What's this? You'll see the difference in the quality. So if I click on this, drag this down so you can see it. So this image here we've selected scale to frame size. Now have a look at the qualities and my girlfriend here, but could have phase and look at the detail in the background. And look at the difference between scaling to frame size and set the frame size, right? So it's much clearer, much more detail. Essentially, we are looking at an image that has been rasterized or being resampled. And essentially it is no longer a image of 3368 by 6 thousand. Whereas this image here is still treated at 3368 by 6 thousand resolution. Okay, so I'm gonna do the same thing with the drone clips. So this drone clip was shot in 4K. And I'm going to drag this over to the timeline and do the same thing. So you'll see here that we have a 19-21 1080 sequence. If I zoom out to say 10%, click on this double-click there. You'll see here that 4K means that it is well and truly outside the 1920 by 1080 frame size. And so again, if I right-click and select scout or frame size, then the Premiere Pro is essentially treating this as a 1920 by 1080 video clip. It's no longer going to treat it as if it's 4K. So it looks okay at this current scale, which is a 100%. But if I go to Effect Controls and I bump this up a little bit, site or a 150%, for example, then it starts to look very pixelated. Whereas if I right-click and select set the frame size, it sets the scale to 50% because that's what it takes to reduce the 4K, which is the original size, down to 1920 by 1080, we have to reduce the scale by exactly half. But this gives me more flexibility to be able to zoom into this clip without it picks oscillating. So I could take this down to say, a 100% and it will still retain a lot of it's quality. Whereas I can't do that if I select scaled or frame size. So make sure if you're an absolute beginner starting out 95% of your projects where you are adjusting the size of your photos or your video clips, you're going to be selecting the second option which is set to frame size. So I hope this makes sense. If you have any questions, let me know. Otherwise, I'll see you in the next tutorial. 113. FAQs- How to Join Clips Together: So I'm going to show you how to join multiple clips together in your timeline to make your editing workflow more efficient. As I'll show you three ways of doing it. And the first one though, is my favorite way. It's my most common way that I joined my clips together called nesting. And I'll show you how it works. So essentially you just take it any number of clips on your timeline and you select them. And then you right-click and you click on nest right here. And this little dialog box will pop up. You can just give your nested sequence or name. We'll just call it like hot air ballooning or something like that. Doesn't really matter. We're just doing a tutorial here. Click Enter. And then what happens? Two things will happen. You've noticed we've got here, we've got our nested sequence on our timeline. But over here in the project window, we've got also a brand new sequence that's been created. Next to it is our travel blog. This is the original sequence. And then within that sequence, within the main sequence, we have this nested sequence, which if we double-click on it, contains those two clips. And so if I have a look at the top here, we've got the hot air ballooning nested sequence, which contains our two clips. And then if we go back to our main sequence travel vlog, you'll see we have our nested sequence right there. And so essentially we're the nested sequence. It just allows you to be more efficient with your work flow. For example, if I just want, you know, inside this nested sequence to have all of my clips that I want to apply the same effects too and that kind of thing that it's just much easier to also keeps my my timeline very, very efficient and a lot neater and tidy up. Because when you're working with very big projects and you have like hundreds of clips on your timeline. If you don't nest or grouped together those clips, then it just gets really confusing. If you haven't used color-coding and things like that. So what I can do with this nested sequences, I can click on it, go to Effect Controls. And as a collective of those two clips inside this nested sequence, I can make any number of changes to the position, the scale rotation, opacity. I can add lw metric color and other different effects to the nested sequence. And it will affect everything that's inside the nested sequence. So that's why I love using nested sequences. Now for just undo this and show you the second way which is called sub-sequence. So if I take these same two clips, right-click go up to make sub-sequence, which is under, underneath nest. Click on that. Similar thing occurs except it doesn't touch anything on my main timeline here. So I still have my clips here on my travel vlog sequence. But over here in the project panel, it's created another sequence called sub-sequence 0-1 or just subzero one. If I double-click on that, those same two clips will be inside there. So it's not technically a nested sequence. If I go back to my main sequence, I still have my three clips here, but I now have another sequence with those two clips. So that's called a sub-sequence. And finally, there's the grouping options. So I never used this, but I'm just pointing it out. Anyway. I'm going to take these three clips, which are individual clips. I'm going to select the More right-click and go to where it says Group. And essentially primitive approach is kinda joins them or groups or associate, associates. These clips all as one particular clip. So if I click on one of these clips, I can drag it around like this. I'm just selecting one clip, so and it selects all of them at the same time because Premiere Pro things that they're all part of the same family. Drag this around. The problem though, with this option is if I go to Effect Controls, I can't actually modify the effects of any one of these particular clips because I've got multiple clips joined together at the hip, so to speak. And I can't modify these individual clips because I've joined them together. So that's why I never actually use the grouping option. You can just Ungroup and that will just slowly separate them off. So there we go. We've ungrouped them now. So that's essentially three ways of how to join your clips together. Have a play around with that. Let me know what you think and if you have any questions, let me know and I'll see you in the next tutorial. 114. FAQs- How to Crop Video: So I'm gonna show you how easy it is to crop your video clips or your photos inside Premiere Pro. And I have a little clip on my timeline, a little 4K drone clip that I shot in the Philippines post called Snake Island. Really cool place. And I will get straight on with it. So go to effects and click on the two arrows, go down to effects. And then we're going to use the effect called crop. So if you type in crop and we're going to drag that over onto our clip. We need to do is go to Effect Controls and then just scroll down a little bit and you'll see the effect of crop there. So essentially it's all very self-explanatory. You, you've got left, top, bottom and rights. And all you need to do is adjust the percentages over here. So for example, if I want to crop the left, I just click over here and drag it over to the right. And that will crop from left to right. If I want to undo that change, I can just click on Reset parameter. I can do the same thing of Horner, chop the top off. I can increase that to say 15%. Undo that. So you get the idea, right, crop, undo and then bottom. So this is the easiest way of actually cropping your video clips. You can do the same thing with photos. If you import photos, you can just put crop into your photos and you can do it. You can crop your photos as well. Now if you want to set some keyframes and have a little bit more like an interesting crop animation thing going on. Or you need to do is go to, For example, here it says Toggle animation for left actually will play with the top. So you click on the stopwatch icon there to create a key frame. And then we just move our playhead along a little bit. And then we increase this percentage here to say 10%. And then we've now created a second keyframe that just popped up there. So we now have two key frames here. If we take this play head back there to the beginning and press Play. The crop has now taken effect over a period of time. And you can do the same thing at the bottom. If you want, you can set more keyframes. So that's the easiest way of cropping your videos in your projects and adding a simple little animation if you want to your crop. So I hope that was helpful if you have any questions, let me know and I'll see you in the next tutorial. 