Adobe Premiere Pro CC – Essentials Training Course

1. Introduction to Premiere Pro Essentials training course: Hi there, my name is Daniel Walter Scott, and I'm an Adobe Certified Instructor. In this course, you and me are going to learn... how to make beautiful videos together, using Adobe Premiere Pro. This course is aimed at people new to Premiere Pro. No previous video editing experience is needed. It's also for those of you who are self-taught... who open the program reluctantly, hack away at it, swear a lot... this course is for you too. We do start right at the beginning, and work our way through step-by-step... but we do cover a lot of ground in this course. You'll come out the other side with... be pretty confident taking on a real wide range of video editing work. During the course you'll work through real-world projects... like editing an interview... a wedding video... a short commercial, and documentary. Social media advertising videos... YouTube how-to videos with Talking Head footage... mixed with screencasts and voiceovers. You'll learn how to work with text, animation, and motion graphics. We'll make special effects... add music. We'll take your still images and make them feel like real video. You'll learn how to do color correction... color grading, and lots of video transitions... plus all the technical bits too... like HD vs 4K, and frames per second... all the way through to exporting. You'll learn how to balance and sync your audio... fix bad audio, like removing echo and background noises... plus loads more, including things like shortcuts and tips & tricks. On top of the class projects that we'll do together... there are practice assignments, like little mini projects... that you get to do to practice your skills... but also build videos for your portfolio. Enroll now if you are ready to upgrade yourself... and finally learn how to make beautiful videos in Premiere Pro. 2. Getting started with your Premiere Pro course: You made it; welcome to the course. First thing we need to talk about is 'Getting Started'. First up, exercise files. So you need to download the exercise files. There'll be a link on the page here somewhere. Be warned though that they're pretty big, 1.4 Gigabytes. So if you are somewhere where you've got... like a limit on how much you can download... you might have to go to work, or go to school... the library, and download them. They'll take a little while but you need those first to get started. Next question is, what kind of computer? Do you need a Mac or a PC? Doesn't matter. Software runs the same on both of them, some of the shortcuts are different... and I'm going to explain those through the course... but I'll just point them out, I'm using a Mac myself... but it's not hard to follow along with a PC, and I'll just explain if there are any... small little differences along the way. So what software do you need? You need Premiere Pro. There's a couple of other different flavors of Premier... Premier Rush, Elements... but Premiere Pro is what we're going to be using in this course. It's the kind of main one that Adobe makes. The other question I get is... can I use an older version of Premiere Pro? Not really. If you're using, say CS6 Premiere Pro... it's just going to be pretty frustrating doing this course. You're going to be able to do about 60% of what we're going do together... but when it gets to like-- so you'll be able to do basic editing... the same as the newer version, we're using 2020 in this course... 2021's just about to come out... so anything above or around that sort of time frame will work perfect. Anything that's pretty old, like CS6... you're just going to get to the bit where it says, 'Fix Audio', there's a button... and you're not going to be able to do it... you're going to have to figure out how to do it in older versions. So maybe an older course for CS6 might be better for you. All right, let's talk about hardware. You're going to need some minimum requirements... in terms of your computer or desktop... to actually run Premiere Pro, it's quite stressful on computers. So the best way to do is-- it changes all the time... so Google the words 'Premiere Pro system requirements'... and Adobe will tell you what the minimum and recommended requirements are... and the closer to recommended you are, the better, the faster it will run. The minimum will actually run, you won't have any problems... but it will be painfully slow. Now a question often asked is... "What happens if I'm below the minimum?"... "I've got a really old crappy laptop, what do I do?" It will probably still work, I don't know how old and crappy yours is... but I know I've got a PC back there, my Lenovo, it's really old... it's below the minimum requirements... but it still loads Premiere Pro just fine... okay, I'll take that back, not just fine, it loads, it works... it pops up with a warning saying "Hey, we do not support your video card"... but you click 'OK' and it still works. The biggest problem is collecting it from downstairs... once I've thrown it at the window. It is painfully slow but it will work. So have a little look at the requirements... and don't skip any videos. I realize the irony of putting this at the end of this video... because the skippers have probably already skipped. I say it because there are some sections that you might think... "I'm just going to skip that because that doesn't relate to me"... watch it because I've had to kind of, you know... stage all the different kind of bits... that we're going to learn throughout the course... a different kind of, like learning levels. So even though it might say... something like Instagram, you're like, "Eh, I don't even watch that"... I've got other bits that can be used... techniques and tools that can be used generally... amongst other different kinds of video editing. So try not to skip videos. This is the end of this one now, you can skip now. Yeah, let's get going. 