115. FAQs- How to Add a Border Around Video: So I'm going to show you how to add a simple but creative border around your videos in Premier Pro. And a method that I've been using for a couple of years now. I'm going to demonstrate it by using this clip here, this drone clip on my timeline. I'm gonna put a nice simple border around it, so I'll show you how to do it. I need to do is firstly, go down here where it says new item. Click on that and go to Black video. Click on Black video, and then click OK. And then all you need to do is take your black Video, drag it over to video track layer two. So just put it on top of your footage and just expand that out so it covers all of your drone footage or all of your video clips on your timeline. And then all you need to do is click on where it says bike video, and then go over to effect controls over here. And then under capacity, there's a little tool here called the free drawer busier. Alright, it looks like a little pen. If you click on that, we're actually going to stencil out a border, right? So we're going to draw this on the Black video itself. So make sure you've got the black videos selected down here. And then essentially what I liked to do actually to keep it. If you want to draw straight lines, I like to use our show. If you click on the wrench icon over here, click on that. It says safe margins. I like to use safe margins for anything like this. And it just brings up this little guidelines that I can use to draw a nice straight line. So I am going to just, just for the purposes of the, of the tutorial, I'm gonna go pretty quickly so they're not going to be perfectly straight. So I'm gonna click anywhere here to create a point. Click down here, create another point. And then over here, and then up here, some Essentially canceling out. And then I'm going to click on the original point. So if I just click on the wrench icon and make the safe margins disappear. I've essentially drawn a rectangular box, and I've drawn that inside my black video. Now it doesn't look like a border, right? And how it looks kind of weird. But only need to do is go back into effect controls over here and under mask, one, which is what we've just created, click on inverted. So if you click on inverted, it will then invert that around so that we now have a black border. And so if I play back my drone clip, we now have our border. And the lines are not perfectly straight, but you can fiddle with that in your own time. You could actually even just take, if you click on like video down here. And you can click somewhere else on the line to create another point and just kinda drag it down a little bit there, just to kind of create a very unique border. And click down here, just kind of concave these a little bit, right? And so then all you need to do, if you want to change the border from black, you just go down here. We're going to have to add another effect. I like to use tent. So if you click on effects and we're going to type in a tent, and we're going to click and drag that over to Black video. Make sure you drag it onto black video. And then once we do that, we go back into effect controls and then scroll down. And then here we see, you'll see tent. And then it says down here map black to see you just click on that little box there pops up at this and you can just pick whatever color you want to create. So blue mike over that. And so what law, essentially we've created a blue border. So if I play this back, and it is that simple, so you can play around with the border itself. You can be a little bit creative with it, or you can just draw perfectly straight lines. It's up to you, but that's essentially how I had been creating borders for my videos for last couple of years. If you have any questions about this, let me know. Send me an email Samir message, and I'll be more than happy to help you out. Thanks for watching and I'll see you in the next tutorial. 116. FAQs- How to Create A Grid & Guidelines: So I'm going to show you how to create a simple little grid, like what you're seeing right now on your screen that will just help you when it comes to editing your projects. For example, like adding text or adding shapes. And it'll just help you to kind of line things up using these gridlines. Now, unfortunately, Premiere Pro does not have a simple button that you can click to turn this on. I wish they did, but they don't. So I'll show you how to create this simple grid that you can turn off before you export your project. So that is the example we're gonna recreate. Now, before I show you how to do that, you can, as I've talked about in another video, click on the wrench icon here and then go down to safe margins. Click on Save margins. You can use the safe margin lines as a guide, I guess, when it comes to placing your text inside the frame or placing logos or other kind of objects. However, that's not what this is for. Safe margins is used for something else which I talk about in another video, but you can use these two rectangular boxes. I'll show you the good way, which is how I prefer to align everything on my project. So the first thing we're gonna do is we're going to go to project and we're going to create a transparent videos. So click on project, go to this icon here, new item, go up to transparent video, click on that, then click OK. And then you'll create a brand new transparent video, which I've already created in this project. So you just click and drag it over into your timeline and then you just stretch it out so that it covers the clip underneath. So essentially, right now the transparent video is doing nothing. We have to add stuff to the transparent video. So I'm actually gonna turn these safe margins off because I don't need them. And what we're gonna do for our grid is we're going to add an effect, and it's called grid. So we're gonna go to affects, our Effects tab. I'll just close this out and I'll show from the beginning. So click on the two arrows, go to effects here, click in the search type in grid, and then you'll find the effect under Video Effects generate and grit. So click and drag grid over and drop it into your transparent video. And then wallah, we have a grid. Now, you can adjust this grid anyway, you wish with as many boxes or as few boxes as you wish, wish depending on the project that you're working on. So go over to effect controls and then scroll down, you'll see grid and all of the options that you can change. Now give you some pointers and then I'll let you play around with this in your own time. So firstly, where it says size from allied to click here on the dropdown and go to width and height to sliders. And that allows me just to adjust both the width and the height of the boxes as opposed to just one or the other. So width and height. And then down here, width, height. I can adjust the size or the width of the boxes. And this is where I can create as many boxes as I wish, right? And the height are might make that a little bit higher. Some stretch in this ride out. So for example, I might have a project where I want to create, you know, six boxes wide and four boxes down. And I'm just going to stretch that out a little bit more so it fits inside the frame. So I mean, you get the idea. And so essentially I've just created myself a grid. Now you can go one step further and change the border width. So you can extend this out and make it kind of fatter in terms of the border, you play this back. I mean, that looks like a pretty cool effect in itself really, right? So I might just bring that back to what it was before, which I think was five or something. And then down here, I can change the color. I can change it to blue, for example, right? It really just depends. You can do whatever you need to do for your particular project. I'll change it back to y. But the idea is that once we have our grid here, we have the grid inside are transparent video. And the purpose of this tutorial is to show you how to create the grid so that if you're wanting to add text, for example, like I'll show you. So we go to click on the video itself and click on type tool and just type some text in here. So for example, my name, right? And I'm just going to shrink this down. And essentially all I'm doing is I'm using the quit lines to kind of line up my texts like this. Right? And if I had a logo, I could just put my logo sort of anywhere that's kind of in using these grid lines, I can do whatever I want to align my logos or any images or text or whatever. So it's just a really cool little neat trick that you can use, which unfortunately, Premiere Pro doesn't incorporate this by default. So that's how you create a simple grid. Now, I am going to delete this before you export your project, make sure you turn off the transparent video like that. Otherwise, if you export the video with a turned on, this will be in your end result, or you can just click and delete it like that once you're finished with it. Now at Premiere Pro does have this built into it, and I'll finish with this. If you go over to the wrench icon here, click on the wrench and then go down to where it says Show Rulers. Click on that. A ruler will appear at the top, along the top and down the side. And what you can do is you can, if you take your cursor, watch it, change on my screen here. What's there? So it changes right now. See that if I click, hold down my mouse, click hold down, drag down a ruler line, right? And I can put it anywhere I want. And what is this? I can click and drag another one down like this. And I can essentially just quickly do this both for X and Y axes, right? Over to the right and another one. So this is a really simple and easy way of sort of creating very, very quick guidelines. If I need to in my project, I can just click and move them around like this. But I don't really like using this tool because I don't feel, I feel that's a little bit too cumbersome for me. That's a personal thing. However, I'm just giving you this as an extra choice. If you want, you can play around with it. You can right-click here. You can change it to pixels from percentages, right? So now it's displaying up here we've got pixels. And if you click on the wrench icon, you can click here where it says Clear guides and they'll law disappear. Click on the wrench icon, click on Show Rulers, it will disappear. There we go. So that's how you create a simple grid in Premier Pro. If you have any questions, let me know and I'll see you in the next one. 117. FAQs- How to Export A Section of Timeline (2 Methods): There might be a time where you only want to export a section of your timeline out and leave all of the other clips alone. So as you can see on the timeline here, I've got all of these clips. And there might be a situation where I just want to take one clip and isolate that clip out and export that separately to all of the other clips on the timeline. And so when I first started editing ice to just delete all the other clips and then just have one clip on the timeline and then export that clip out. There's a much easier way of doing it. And I'll show you two ways of doing it. So the first way is just getting your play head here. And when you run your mouse with your play head, you'll notice that all the clips that are, that are falling under the play head will highlight. All you need to do is press X. And what will happen is that a in and out point will be selected around the clip that your play head is under. So if I press X again, you'll see the in and out points will move. So essentially just selecting a particular clip on the timeline using my play head and then pressing X on the keyboard. And you'll see the in and out points there. Again, I just press X again, and then I just go to File, Export, Media or Control or Command M on the keyboard shortcut. And then you'll see down here where it says Source Range sequence in and out. This little shaded piece is the only piece of my timeline That's going to be exported in my final product. So that's one way of exporting out a section of your timeline. Again, I just right-click there and just click in and out. The second way is just selecting the clips that you want to export separately. And then just right-click, so highlight the clips that you want, and then right-click and then go to where it says make sub-sequence. If you click on Make sub-sequence over here in the Project panel, another sequence will be created, actually if I just double-click on it. So this has now popped up here in the panel Amsterdam B-roll sub 0, 1. So that's sub-sequence one. And those three clips that I selected have now been automatically dropped into a new sequence. And all I need to do is file, export and media, and then export this, these three clips as a separate sequence. So that's the other way of creating an export function for a section of your timeline. So I hope this was helpful if you have any questions, let me know and I'll see you in the next video tutorial. 118. FAQs- How to Export Audio Only (.MP3, .WAV): I'm going to show you how easy it is to export the audio from your videos using Premier Pro. Now you might want to do this for podcasting reasons where you've shot a video of your podcasts and you only want to use the audio component of that video. And you want to export that audio out as like an MP3 file or a WAV file or an AAC audio file. How do you do that? In Premier Pro, you might have a video, music video that you want to just take the music out of and leave the video behind. So I'll show you how easy it is in this tutorial. And I've got here a talking head sample video on the timeline, which is actually part of one of the projects for the course. And I'm just going to pretend that this talking head video has an audio component that is part of a podcast that I want to use and I want to leave the video component behind. So all I need to do, It's super-easy is you just go over to File, export and media Control or Command M on your keyboard. And in this dialogue box here where it says Export Video, Export Audio, both a ticked automatically. So all you need to do is just untick words as export video and just leave export audio ticked, and then go to where it says Format. And you've got essentially three options to pursue. Select from the drop-down menu. You've got AAC audio. So if you want to export as AAC, you have another drop-down under preset. You can select either 128 or 256 kilobits per second. Or we can go back to Format and select MP3 if you want to extract the audio as an MP3 file. And then under Preset, we can select different bit rates. Or the last option is why I have, which is where is it waveform audio down here. Click on that and you can select just the one option, 48 kilohertz. So usually, MP3 is a pretty popular export format for audio. And I usually select 256 kilobits per second. And then you just sort of go down here, it says Audio under the Audio tab, make sure stereo selected. Then you've got audio bit rate that will have 256 because that's the preset. And then the codec quality is high. And then as you can see here, Output Name is going to be the name of the original video clip dot mp3. And then you just hit Export. And that will export just the audio component of the video. It is that easy. So if you have any other questions, let me know and I'll see you in the next video tutorial. 119. FAQs- How to Resize Video Clips (Easy Method): I'm going to show you an easy way of resizing or video clips in your timeline, you're definitely going to come across this if you continue to make videos where you've used different cameras are different resolutions and you're using one particular sequence size, i0. You're using 10 ADP sequences or you're using for k sequences. And you've got all these clips on your timeline and maybe some photos in there as well of different sizes and different resolutions and you need to resize them. So I'll show you an easy way of doing it in this short tutorial. So firstly, you just take the clip that you want to resize. Now in this example, the sequence that I'm using is a 10 ADP sequence. And the clip here on the timeline is a fork clip. So all you need to do is go over to Effect Controls over here and make sure you've got the clip selected, of course, go to Effect Controls. And then under motion you'll see where it says both position and scale. And so if I just reduce this back to 50 percent, you'll see as I do that, you'll have these little handles will pop up and that will then resize inside that frame. So that's perfectly framed as you can see. Alternatively, if I don't want to use scale over here and just move this up and down. As such, I can also take these little handles and I can squeeze them together or push them out. Right? So there's two ways of resizing a video clip by either using these handles here or by using Effect Controls and going to scale. Now if I undo that, I can reset that perimeter back to a 100. But if I go to another clip here, sometimes what happens is that when you resize your clips inside your sequence, there might be some black bars that pop up around the video itself. May be black bars top and bottom, or black bars left and right. And you want an easy way of just removing those black bars. So I don't have that sort of problem in this example, but you'll definitely come across it when you see it. Double-click on the clip to bring up those handles and you can just slowly and surely stretch that video out, make it a little bit bigger. And you can essentially removed those black bars just by expanding out that video and making it bigger and covering up those black bars. So there's two simple ways of actually resizing your clip. The other way, which there's two other ways actually, but I'm not going to explain it in this video. I already talked about it in another video. And that's where if you come down to this clip here on the timeline, we have another drone clip, this is shot in for K, and this sequence is actually 1920 by 1080 server. Go to sequence settings over here, click on that. It'll say 1920 by 1080. So this sequence is 1920 by 1080. If I go to the drone clip. And this is a really handy thing to know. If you're not sure what your clip was shot at, you just right-click on any of the clips on your timeline, go to Properties. And this little information box will tell you all of the details of that particular clip. It tells me the size and the file size, the image size. So 3840 by 2160 is for k aspect ratio, and so on and so forth. And if you want, you can do that to any clip. Right-click go to properties. So this is a four K clip. Now if I right-click on this, I have two options, Scale to Frame Size and Set to Frame Size. That's the other way. And I will talk about that in another video because there was a little bit of explanation of the differences between using Scale to Frame Size and Set to Frame Size, which are saved for the other video. So anyway, I hope that was helpful if you have any questions, let me know and I'll see you in the next video. 