3. What is the difference between After Effects & Premiere Pro: A question that comes up a lot is... "What is the difference between Premiere Pro and After Effects?" If you already know the answer you can skip this video... if you're unsure, stick around. Basically Premiere Pro is video editing, and After Effects is special effects. So Premiere Pro would be something you'd use... if you are going to make a how-to video, like this one, okay? If you are making a commercial, a documentary, a feature film... I can't think of anything else... but it's all to do with taking footage from a camera, generally... and doing cuts, doing transitions... doing some basic color correction, fixing the audio... and then sending it on its merry way. After Effects on the other hand is all about motion graphics... and kinetic type, and if your logo needs to spin in... and spin around and catch fire for no good reason, that is After Effects. Let me show you a couple of examples just to make it crystal clear. All right, a good example of what After Effects does is... kind of their-- their own website... you can see in the background here, the types of things that gets used. You can see kind of cool transitions and intro videos. There is special effects, a laser car, some-- just-- interesting, okay, special effects... but I feel like there is another side to After Effects... the side that I do more of. It's more like motion graphics, see this intro here... there's something similar to the beginning of these videos. There's a bit of camera work going on, and some zooming, and some... kind of animated graphics, you can see me interacting with, it's here... that's After Effects. So more-- I do kind of more-- you can kind of see, motion graphic style stuff... animated infographics is what this course is... if you want to do After Effects, check out that... but there's a lot of cool stuff you can do like this in After Effects. Other things that are quite cool, with more motion graphics... where... yeah, it's kind of more design style animations. You can kind of see all of this type stuff. Yes, there is After Effects... and Premiere Pro, let me show you some of-- let me show you an example. So this is one of the examples from the course that we're going to do. It's a short documentary on Parkour... and basically you can see in the footage here... is a bunch of mp4s I've recorded on a camera, there's some audio... and we combine it together to tell a story in the timeline over here. Let's play it through... "When I first started doing Parkour, it was five years ago, and... there's a bit of interview in the background... we cut between a few different videos... "...watching videos, and blowing my mind..." "...that some people can jump so far, and do some awesome tricks." - Wait for it. "I realize that there's no limits, all limits are... We fade in such dramatic music. Hah, look at that. So yeah, Premiere Pro, documentaries, commercials... YouTube videos, how-to videos, anything that does videos... Premiere Pro is really good at doing it quickly... and outputting it quickly. Freaks out for special effects, does some stuff. We're going to do special effects in here... but After Effects freaks out at doing this kind of editing in front of us... but loves doing all the special effects. Can you get away with using Premiere Pro without After Effects? Totally; Premiere Pro does a lot of the simple stuff... that you want to do in terms of special effects. It's just the more hardcore stuff you might have to jump out into After Effects. All right, that's it, Premiere Pro, video editing... After Effects, special effects. Let's actually start one of our projects. 4. Getting your project setup in Premiere Pro: Hi, there. This is going to be our first project. We are going to take some video captured on a camera, stitch it together here on our timeline, this handsome man is going to talk about our course that he's making. We're going to fix the color, we're going to fix the audio, we'll add some lower thirds and some background music. Let's have a little listen. [MUSIC] Hi, there. My name is Daniel Scott and I'm an Adobe certified instructor. You'll love it and some happy background music. There'll be some bullet points as well. They will be a fade-out at the end, correcting audio, correcting the colors. It's a nice simple project to get us started to figure out a way around Premiere Pro. Let's get going. First up, the welcome screen to Premiere Pro. What I want you to do is go to New Project. Now they do move this, this welcome screen changes quite a bit. The vision that you might be looking at, you might have to hunt around for New Project. Otherwise is a long version here that should be the same on every version file, New Project. It doesn't matter whether you use this one or that one. I want you to click it once. I've got this big screen. What we'll do is we'll cover this in a bit more detail in the next video. But for the moment, we're going to only do two things. We're going to name our projects here at the top here, project name. We're going to give it, I'm going to call mine XD Intro. You do the same. We're making an XD Intro video. It's going to be the project we're making that you saw at the beginning and often I'll put it in a hyphen and then I'll type in when it was made, just so that I've got a reference. You'll end up making two versions of it or updating it. I like to add the date there just as a simple reference, up to you. Call it final if you want to tempt fate because you know it would be Final 2, [LAUGHTER], Final 3, 4, maybe V1, V2 is another good option for Version 1, Version 2. We're going to name and we're going to decide where it's going, so project location. Click on this. Down the bottom here, it says "choose location". What we're going to do is wherever you've downloaded your exercise files, so download them, unzip them. By double-clicking the little zip file, you should get this folder. Inside of here, there is one called Project 1, talking head. That's what we're working on at the moment. Double-click that, and this is where we're going to put it. Click "Choose". Windows is slightly different, but you should be able to pick the folder for that 01 and that's what we're going to put our project. Let's leave all the rest of this for the moment. Down here, let's click "Create". The Premiere Pro is open, mildly scary interface. One of the things that you might find is if you have been tinkering around and breaking stuff and things are just not looking how mine look on the screen, what you might want to do first is go to Window Workspaces and go to editing. You can see mine's already on , Window Workspaces Editing. You see a little dot there. It's already on editing. What you need to do is reset to the save layout of editing. Click that. It will reject back to this. This is a really handy one in this course, you might accidentally go. Can you see? You can go, "I want this to be wider." You can accidentally drag this one to bins. [LAUGHTER] If you click and drag it by accident, and you get things all looking a bit weird, you can always go Window Workspaces. Make sure you're on editing. It's the good generic one. It's the do it all workspace and go to reset saved layout, and it'll go back to this. You've got a new project. We have got our workspace all laid out. Let's get started by importing some footage. Let's go to File. Let's go to Import. I want you to go to your Exercise Files, go to the Project 1 Talking Head, and in here just bring in O1 XD Intro.mp4. Click "Import". Now, let me introduce you to your project window. Basically, this is all a file set that you bring into your project. What we want to do now is actually turn it into something called a sequence or a timeline. They mean the same thing. Over here. This is the raw footage to make it into an editable timeline that we can start editing and cutting and adding other videos too. You click "Hold" and drag it over to here. Now, first thing I might acknowledge is that