120. FAQs- How to Cut Audio Only (3 Methods): So you might be wanting to know how to cut the audio only from your video clips on your timeline. I'll show you three ways of doing it. It's very straightforward. We have a video clip here and an audio clip both attached together. So if we click and drag one, it drags the other one with it. So you might want to just cut the audio by itself and just leave the video intact. So I'll show you how to do it. So if you get a razor tool here and then go down to our clip. Now before I do anything, if I just click here on the timeline, it just cuts through the video and the audio. And that's not what we want. So this different ways, but we can just cut the audio only the first way. You can actually locked down the video track layer like that. And then that will just allow us to cut through the audio track by itself. And then we can just take our selection tool and just delete what we don't want. So that's one way of doing it. The second way of doing it is also pretty tedious. If you right-click on the clip and then go over to unlink, they will unlink the video and the audio track from each other. And again, that will just allow us to cut the video or the audio track independent of the other. So that's a second way of doing it. The third way of doing it is actually much easier. Or you have to do is get our selection tool actually undo, undo. Okay, there we go. So all you gotta do is hold down either the Alt key or the Option key on your keyboard. Get the razor tool first, right? So hold down the Alt key or the Option key, makes sure that the clip is not selected. So right now it's not selected. And I'm going to hold down my alt key and then watch what happens. There we go. So holding down the Alt key or the Option key using my razor tool, I've now chopped through just the audio only. I get my selection tool or V on the keyboard, and there we have it. So there's three ways of cutting the audio only from your video clips on your timeline. I hope this was helpful and I'll see you in the next tutorial. 121. FAQs- How to Remove Black Backgrounds from Video: So I'll show you how to make your backgrounds transparent in your videos, specifically, a black background like this here on your screen. But if you've got a background That's a different color, then I'll show you how to remove that as well. So super quickly, I've got a video on the timeline here that I've taken from pixels.com. And I'm going to drop this little YouTube subscribe video over the top of this, and then I'm going to make that black disappear up. So I'll show you how to do it. I'll show you two ways of doing it. So I'll take this subscribe here and I'll just drop it on to video track layer number 2, right here at the end of our video clips. So we play this back. And then we have our YouTube subscribe there which has a black background. So we want to remove that black background. So how did we do it? So we just go over to effects. So hit the two arrows here, got into effects, and here in the search we're going to type in Luma Key. So take Luma Key and drag it onto the YouTube subscribe video clip that has the black background. Drop it on there and look at that. The black has disappeared. Now we can go one step further. So make sure we've got it selected here on the timeline. Go over to the effect controls here. Click on that, click back on this again. And then if you scroll down, you'll see Luma Key is listed here. Now you can adjust these two parameters here we have threshold and cutoff. Now, in this case, we only really need to adjust the threshold. So by dragging this down, we can really make this moral less transparent. So as I drag the threshold down closer to 0, That's going to bring more and more of the black back into that video. But as you can see, as I drag the transport up again, that little video clip will become more and more transparent as you can see. So something that you can play around with. If I make this larger, then you'll see here we have quite easily removed the black there, right? So I don't really need to make any more adjustments to that. I'll play this back one more time. And there we have it. We've just removed the black. Now you might have a video that has a different color to black, and you might want to remove that. So I'm just going to undo this change. I'm going to delete the Luma Key here. And actually I'll show you one other thing. If you click on this clip here and go over to capacity. So you inside Effect Controls go to opacity. And under Blending Mode here, if you hit the drop-down and then go down to screen, we can then also removed the black this way as well. So that's another way of doing it, but you just don't have access to those other parameters that I mentioned if you're using the Luma Key effect. So this two options there for you. Now, if you have a different color to black and you want to remove that black. So you want to remove that other color, then you can use this effect. It's called Color Key. So we type in color and we scroll down. So you're looking for color key here. It's under King, colicky and a, and you just click on that, drag it over to the clip, right, make sure the clip is selected. Go over to Effect Controls. Scroll down and you'll see color key here with all the parameters there. And you'll see here under color key, There's a little eyedropper tool. So you just click on the eyedropper tool. And if you're using a slightly different color, like if it's a, you know, I don't know, green or blue or whatever. You just kind of pick the color that's kinda mostly represented in the background. And when you select it with the old college Rapa, then you, This will remove that particular color. So obviously in this case, it's removed a lot of the black. And then I can just tidy up these little black areas here by using color tolerance. I can just drag this up so I can slowly strip why that black there. So this is another way of doing the same thing. But you have more, more options. You can remove any color that you pick. And otherwise that's it. I'll let you play with these parameters in your own time. So that's pretty much how you remove background colors in your videos. If you have any questions, let me know and I'll see you in the next tutorial. 122. FAQs- How to Close Gaps in Timeline: There might be a situation where you have all of your clips here on the timeline and they're all scattered along your timeline. And you've got all these gaps here between your clips. And you want to close all of those clips on your timeline. And there's different ways of doing this. But of course, if you have two clips, for example, and you want to close the gap between those two clips. The easiest way of doing it is just right-clicking on the little space here and then where it says ripple delete clicking on that, and that will close the gap there. And same here we can just ripple, delete all of these different gaps. Now what happens if you have hundreds of clips on your timeline like this? And you want to close all of these gaps at the same time without having to right-click and ripple, delete every single one of these clips while clicking on these clips and dragging them together like this. There has to be a faster way of actually closing the gap here. Well, actually there is. I'll show you how easy it is. So all we need to do is select all of the clips here on the timeline. You can just last sue them like this. Or you can do go Control a or Command a on the keyboard that will select all the clips there on the timeline. And then you go over to sequence. And down here we're says closed gap. And just like that, we have successfully close the gaps between all the clips here on the timeline. So this was a question that was asked of me last week. I thought I'd make a video on it. Here it is. I hope this was helpful and I'll see you in the next video tutorial. 123. FAQs- How to Create Black and White Videos: So I'll show you how to create black and white videos inside of Premiere Pro using a couple of clips here on the timeline, There's different ways of going about doing this. I've got the adjustment layer set up here as well over the top of these two clips. But I'll show you how to apply the black and white effect to the adjustment layer, which will then apply to both of these clips here on the timeline, it just saves you having to apply the same effect to each of these clips individually. You can just apply them into the adjustment layer and that's much more efficient. So that's jumped into the effects here. So we click on these two arrows, go down to effects. And then he going to type in black and black and white will show up here. So make sure you type in black. And the little ampersand, right, not black. And because nothing will come up. So black. And, and you'll see it here come up in the search results, black and white. Click and drag that over into the adjustment layer itself. And that will apply to both of these clips. And that's a very simple way of creating black and white effect in your video clips. Now we can go a step further and we can adjust the contrast to make it a little bit more darker and remove some of the highlights as well. But I'll just undo that. And I will show you another way. So if we go over to where it says Color, click on Color. And then you'll see here, if we select the adjustment layer, you'll see here under Lumetri color, if we go to creative, where it says creative and look, you can actually create a or apply a lot or lookup table, which is monochrome. So we have a look on the list here. We have several options for monochrome, and you can select any one of these options, and then you can adjust them as well according to your needs and your taste. So I'm just going to select the Kodak 5205 Fuji option. And you'll see here that it's applied it to the adjustment layer itself, which applies across both of these clips. As you can see, now, I can go to intensity and I can reduce the intensity of the black and white or I can increase that intensity if I like up to 200 percent. I'll leave it at a 100. And I can adjust these other sliders here like the faded film look to give it more of a vintage look. So that's essentially how easy it is to create the black and white effect in your video clips inside of Premiere Pro, I'll just finish off quickly by saying make sure that you apply any kind of color grading to the adjustment layer itself. That way it's going to apply across both clips. And if you turn that adjustment layer off by just making it invisible, then you'll see here what the colors of the original clips look like. So I hope this was helpful. If you have any questions, let me know and I'll see you in the next video. 124. FAQs- How to Fix Audio Channel Output Levels: So you might come across a situation where you have different audio levels in your clips. There might be a case where you have more of your audio coming through on your left channel versus your right channel. Just as I have in this clip here, which I'll play back for you in just a second. And you might want to fix that, and I'll show you how to fix it. But let me play this clip back. Notice that the audio is coming through on your left speaker. You'll notice that here on the output monitor that the audio is coming through on the left channel only and not the right channel. You'll notice here. So how do you fix that problem? Now, in this case, this clip here was one of my flying clips. And the way I've got the audio setup, the cockpit, it only records single-channel. So every time I edit my flying videos, I have to fix the audio first. So in this case I just go to effects and then I type in, fill in the search. And then here I've got under audio effects and special, it says HE fill left with right and feel right with left. So if we play this back one more time, you'll notice that we have full audio output on the left side and not much on the right side. So I want to fill the right channel with the left audio. So I look for fill right with left. I click and drag that over to the audio part of my clip. That little effects badge changes to a green color. And then if I play this back, they both equal. So that's how you simply fix your audio channels in your clips. If you come across this and you may come across this at some point, if you have any questions, let me know and I'll see you in the next video tutorial. 125. FAQs- How to Mute and Solo Tracks: So I'll show you how easy it is to use the mute and solo track options here inside Premiere Pro, using an older project that I've created as an example. So down here we have audio track layer 1, 2, and 3. And we have all these options here from mute and solo track. So if I select Mute track here, it's going to mute the entire track as such. And I might just want to listen to the audio on audio track layer 23 and not the audio on audio track layer one's ever play this back. I'm only hearing the background music and the sound effect and not the dialogue on audio track layer one. Now there might be a situation where you want to mute a particular audio clip itself. So if I play this back, I might want to mute this particular audio clip. So I need to do is hold the Alt or the Option key on your keyboard and then click with your mouse. So I'll click off it. So hold Option or Alt, click on the audio clips of that. We'll just select that audio clip by itself, right-click and then go to where it says enable. And that will now disable that particular audio clip. So if I play this back, so that's been muted, so I'll just undo that. So that's a very easy way of just muting one particular audio clip. So click off it, hold down the Alt or the Option key, and then click with your mouse. And you'll notice that only this gets selected. If I off, if I click off it and then click back on it, it will select both the audio and the video, right? So just make sure you click off at first and then hold down Alt or Option, click with your mouse. It will only select the audio, not the video that's connected to it. So that's one little tactic I like to use as well. Another tactic I like to use is if I want to delete that audio clip altogether, I'll just go Control L or Command L on the keyboard. And that will unlink the video from the audio. Then I'll just press Delete on the keyboard and that will just delete that audio clip altogether, right? So I'll just undo that. That's another way you can remove an audio clip to completely delete it, or if you want to mute it. And the last thing I want to show you is soloing a track. So over here we've got muting where we can meet multiple tracks at the same time and only hear what's going on on the other audio track. Or we can just hit the solo track option where we can just listen to what's going on on that particular track by hitting solo. So if I solo this track out, I don't have to hit mute on these two tracks here. I've done it automatically by selecting solid track. So if I play this back, you hit the background music. You won't hear the dialogue. You won't hear the sound effect. You're only hearing what's going on here, which is the background music, which is kind of soft. If I just want to hear the sound effects of the video, then I can solo the sound effects. Or if I just want to solo the background music without the sound effects that I just select solo and play it back. So that's essentially how I use the mute track and the solid track options inside Premiere Pro. If you have any questions, let me know and I'll see you in the next video tutorial. 126. FAQs- How to Rotate Video: So I'll be showing you how to rotate videos inside of Premiere Pro. You bought a filmed a video in the wrong orientation. And so I'll show you how to take a video like this, which was shot vertically, where Robin has filmed me where in these pink gloves. And I'm going to show you how to rotate from vertical to horizontal. It's a two-step process. So you just click on the clip here, go over to Effect Controls. And then under rotation here, we're going to change this value to say 270 degrees. And you'll see here that the clip has now been rotated 270. And we now need to change the sequence orientation. So that's the second step. So we go over to sequence, sequence settings. And then here where it says frame size, we have 10 IT and 1920. So additionally to switch these two values around to 1920 and then 10, 80, and then click Okay, and then click OK again. Now you'll see that the sequence orientation has now been changed to match the clip orientation. So that's essentially how you rotate a clip inside of Premier Pro. And I've got one more example here where I've shot a video, I want to my flying videos on my GoPro, and I've imported it, but the GoPro for some reason has recorded upside down. So this is a very simple matter of just applying a simple rotation without playing with the sequence settings. So for example, I know that this video was shot in 1920 by 1080. If we go over to sequence, sequence settings and have a look here, it's 1920 by 1080, so I don't need to change the sequence frame orientation in this case, all I need to do is just rotate this clip. So again, I'll just click on this clip and go to rotation here and then watch what happens if I just turn this 180 degrees all the way around. And there we have it. We've just successfully rotated out, clip back to the wedge. Should look, I hope this was helpful. If you have any questions, please let me know and I'll see you in the next video tutorial. 