yours might be looking like this. I switch between List View and Icon View quite a bit. You're probably on Icon View. This is really handy view. The cool thing about Icon View is you can, I'm not doing anything, I'm hovering my mouse over it. I'm sliding it across. I'm not even sliding. I'm moving my mouse back and forth. You can scrub through the footage. Footage is another word for the video that you've brought in. You can get an idea of what's in it. Let's all go to, let's be on this Icon View to get started. What we want to do now is create our sequence/timeline by clicking, holding, and drag it in this area down here. It just makes a sequence for us. Over here in our Project Window, it's taken my MP4 and created a sequence, and it's used the same name, which can be confusing. This is the sequence. This is my video. How do you tell the difference? See this little icon here. If you hover above it, it says "I am a sequence". Over here, it says "I'm a bit of video and a bit of audio". This sequence, whenever I make a new one, I try to make a habit of going in and double-clicking the word down here and giving it a different name so that it's clear what it is. I'm going to call this my XD Intro sequence. I don't often call it sequence. I just add that just for this course, just so that we can remember what we've done. I hit "Enter" on my keyboard. Here's my sequence with a video on it, and that's just a video by himself. Over here in my little timeline, you can see this is my video. Let's add a second video to it to make it a little bit clearer how this sequence works. To do it, simple what file? Let's go to Import. Let's open O2 XD Intro. Click "Import". There we go. I've got my O1, my O2, and my sequence. What I'd like to do is add both videos. I've got O1. You can see the name there. Let's click "Hold" and drag O2. Drag it so it's afterward. You don't really want it here. Nothing wrong with that, but we'll talk about that later, but try and get it on the same channels here or the same tracks. Wait there for one minute. This is a little addition to this video because, in my original video, I said, click, drag it out, and put it over here. It worked fine. It normally works fine. For some reason on a bunch of people's computers, it's only dragging out the audio, and not the video. You can see there's no video. What do you do on the bottom? No video. What is it? I'm going to undo. When you are dragging it out, it's this thing here. It's called source patching. It's reasonably advanced. We won't cover it exactly now. Later in the course, we'll look at it. But it's saying that with this off if yours is working, it means that it's on. It's a nice blue color. It's saying "when I drag stuff on, I want the video and the audio". Thank you. That's V and A. With it on, perfect. Yours might be doing that and you'd be like, "Skip along" but there will be a time where you accidentally click this by accident or you messing around with it. You're not sure what it does and then from the neighbor on when you drag it on, it will only bring the audio. You could do the same. That's what it's for. I don't want to have to separate or delete the audio afterward. I just want the video part. You get it. Audio is on and video is on. It's called source patching. Search now if you want to learn more about it. I have got a video called source patching, but that's way advanced and you've got the basics already. If you are running into that problem, it's probably just this thing not on. Continue on with the video. Drag it over and start the video again. What you can do is click on it and drag it so it butts up at the end there. Just some basic nav to get started because you might be like, "I can't put my O2 in because I can't see it" or enough room to put it on there. We're going to look at zooming in and out. What we're going to do is we're going to click anywhere down here in our timeline because you can see it gets that blue line around the outside. You can see if I click up here, the blue line around there, the blue line around the outside of that. I want the blue line to be around my timeline, and then if you look down at your keyboard, you've got plus and minus. The gym really along the top of your keyboard at the end of the numbers, you get a plus and a minus, or might be labeled as an equals. Try tapping those. Plus to zoom in and minus to zoom out obviously. I want you to zoom in like this so you can see, but at the end here. If you couldn't before, you should be able to now go through and drag a Number 2. The one weird thing about that though, is if I have this selected in my program window, which shows me what's appearing in my video. If I hit "Plus" there, it will zoom in on the timeline along the top there and not do what you want. You got to be very careful where you have selected. Keep an eye out for that blue arrow while the blue blocks are on the outside. Click down here. Plus-minus, easy. Now for some reason you don't like that or can't do that, you can use these little weird rubber bands down the end here. I hate them. [LAUGHTER]. They are really weird. But some people like them. You can see I can grab the end here and drag it out. Drag it in to zoom in and out. That's lovely. I can grab the center of it to scrub along. That might be the way you do it. There's nothing wrong with it. Most people use the plus and minus, but some people in my classes are like, "No, I like that way". Use the weird rubber band stretchy thing. Next thing in terms of basic navigation is, can you see this little link here? He's called your CTI, your current time indicator. Depending on what tutorials you're following, I think technically it's called the CTI, current time indicator, but it's your play head. It's wherever you are, if I grab this little weird half diamond thing, drag it along, it's showing me where I'm up to in my play head. If I hit "Play" here, watch. Moves along. This is your CTI play hit. Click it, hold it, and drag it along just to get used to scrubbing along the timeline. Because what will happen is say, I drag along to here and I hit my little "Plus" button, it's going to zoom into wherever that is. You can see I can zoom right in, and I'm starting to see the audio for my voice and minus to zoom out. Move it along here. Plus to zoom in, minus to zoom out. Basic stuff. Let's get into becoming an actual editor. To be a fully fledged editor, which you are going to be in about 10 seconds, you need to actually start slicing your footage up. Because at the beginning there's me. I've put it right at the beginning here, hit the "Play" button, you can see me's, because I've filmed myself, I have to get the camera going and then go sit down. I've just noticed that my flies down, [LAUGHTER] a real professional. There's a lot of like me wiping the sweater [LAUGHTER] Lots of great stuff. These are false start. Watch this. I drag my playhead to beginning here. Hit Play. Hi there. You don't have the audio through this video