127. FAQs- Instagram Video Size and Export Settings: When you're creating videos for Instagram, it's important to get the sequence size of those videos setup correctly and also exporting at the correct settings. So in this little tutorial, I'm going to show you how to do that by referencing one of my older Instagram video projects that are made maybe three or four years ago. And we'll recreate something similar to this in this short tutorial. So I'll play this back and then we'll create something very similar to this in just a second. Okay, so accredited this almost four years ago. Now, as you can see, we have the video playing in this square section here. And then we have some text top and bottom with a little bit of a white background, a little logo there. And then I got like a little bit of a wallpaper there, which is quite static. And so I'll show you very quickly how to set up a proper sequence for Instagram videos. Before I go into this, the most important thing is your sequence settings. So if we double-click here, this is a little reference that you can take a screenshot off. And you can use this as a reference point. And the most important thing is taking a note of these sequence settings here. So as you can see, we have the Instagram layout here. And then we've got four by five, or 1080 by 1350 pixels, one by one, which is your typical box, which is 1080 by 1080. Or we have another sample here, which is 1080 by 608 pixels. An IGTV is just 1920 by 1080, but flipped around 1080 by 1920. So I'll show you that in just a second, but this is the cover image that you need to adhere to if you're creating cover images for your IGTV videos that I'm not going to talk about in this tutorial. So take a screenshot of this will be referencing this. I'm firstly going to take my video clip here. And this is my little raw clip of my drone of this little island in Indonesia that I filmed years ago. I'm going to right-click, go to New Sequence From Clip. Click on that and OK now created a brand new sequence with that drone clip. Now with this sequence here selected, I'm then going to go back to sequence, go to sequence settings. And then as you can see, we've got the current sequence settings, which is the 4k video that I shot on my drone here. I know that because he under frame size it says 3840 by 2160 or 16 by 9. Or you need to do is change this. What do you change it to? As per what I showed you just a second ago. So we can change this to 1080 by 1350. And that sets a four by five ratio. Leave everything else the same. Don't need to touch anything else. And then click Okay, then click OK again. And we've now modified our sequence settings for the Instagram dimensions of 1080 by 1350. Remember, you could have easily selected 1080 by 1080. It's completely up to you. And then all you need to do is adjust the video that's displaying inside of the sequence here. So we go to Effect Controls, select the video clip down here that go to scale. And then you're going to scale this back. As you can see, we have to bring that back a lot. And we've by default credit these black bars top and bottom. So this is essentially where we can add our text, right? So all you need to do to add text is take the video clip here, which is on video track layer 1 and screwed that up to video track layer two. And then we're going to put some text here. And we've also, we're actually going to create a bit of a wallpaper as well. So that means I'm going to push this up again to video track layer three. So I'm going to show you how to create a white sort of a background there, which is kind of a very popular framing method used on Instagram. You would have noticed that all you need to do is click here down where it says New Item. Click on that, then go to Color Matte. Click on that click. Okay. And then we're going to select the white color matte. So you just drag down here, fine white, which is here. And then click Okay, and click Okay again, or you can give that a name, It's up to you. So now we have a white color matte click and drag it over to your timeline. And then we're going to drag that underneath this video track. We're going to extend that out. And as you can see, we have a white frame top and bottom. Then we can create some text. So this is essentially pretty straightforward. You just get the type tool here, click on that. And it's not letting me select that for some reason. There we go. So we click there and we type in Roger and Pat, for example. Now, just click on the Selection tool. If you don't see the essential graphics pop-up over here, then just pull that out. Go to Window, go down to where it says essential graphics. Make sure that's ticked. And you'll see a pop-up over here, go to Edit. By default it might be browse to this, make sure you click on Edit. And then we've got our text here. Roger, I'm Pat And then by default the fill might be set to white. So you may not be able to see that as you're typing. It might kinda look like that. So you might be talking away and you can't see what you're typing, right? So just make sure your selection tool and then go to Fill where it's white and then just set that to black. So we now have black text against a white background, which is our white color matte. Now we have our text layer click on that, extend that across so that it takes up the entire length of that video clip. And then of course, we can do normal adjustments to our text by clicking, centering it, making it larger, changing the font size to whatever we want. And then we can again make it bigger. Center it, you get the idea. So now if we play this back, we had a video playing here and we have our text here. So this is very, very common format. You'll see on Instagram. I'm sure you've all seen this before. That's pretty much how you door It's that simple. You can put your e-mail address in. You can put your website in. If you're running a business, you can promote your business by just having your contact details top and bottom. So we can just duplicate this text layer. Click on the second text layer, and then drag that down to the bottom, right. So, I mean, there's so many things you can do with this. But to go one step further by creating a little bit of a wallpaper. So we take our color matte here and we adjust the scale by reducing the scale down to around here. And then where it says Uniform Scale, click on this. And then where it says scale width, it's already set to a 100, but you'll see here that now our color matt has been adjusted so that it's now the full length of the sequence. We can adjust that text by bringing it down a little bit more like that. By bringing it down, making it smaller, cool, and then centering it. Excellent. And then we can do something really cool, which is what I like to do, is I go to my original drone clip and I hit here where it says Export Frame. Click on that. Then make sure here it's got hit Import Into project. So it's going to take a still image is still image from this video. It's going to copy it to my desktop right here, but it's also going to import it into the project at the same time. So I click Okay again, it will pop down here. I'm going to call this wallpaper, writes the quick name. And then I'm going to click and drag it over to the first video track, Elia, and then I'm going to stretch it out. So if we take a closer look here on my timeline, we have the wallpaper, which is video track layer one, the color matte video track led to the drone clip itself, which is video track layer three, which is right here. And then we have our text layer, which is video track lie of four. Now, if I play this back, watch what happens. So I'm playing this back. And we had a wallpaper here. We have our white color matte, and we have our text here. And that's quite simply how you do it. Now, that's what I used to do with my old instagram videos, my old IGTV videos, I have a different strategy now, how much show you that in other videos, but play around with this and experiment. And once you have created your Instagram video inside of Premiere Pro, then you go to File Export Media and make sure H dot H.264 selected as your format. And then under Preset, it will say Match Source High bitrate. And then just give it a name, make sure these two are selected. And that's pretty much it. You don't need to do anything else. We can preview it here. I'm very happy with that. And all you need to do is export it. If you're on a Mac, you can just add, drop this across. Or if you're on Windows, you can just upload it to, for example, Drive or Dropbox, which is what I do. I Dropbox this and then I downloaded onto my phone and then just upload it onto Instagram from my phone directly. So that's pretty much it. If you have any other questions, let me know. I'd be more than happy to help you out and I'll see you in the next video tutorial. 