here. You can drag it along and listen to it. You can see that I said, Hi there. I just didn't do very well so I started again. There's a lot of restarts, or second takes. You can see, roughly where I get to about here is to drag along, just before I start waving my arm, drag the CTI, to about just before I start waving and we're going to grab our editing tool. This is the main one you're going to use in Premiere Pro. It's called the razor tool. In your Toolbar, the fourth one down, click on that and click once anywhere in here along with this little blue line for your CTIs, and you've made your first cat. Let's grab the "Selection" tool, this top tool. "Click" on this first bit, hit "Delete". We've made our first edit today. You're video editor. Not a very good one, but [LAUGHTER] because that some way, next thing we're going to do is "Click" it and "Drag" it. I've clicked it once and just dragging, you can drag any part. It's better to drag the top part of it, but if you drag the bottom part, this is the audio part of the video in this top part is the video. If you drag the bottom part, you can adjust the volume in duels, it's a weird stuff. Don't do the weird stuff. Click "Hold" and "Drag" this along until it snaps at the beginning here. It's stuck at zero. Drag it along right there at the beginning. The next bit of editing is going to be chopping it off at the end. You're going to play it through and when it gets to the end, we're going to hit "Stop". I'm going to show you a little shortcut. We're going to do a few shortcuts throughout this course. We're going to start with this one, the "Spacebar" key on your keyboard. Look down your keyboard, Spacebar, hit it once [BACKGROUND]. It's the shortcut for this button, because you do it so often, you can see if I hover above it, it says, "Space start, stop it." Spacebar on, [BACKGROUND] Spacebar off to start and stop it. Play it all the way through until it gets to the end. I'm going to do the same and where I feel like it finishes, I'm going to hit my Spacebar to stop [BACKGROUND]. Here you go, got to there roughly and doesn't have to be perfect just yet. I've stopped it. I'm going to grab my Razor tool again. Remember fourth tool down. If that happens, you see that little thing, flash, that's the "Auto Save". Premier Pro is pretty good at saving your project as you go through. We're going to grab the Razor tool, click on it once. Selection tool, click this part that I don't want, hit "Delete" and then I'm going to shuffle this over. We're going to do the same thing for this next bit. Now the cool thing about Premier Pro is I'm going to zoom in on my little timeline down him. What was the shortcut for zoom? Plus, that's right. As long as it's blue around the outside by clicking anywhere in here, well, the clip doesn't matter. Zoom in a little bit. You can see this audio waveform and that's do a lot of your editing to this audio waveform. What I would like to do is grab my CTI on my play head, the beginning hit Spacebar, [BACKGROUND] realized false start. Drag it along here [BACKGROUND]. Sometimes what some people see my interests like, no, it's really good. I realize I had to do like 50 false starts to get my flow going [BACKGROUND] Persistence then, so I'm going to get right to the beginning of this. But I can tell us the bit without actually knowing so the dragging the center of this stretchy thing is quite useful. At least now until we get into a few more shortcuts. I can tell by the waveform that I continue on my merry way. This is probably the final cut or the final shot that I want. I'm going to drag it to about there. Grab my Razor tool. Thank you, Razor Tool, "Click." I can just go over here and actually probably just guessed, that's probably the end. Just click once. Go back to my selection tool, "Delete" this first bit, Select this last bit, and I'm just hitting "Delete" on my keyboard. Then this guy, I'm going to click the top part, not the bottom part and drag it along. Because if you drag the bottom part, often misses with the audio, remember to drag this top part. You my friend, have edited Alphas video, at least the first part. Welcome to the club. I'm going to zoom out a little bit so I can see my whole time, now I'm going to drag the CTI all the way to the end here. I'm going to hit "Spacebar" [BACKGROUND] and watch it all the way through. I'm not going to, but you should, just actually I'm going to drag my CTI to here, [BACKGROUND] is my little cut across, this is a straight cut. You've done a bit of editing, you've done a transition that believe it or not, as a transition and probably the one you're going to use the most, just a nice straight cut between two different shots. If I'm honest, 80 percent of my time in Premier Pro is exactly that, Razor tool, Caddy cut, drag it up. We'll learn a few speed tricks to speed that part of it up. But that's a yeah. You're a video editor people. Now one thing I want to acknowledge before we go is a little bit of weirdness. There's a lot of weirdness in Premier Pro, to be honest. What I'd like to do is show you what might happen you might have done already, is I got my sequence. I got the two video files over here. This is my timeline, over here, it's something called the Program window. This is what's actually going to be exported. Anything that plays along in here is the stuff that's going to go at the end. Here there's other window called the Source Window. If I double-click on one of your double-clicker, you've probably already found here. Double-click it, you're like, uh, what is this? What is that? If you've opened up Premier Pro before and got a bit lost, this can be a little confusing. Your source monitor is just a preview monitor. Scribble that out. Instead of saying, "Source a preview." This is where you preview stuff. Over here is the stuff that actually goes out. This is your finished product. That looks weird having two of them, and you doing same crazy phases. What I find for new people is if that scaring, just click on "Fixed Controls" for no other reason than to hide your source monitor. You're like, uh, just leave that there. You can go back to that later on by clicking it. But for the moment, it's nice just to have the program window up, your timeline down the bottom here, and this project window with the weird files. 5. Importing video using the new interface in Premiere Pro: Hi everyone. In this video we're going to look at this new input interface that Adobe Premiere Pro has released. This is an update video to the original course just to explain what this is because it's new. It's pretty cool, let me show you what it does. This is the old version of premium product, this is the new one that you're using probably. This course is recorded in the old version where the rest of the course is going to work great. The reason I've added this update video is because just here at the beginning the way you get started with the project has changed in quite a lot and for the better in my opinion. The old version you'd click on "New Project" and you get given this thing, big, ugly, and very scary if you are new. What is Scratch Disk? What is Ingest Settings? We get into those things, but only in the advanced version of Premiere Pro at the course. There's lots of stuff in here that are handy for advanced people. Even for me, I'm advanced and I never go through and change my capture format. There's lots of other more useful things that could be at the screen. They have got rid of it. If you are using an older version basically throughout the course it's going to work fine and the main things you need as naming your project and where it goes, everything else leave as it's but let's leave that now. Goodbye old version, let's look at the new version. This is the new version of Premiere Pro and what they're doing now is when I click "New Project" instead of that big scary window that doesn't have a lot of useful information on it, now they say here's lots of really useful information. You can just name the project and give it a project location and carry on, but what you can do now and there's newer version is you can jump ahead. You can say actually I want to find my exercise files; I put mine on my desktop. Here they are for the course under Project 1 and I want to import O1 and O2. I'm going to give my project a name, [NOISE] so XD Intro-May 22. We'll give it a place to live like we did before going in there. I think I've already got one called x and I'm going to call mine b, and we're going to say import this and give it a sequence name. This is going to be my [NOISE] XD Intro Sequence. Let's click "Create". There you go. Let's Workspace Editing, Reset to Saved Layout, but basically we just jumped along. Remember in the last video we said create a new project and it was blank, then we imported the footage down here by double-clicking, then we can dragged it over here to create a sequence from it. We'll just skip that step, so that's cool. It's created our sequence; there it is there, and it's imported our O1 and O2 video to it and stuck it on this little sequence timeline here. That's the perks of the new project window, so do you get started off. From now on you'll have to go through and double-click and import, it's just a way of getting started. For the rest of this course I'm just going to start with a blank one and important it, but for you now because you know the sweet new features you can when you are going to File New start with this option here. Just skip that step of Dan importing it secondarily and making a sequence, you can skip and say I want to import this one and this one into a project. Give it a new sequence and hit "Import", up to you. New way, old way, it doesn't change the final output, but definitely this new project window is a lot more helpful. While we're here, let's look at some of the other features for this new import interface. So some of the helpful stuff. First of all you might be like, "Where did these videos come from?" These are somewhere [MUSIC] from South America. These are just sample footage that Premiere Pro have given you. This might change over time but this is here just to give you an idea or just give you some video to start with, so you can say, "I don't want to play around with Premiere Pro without having to import my own footage." You can decide on these two and create a project name, give it a location, give the sequence name; Somewhere Dan Should Know [NOISE]. It seems like an important part of the world, [LAUGHTER] I'm a little sheltered. You've got some sample footage here and the cool thing about it is while this particular screen is here, watch this. I can just move my screen and a mouse back-and-forth. I'm not clicking and dragging. It's just scrubbing through the footage so I can decide which version. Is this one that I want or is it this one? It seems a bit jumpy to get started. If you've got a really old computer it might not ever catch up, and you might be like, "Why isn't mine scrubbing?" It's just because your machine is just struggling to do it. It is really handy especially when you've got footage and you're like, "Is that the one? Is this the one?" I'm just moving my mouse back and forth. You can switch it from grid view to list view if you prefer that because it's got a bit more information about stuff. You can decide on the sizes as well, fit more in, that, then listen. Okay, up to you. Another helpful thing about this is over here under your local stuff. You're also going to be different depending with you're Mac or PC. It's just really handy. Grab stuff off your SD card it'll appear here, or another hard drive. Another handy one is Favorites. At the moment the only favorite one is Sample Media. Let's say that you've got a folder that you keep stuff in, so I'm going to go rummaging around my computer. [LAUGHTER] I hope there's nothing in here, nothing to give away personal data. Well, I'm diabetic [LAUGHTER] and I want a Datsun, but let's not go through there too much. Let's say Living Spree, let's hope nothing's in there. Let's say this is where you keep all your videos, this is just a for instance. Double-click it to go inside, [NOISE] nothing in here. Go up to here and say starred. Can you see it? It appeared over here. Turn it on, turn it off. It just means that if you've got a place that you always go to on your network, or SD card, or hard drive, or somewhere deep dark in your documents [LAUGHTER], or a big pile of mess on your desktop, you can add a favorite tool once you find it, then you can easily go back to it from Home to Living Spree. Nice. The sample median here I might turn it off because I don't really need this unknown country that seems really important that I should know about. Point to the stuff and it won't be in my favorites. That's the new helpful Import feature when you are creating a new project. That's it, on with the rest of the course. 6. How to add import video your Premiere Pro Project: Hi everyone, in this video we are going to add a couple more videos. We're going to edit it in a different way. Different from using the Razor Tool, like we did in the last video. Also I'm going to show you what to do when your computer starts running slow... and I'll show you how to make this waveform bigger and edit from it directly. I'm ready, you're ready, let's get going. To get started let's bring in some footage. Let's go to 'File', let's go to 'Import'... and let's bring in, from our 'Exercise Files', 'Project 1'... let's bring in '03' and '04'. You can bring in more than one at a time... by clicking the first one, holding 'Shift', grabbing the second one. You can bring them in individually if you find that hard, let's click 'Import'. You'll see down the bottom here, our little project window's starting to fill up. Remember, our project window has all our files in it... and I really-- I don't hate Thumbnails but I switch to List View very early even... because I just like to