128. FAQs- How to Zoom In and Zoom Out: So I'll show you how easy it is to zoom in and zoom out on your timeline to any particular subject in your frame using Premier Pro, using an example clip here on my timeline of this guide jogging away. And so as you can see, he's kinda moving around the frame a little bit, but I'll show you how we can sort of zoom into his face and zoom out again very easily. So I've got my clip is selected on the timeline. All I need to do is go to Effect Controls over here. If you don't see click on these two arrows and you'll see Effect Controls where it says anchor point. Click on that. And when you click on an anchor point over here, a little crosshair will show up here in the middle of the frame by default. So double-click on this little cross hair and then just click and drag it somewhere in the frame that you want to zoom in on specifically. So in this case, he's kind of moving around the frame here when he's jogging. So I'm just going to place the crosshair around here somewhere because I want to zoom in to wherever this cross hair is in the frame. So if I play this back, okay, It's kinda jogging and he's kinda moving inside the frame a little bit to the right-hand side, then he's moving back a little bit. So a little bit all over the place. So with my anchor point set, as he's jogging, He's moving away from the anchor point. It's okay. It's it's roughly correct. I'm kinda happy with that. Okay. So all I need to do once I've got my anchor points set, I then go to VS scale. It's automatically set to a 100 percent. And over here we have like our timeline over in the effect controls panel. As you can see, we can move our play head back and forth over here in the effect controls panel. So over here there's a stopwatch. This is where we create keyframes. So we're going to click on the stopwatch icon. And that's going to firstly create our keyframe. At wherever this play head is. We're going to move the playhead along and just say we want to zoom in at this point. So we're going to start our Zoom at this key frame and we're going to finish our Zoom at this position of the playhead. So then we just use the dropdown and we can either use the slider here or we can just click on a 100 and we can just kinda drag that back a little bit, or sorry, drive that forward to zoom in. And just say we wanna zoom in to say a 130% or whatever. As you can see, that automatically creates a second keyframe here. You see this line here indicating that we're zooming in. We play this back. Start keyframe, zooming in and zooming into that anchor point that we've said before. So when he kept this zoomed in a little bit and then at this point, for example, we're going to start zooming out. So then we create another keyframe. So here it's little icon here it says Add Remove Keyframe. We just click on that to add another keyframe. So now we have three keyframes. And then we're now setting the position where we want the zoom out to commence. So that's at this point that I play a little bit further and just say for example, I want to complete the Zoom out at this point. Then I just set my scale back to a 100 percent. Or I can just hit the reset perimeter option here, which will automatically create a fourth keyframe that will then restore our scale back to 100% there. So if I play this from the beginning, zooming in to our second keyframe, now we're zoomed in. We're going to hit a third keyframe. Then we're zooming out to a fourth keyframe. So we can essentially move these keyframes around. If you want to slow down the duration of the zoom out, you can click and drag these keyframes away from each other. Or if you want to finish the Zoom faster, you can just drag them closer together. So very, very easy to do. To zoom in faster, zoom out slower. It's that easy. But if you want to have it so that the zoom in and zoom out is not as harsh, right? Because if you look at this closely, it's quite a harsh zoom in where it kind of stops abruptly. And then it kinda zooms out abruptly. We can actually ease in and ease out these keyframes. So we select the first two keyframes. Then we right-click on one of these keyframes. And where it says ease in, we change it so that these keyframes now A's in. And then these last two keyframes, we select them both and then select ease out. So as you can see, we now have an hourglass, and if we play that back, the zoom in is much smoother. And the Zoom Out will now be much smoother as well. So it won't be as harsh. There we go. So that's how easy it is to create zoom in and zoom out keyframes in Premiere Pro. And how to adjust the parameters of some of these keyframes by easing the mean, easing them out, or just shifting them so they're further away or closer together. If you want them to zoom out or zoom in faster. If you have any questions, let me know and I'll see you in the next video tutorial. 129. FAQs- How to Zoom with Adjustment Layers: So a question that I received recently was how to apply a Zoom with an adjustment layer. So you want to have multiple different clips on your timeline. And you want to know how to apply, zoom across multiple different clips as opposed to one clip. So I'm going to show you how to do that. So I've got multiple clips here on my timeline and I want to apply to zoom in and zoom out across these three clips here. And all I'm gonna do is go down to where it says New Item. Make sure that you're in the project panel and go to New Item. Click on that, click on Adjustment layer, and then click okay, we're gonna take the adjustment layer, we're going to drop it straight over. Clips here on video track lead to, and I've just adjusted the duration of this adjustment layer. So that's kind of falling across these three clips here, just like that. And then only gonna do is go to these two arrows here, go down to effects. And you're going to click on Transform in the search box here, you're going to click on type in transform. And it's going to pop up here in the search results on the video effects distort and transform. And you're going to click and drag that over to the adjustment layer, drop it into the adjustment layer. Make sure that the adjustment layer selected go over to Effect Controls and then scroll down to where you'll see transform. Okay, so the two parameters that we're going to be manipulating, a scale, height and width. And we're going to create two keyframes. So I'm going to take my play head and I'm going to create two keyframes at where I want the zoom to start. So I'm going to click on the little stopwatch icon here for both of those parameters, I'm going to move the playhead along and we're now into the next clip. But remember we're still inside the adjustment layer down here. And then I'm going to set the scale height to say 120. So just typing, typing it in there and the scale width exactly the same. You've got to set them to exactly the same parameters. If you don't, it's going to stretch and warp your image. You don't want that to happen. So now that we have both of those setup there, we have two keyframes that I've just been added there. Okay, so now if we play this back from the beginning, we go to Zoom In happening. Now, the Zoom is continuing. Now the Zoom is stopped. Now just say I want to zoom out. So all I gotta do is set to more keyframes here. So click on these two options here, where it says Add, Remove Keyframe at drops, another keyframe there. And then down here, I now just remember you got to pair these keyframes together for these two parameters, right, for height and width. Make sure you pair these parameters to get them. So always double up the keyframes and then keep playing and we want to now zoom out. So we now have our new position for our playhead and you just hit hearers has reset perimeter. It's going to drop another keyframe here at 100%. And down here as well, reset perimeter. Again that's a 100 percent and it's dropped another keyframe so you can adjust the speed of the Zoom by literally just highlighting or selecting the keyframes and then dragging them close together, or by dragging them further apart. It's very easy. I might do the same over here, might just pull those together a little closer. And so if I play this back here from the beginning, you'll see that we now have keyframes for zooming in across multiple clips. Now that it zoomed in, and it's going to zoom out soon and zooming out and zooming out. Okay, so one more thing before I let you go is you can make it much more smoother with the transition of the keyframes by having an ease in and ease out. So select these keyframes here, right-click and ease in. And these keyframes here, select them all right-click and ease out. That will make the zoom in and zoom out much more smoother. And now we're zoomed in and zoom out much smoother. So that's essentially how you apply a zoom across multiple clips inside the adjustment layer. Someone else asks the question recently of, why would you apply a Zoom to an adjustment layer? Why don't you just apply the Zoom with the scale parameter on the motion. The reason being is because if you have multiple clips here as I do on the timeline, and you want to zoom across multiple clips, as opposed to just click on each clip and setting the perimeter individually for scale, you can just set an adjustment layer, put that adjustment layer over the top of whatever Eclipse you want to zoom in and zoom out of and just apply the transform effect to the adjustment lab. So I hope this was helpful if you have any questions, let me know and I'll see you in the next video tutorial. 