see the names and all listed. In this view here it's great, you can make them bigger. I'm not sure why you would... but you can't make them much smaller. The one thing that is weird about this... is that they're actually listed non alphabetically in here. You can see, 01, and it jumps to XD, and then 02, it's kind of random. So if you do prefer this view because it's scrubbing along, is pretty cool. So to kind of get it a little bit more useable... see this little slotted lines down here... click on this, and you could say, I want to order... not by Users order, but by Name, just put it in alphabetically. I don't know, is that just me? Maybe it's me. So we're going to add these to the timeline... you can-- let's click this first one, '03'... and just drag the whole thing over until it's after 02. Zoom out a little bit. What's the shortcut? Yeah it's ' - ', we're getting there. And bring in number 4 as well, nice. Now we're just going to kind of like jump... you don't actually have to drag... you can just kind of click in here and it jumps to it. Up to you whether you want to drag the CTI along... but with it here, hit 'Spacebar', let's preview. There you go. One thing though is, if yours is struggling to play back... if it's struggling to play back this video already... that's not a good sign... but if it is-- see here in the bottom... it's trying to play it back in full resolution. This is shot in HD so it's trying to play it back in full resolution. Let's drop this down to half or a quarter. If it's playing back slowly just drop it to a quarter. Keep an eye on this... it's like-- it's playing okay, looks fine... go to quarter, and then I hit 'Play', 'Spacebar'. Can you see, it's kind of blurry. It's not affecting, like the output, if you export this now it's going to look perfect. It's just, like changing the preview. This will happen to everybody, doesn't matter how good your computer is. You'll get to a point where you've got so many layers... and so many things going on, that actually just stick it down to quarter. When you're doing color grading and making it all look pretty... you might have to jump it back up to full... but quarter is fine. You'll notice, when it's paused it's always at full... it's only when it's playing, look. Goes to a low quality one just to speed things along. Now in the last video we edited using the Razor Tool... so I'm going to click down here on my Timeline... so that goes blue around the outside, hit ' + ' a couple of times... and what we did was-- I know this video already, so let me-- So the first bit, I start... and then... get lost... start again, get lost, start again. There's this last chunk that we want... because that's the bit that I actually complete my sentence. So in the last one, we used the Razor Tool, and we just clicked... and we deleted the bits we didn't need. There's another way of editing... there's no real right or wrong... just sometimes you need one and sometimes you need the other. So we're going to do, we've done Razor, let's grab the 'Selection Tool'... and what we're going to do is... I'm going to put my Playhead kind of where I want it to be... because it's really helpful, and tries to snap to wherever the Playhead is. So you can use that to your advantage... to get it kind of at the beginning here. What we're going to do is... watch this, I've got my Selection Tool, and if I hover between this gap here... can you see, if I move it to the left hand side... it's got the left hand arrow... right hand arrow, just going to be close in here. So I want this side because I want to deal with this track, or this clip. I'm going to click it, hold it, and drag it. You can see, I could drag it to my Playhead and it kind of snaps... and it's the exact same thing, nothing's different about it. Instead of slicing it with the Razor Tool and deleting it... or dragging it at the end, some people-- you'll end up using a bit of both. So we're going to grab it, drag it along. Do the same for the end, I'm going to hit my 'Spacebar'. Now what I do when I'm editing is that... I edit via the waveform, it kind of took it in the last video... but it's very hard to see, see it's teeny tiny. So what we're going to do is... can you see, basically there's this kind of a thicker line here. Video is all on the top, and the audio is all below. So if you've got like 10 audio tracks and one video... you're going to have 10 below this. We've only got like three layers to start with... but you can add more. So all the videos at the top, and the audio is down the bottom. What I would like to do is move my little mouse... between these lines here, and you can see... this one here, just underneath the track I'm working on. Now if you've come from other Adobe worlds, the like layers... the same thing, but they call them tracks in here in the video world. So I'm just going to click, hold, and drag it down. Look at that, I can see all the little peaks and troughs, and stuff in it. Just makes it really easy to edit. So I'm going to hit ' + ' to zoom in... and I can see, without even watching it... and kind of pausing it when I feel like it's finished... I can just drag this along to about just after I finish speaking... and then it's nearly always the time to cut it. So it's real easy to edit via the waveform. So what am I going to do now? I'm going to drag the end. So if you can't see this end here... you might have to grab the middle of this guy, just to drag it along a little bit... and grab the end - So I'm still using my Selection Tool - and just drag it in. Boom. Now a big question that people have, is like... "Have I deleted this forever?" No. You can grab it again and just drag it back out... it's always there, you've never deleted anything ever. You're just kind of trimming the view of it up for export... but your original audio, sorry, your original video... this XD, what are we up to? We're upto the third one... is never ever changed, just sitting on your hard drive, never amended. It's the same thing for when I use my Razor Tool. So I'm going to drag along here... to go to my first one... and what you'll notice is-- actually I'm going to zoom out. Now to select more than one-- I want to drag both of these along to the right. So got my Selection Tool... and I'm just going to click anywhere up here and drag a little box. You can see, as I drag it, it kind of selects a couple. So got more than one thing selected. I'm going to grab-- remember, the top part of it is best, drag it along. What I did earlier is we used the Razor Tool... but it's exactly the same, look. I've razored it before but look, all still in there, all the extra junk. So it never goes away, it's just... just trimmed the view of it. Now I was undoing there... if you've never used undo before, just the 'Edit', 'Undo'. I'm using 'Command Z' because I'm fancy with my shortcuts. I'm going to drag that back, great, and let's do the last one together. Let's grab this guy. I'm just going to edit by the