130. FAQs- How to Export Small File Sizes: So there might be a situation where you need to export your project is a small file size to show a client or maybe a family member in a different country that has a really slow internet connection. Or maybe you have a very slow Internet connection and you want to create a lower quality, smaller file size, your project to share with a client or a family member. How do you do that? So I'll show you, it's very straightforward. I'll use one of my older projects here on your screen OF MY gliding in this aircraft. And it goes for about 12 minutes. And the size of this is, if we go to Properties, now the file size is 1.39 gigabytes. Now I'm going to show you how to compress that all the way down to something really small that you can then share with a client, for example. So all you need to do is you go to File Export Media. Make sure you've got the sequence selected first, okay, make sure you get that blue box around the sequence that a File Export Media. And then under format, it would typically have H.264 already selected here in the drop-down. And you can just leave everything else the same. Go down to video, click on the video tab. And bitrates settings right here, just say bitrate settings. It typically has VBR already selected by default, usually VBR 1 pass. You can change it to CBR or VBR, say constant bit rate or variable bit, right? It doesn't really matter. The biggest thing you need to change is target bit rate. This slider here, which is set to ten megabits per second or ready. Which means that at the moment without changing this by estimated file size is going to be 970 megabytes. So it's a little bit smaller than what we're starting with, but we can make this smaller once again. So you just drag this slider down. And I would probably, in my experience, I wouldn't go any less than about six or seven megabits per second. In my personal experience, anything less than five, it will become a noticeable difference in quality, especially if it's been shown on a larger TV screen, or if it's being watched on YouTube on a larger viewing device, you'll definitely notice the quality. So there is a sliding scale here, but I wouldn't normally go less than five. You are cutting it super fine. But typically when I'm creating my videos and I need someone to approve them, I'll I'll usually set it to 10 to be fair. And what I'm exporting it out as a final project, as a final high-quality version that I'll set that really, really high. And I'm not going to explain exactly what because I do talk about that in another video. But again, somewhere between five and 10, you'll get away with. And then you can export that out. And by the way, as you make the change down here with the slider, this estimated file size will change accordingly, right? So have a look. We can get that down to 666 megabytes k. Just say we go down to five would cut it super fine. We're at 500 megabytes. Okay, so I'll let you play with this, but anywhere between five and 10 megabits per second is going to produce a really small file size and retain the quality to a point until you start watching your videos on a larger viewing device. Okay, I hope this is helpful if you have any questions, let me know and I'll see you in the next video tutorial. 131. FAQs- How to Separate Audio From Video: So I'll show you how simple it is to separate your audio from your video clips inside of Premiere Pro, I'll get a very simple clip here on the timeline with both a video and an audio component there. And they both select when I click on either one of them, as you can see that. But there might be a time when you want to separate the audio from the video and only use the video component of the clip and not the audio or vice versa. So how do you unlink these two? So there's two ways of doing it. The slow way is to right-click on the clip and then go to unlink. And that will then separate the audio from the video. And you can use both of them independently. Otherwise, the faster trick that you can use, which is what I do, I'll just undo. Undo is to simply just click off the clip first and then you'll hold down the Alt or the Option key on the keyboard and then click on the audio and you'll notice that it only highlights the audio clip, then you can just delete it. Now, if I undo that and restore it back to how it was previously. And if I don't select, decide, don't click off the clip first and I hold down the Alt or the Option key, then click the audio only, it doesn't work. So make sure you click off the clip first, hold down the Alt or the Option key second, and then click on the audio only and then press delete. And that's simply how you unlink the audio from the video. If you have any questions, let me know and I'll see you in the next video tutorial. 132. Conclusion- What's Next?: I just want to say, thank you so much for joining me on this journey. It's been a huge course and there's been a lot of content. And I want to thank you for your time. It's been an absolute pleasure and honor for me to teach this course and share with everybody was taken me four years to learn. And off course, I'm store my own journey and I'm still learning and adapting and changing and modifying and try new things. And I encourage you, I challenge you to do the same thing. This is not the end of your journey. This is the beginning of your journey. And editing, as I've come to learn, is both an art and a science. What I've taught you in this course is mostly the science of editing. It's how to use certain things in Premier Pro. But the art to editing is very personal and it's something that takes years to develop yourself, to find your style, to find your voice through editing, to find what works for you, and a workflow that works for you. So there's no right or wrong way of editing and making videos. They're just your way. And that takes time to develop and you need to embrace that. So I encourage you to watch other editors, other workflows, good ideas, get inspired and then incorporate some of those into your own style and then mix it up a little bit to make it your very unique style. So don't copy, but just good ideas and get inspiration from other people. And so there are rules to editing. There are clear rules to how to edit audio and how to do certain things with your videos. But it doesn't mean to say that you have to stick to the rules all the time. They say rules are meant to be broken. No, the rules, but then know how to bend the rules to make something unique. So I'm on my own journey myself. I don't know everything. I'm still learning where I first started four years ago, back in 2016. I didn't have a laptop. I didn't have Premiere Pro because it didn't have a laptop. And I started just like you did. And I made a video everyday for 14 months that forced me to learn very quickly how to use Premiere Pro. So after 700 plus videos now, probably over 1000 videos. If I include all of the platforms outside of YouTube that I've made videos for. I've come to realize I've learned a lot, but I've also learned that I have a lot more to learn. So you'll always be learning, challenge yourself, get new ideas, get inspired, and continue to evolve and become a better person and a better editor. I hope you've enjoyed this course. Please let me know what you think via messenger, via Instagram, DM, email, whatever works for you. You can contact me if you have any questions or if you have any feedback. I never thought in a million years I'd be making a course and how to edit videos and Premier Pro. It was the last thing I ever imagined doing. I didn't even own a laptop four years ago. And now I'm teaching basic editing in Premier Pro. So you never know what life is gonna take you. But this course is now in version 2.0. after all the emails and the comments and the messages, I decided to make a second version. Thanks again for watching basic entry time. Enjoy the journey. Good luck and I'll see you in the future.