waveform, so I'm going to drag it to about there... and drag the ending, go about there... then drag in. Even without checking it I'm probably going to be pretty close. So this is, consider it a rough cut... I'm just going to kind of drag it all up, cut it all up... and then we'll look at it in a little bit more detail, fixing things. It's best to kind of do a real rough cut first... to just get everything in before going into the details. One other little kind of like using Premiere Pro thing... I want to just clarify, clear on is... if I click on this and I want to get rid of it... just 'Del' key. So just select it, delete it, easy stuff, I know. All right, one last thing I want to kind of share with you before I go... is just like how I got to these files... just prepare you for the future. When I recorded this course... this 05 XD is my raw footage that came out of my camera. It's shot at a modest HD. We're going to talk about HD versus 4K later on... but it's a modest size, good enough quality... and it came out at 1.2 Gigabytes, it is huge. That's the footage that comes out of my camera that I have to work on. So you as the editor, you'll be given files this sort of size. So what I do for this course though is I took that same file... and I compressed it right down... it's still HD but I kind of like lowered the quality of it. So it's not going to look as pretty as the original... but you can see the file size is like 15 Megabytes versus 1.2. So know that you're getting this sort of stuff. In this course you can-- everything's quite small, and it's... I guess it's not realistic, so you're going to finish this course, and go... "Yeah, my computer can handle it," and then all of a sudden... you get given this big giant 4K footage and your computer kind of... it catches fire, so just to know that I do some pre-edits. The other thing I do as well is, if you end up recording yourself... like I do a lot, be prepared. I've kind of made these all look like... I've done one or two takes and then got it good, but let's have a look at five. So this one here, to get this last little bit where I actually get it... I finally get it, and it takes about 20 seconds... but it took me six minutes to get that 20 seconds. So if you're filming yourself it's hard... even, I'm like super experienced... that filming myself, and it's-- man, there's a lot of takes. So I've cut all this down to make it smaller... and know that it's hard to film yourself. All right, that it is it, you should have something that looks reasonably like that. One, two, three, four, remember, recap. Timeline is where also your sequence, your project windows, all your files... over here is your program window, that's what's going to be exported... and over here, if you double click on something, remember... source window, just the preview window. All right, on to the next video. 7. Class Project 01 - Basic Editing: All right, it is class project time. Don't think of it as homework... think of it as exciting practice that you get to do. So what I do to facilitate this is... in your exercise files, there is-- 'Exercise Files'... there is a folder called 'Z Class Projects'. Z, just get it down the bottom here. So in Class Projects, open it up... and the main one you want is this Word doc, so open up 'Class Project Notes'. You'll see this, there'll be more class projects coming up. I'm kind of adding them as I go through the course. So this is Class Project 1, basic editing. So I want you to do a couple of things. First one is, add the last two files. So over here we've got 01XD, 02, 03, 04. We've got those already, there's two more to go in. So add those two files from your exercise files, they're called 05 and 06. Edit them either using the Razor, or the dragging method. So snip them up with the Razor Tool... or just drag the ends like we learnt, up to you. Has a little bit of extra level in it. The second, sorry, the 06, I want to show you real quick... has more than one kind of good edit. I did a couple of versions, so you're going to import both, 05 and 06... but 06, if I drag it to my timeline here... and kind of scoot across... you'll notice that-- I just want to show you... I do this version and I get-- that one's okay, so I kind of-- a couple of false starts there, where I give up... and then this long chunk here is actually okay... and when I get a good take, it's very common... to have a bit of a clap at the end, not because I'm so great, but listen. See, that one's alright, clap. It's just so that when I'm editing later on I can see in the timeline a spike... because say I've done it 10 times and I'm not sure which one it is... I'll clap after the ones that I think are okay, so I think that one's okay. No clap after this one so I think that one is bad. Then I get started again over here, I half started, give up. You can see this long chunk here is another option. So you can decide whether it's this one... have a listen through, do some editing... is what I guess, I'm trying to say is pick this one or this first one, after here... and decide which one you want to use. They're both the same, just different kinds of deliveries. So that's the kind of homework... but what I want you to do is, do that... this one doesn't require any submission... you don't have to like send it to me to prove it... because it's just something simple. I want you to do it, but I don't want you to prove it. Karma will come and get you if you pretend to do it. Give it a go, give it a practice. One thing you can do is just let me know you've started the course. So on social media just let me know that you've started the Premiere Pro course... kind of, yeah, interesting to know who gets started. They're all-- use the hashtag Premiere Pro on any of the social medias, they all work. So if you're an Instagram person, I'm bringyourownlaptop... Twitter, I'm danlovesadobe. On Facebook group there's a link to the Facebook group... and there's a link to the LinkedIn group. If you can't find either of them through the link... just type in bring your own laptop group on both of those... and you can go and just let me know, yeah, you got started. So go give it a go, if it goes horribly wrong I will do it in the next video. So you can see me doing it, and how I would approach it. Yeah, I'll see you there. 8. Class Project 01 – Complete: All right, I hope the practice went well. I'm going to show you a little bonus, for this one... is 'File', 'Edit', it's-- it's not painful, it's just... a long way, you can double click anywhere there's space. So it's a lot easier if you're in List view. Does work in Icon view if you can see a space, just double click in it... and you go to 'Import'. Cool, huh? So I'm going to hold-- click first one, hold 'Shift', grab '05' and '06'. Go to List view, because I hate thumbnail view. There, I said it, some video in. I said I wouldn't-- anyway, Thumbnail view is fine. I'm going to grab '05'. I'm going to zoom out... and I'm going to add '06'. Often, just dump them all in especially if they're easy like this... in that kind of nice little order... then I zoom in and I have a little look... and I go... I know that that chunk there is the only one, so which way do I do it? You're going to get an extra bonus in this one as well. That looks probably about right Now instead of dragging it, you ready for your secret trick? If you double click-- if they double click... no, just a single click, I think I always double click, doesn't matter. Click on between here, and just hit 'Del' on your keyboard. You can see, just deletes the space. Cool, huh? And I'm going to move along, and I'm going to-- which one did I pick? I'll pick the one without them, put the clap afterwards. I'm going to jump to my Razor Tool. Delete you. So this is kind of how I work, that's very typical of kind of how I work. What you wouldn't have noticed there is I jumped to my Razor Tool. It's like this, super, like used one. You can see, if I hover above it, can you see, it has C in brackets. It says, if I hit my 'C' key, goes to the Razor Tool. Think chop, chopping with a razor, or cutting with a razor. It's probably-- nobody chops with a razor. What we're going to do is, well, so two shortcuts... is C, and the other one is V. I'm forever toggling between 'V' for move... and 'C' for razoring. Taken between to delete it, and then just give it a little check to see... how good these little transitions are, hit 'Spacebar'. There. That's all right, and this one here, track it here. That one there, just a little bit, I do a little bit of like... looking, for no good reason, so I'm just going to jump in. Go back to my V Tool, sorry, my Selection Tool. I'm just going to grab it and drag it in. Click in the space, hit 'Del', look at us, editing stuff. All right, that is your homework done. Good work, high-five if you've done it. Let's get on to some more Premiere Pro-ness. 9. Color Grading vs Color Correcting Video in Premiere Pro: Hello, it is time for Color Correction time. Before we get started I just want to quickly... define two terms for you that are important. One is Color Correction, the other one is Color Grading, and Color Grading... grading, accent, is a term that gets used a bit flippity-flop... but you need to be reasonably clear about it... when you are working as a Video Editor. Somebody asks you to do some color correction or color grading... they're very different jobs. So Color Correction is fixing photos... Color Grading is giving a specific look, or a feel to it. So Color Correction would be things like... "Hey, the lights aren't great." We need to kind of play with the shadows or make it brighter, fixing broken video. Color Grading is adding an effect or a look. Think Instagram filters, think I want this film to look a little bit more cinematic... or I want to make it look like an all-time film. So you give it a look, that's Color Grading. So we're going to do Color Grading in this course but not right now. We're going to do Color Correction. So let's jump in now and I'll show you how to do it. All right, let's do some Color Correction. To do it we're going to open up a panel... under 'Window', and there's one called 'Lumetri Color', click on that one. Kind of open up on the side here. The next thing we need to do is... let's say we're going to correct 01 XD Intro. So what we need to do is put our Playhead in a position that's... a good general representation of the footage... and because mine's shot on a tripod and nothing's moving, it's pretty easy. You can pretty much have it anywhere in here, and color correct it... but let's just say for instance-- I'm going to drag in 01 again... so you can have more than one instance of this. What you can do is, no point color correcting there... because color correcting my back is not a good... you know, not a good way to color correct because... it's going to actually look different where my actual skin tones are all involved. So remember, when you're color correcting different from Photoshop... Photoshop, you just do once, you know one shot... whereas video you actually have to kind of... try and guess it for this whole entire thing... so you need to find somewhere kind of in the middle. So I'm going to delete that. I'm going to scroll down, find a bit... where I'm looking... vaguely intelligent. What we're going to do is we're going to select 01. You might have to zoom in and out... to kind of move your way along but have 01 selected... and all we need to do is click on, over here where it says basic correction... click on that word once. What will happen is-- click it again to close it. So there's a bunch of different categories in here... and it can look very confusing in here, I get confused too. So basic correction is the one we want. What we're looking for is we're going to do the quick and easy auto option. Make sure the actual clip is selected, click on 'Auto'... and it didn't do a whole lot, what did it actually do? You can test it by going to 'Basic Correction'. See this little tick next to it, just to turn it off, on, off, on. Just did a little bit of work with the shadows and the blacks... so just minusing a little bit. The reason that is is that I spend a bit of time getting my... kind of room set up, with the right lighting... I mess around with my camera to try and... not have to do a color-- all that color correction afterwards. Yours might be changing loads of different things. So that is color correcting this one. The one thing we might do though is that... it's very small in comparison to the rest of it. So what we're going to do is... I'm going to show you how to kind of adjust your workspace... because this has kind of crowded it out. Yours might be looking a little differently... but can you see, in between any of these panels these little double lines appear. So this one here I can kind of, between my Source monitor and my Program monitor... I can click, hold, just kind of like drag it across. You can see how you just get more screen real estate if you will. Same with the Timeline, you can drag it down... to get a bit more space, drag it out this way. So you will find the happy medium for your computer screen. I've got a really big 4K LG monitor, I love it... but when I'm working on my laptop... actually have to have a different kind of view. So drag it around to kind of something that looks nice for you. Now that it's done I need to kind of acknowledge that this one here... is not done, nothing's been changed in this one... because I had this one selected when I did it... and this one hasn't been done, so I can do the same thing, find a good middle... a middle kind of shot. Then with it selected click 'Auto'... and it's done basically the same thing. Why? because it was all shot at the same time. Work away long, is that any different? Auto. Same. It's like in-- it's the same. Same footage. If you've got, like Windows open... it's going to be different every time... because you're using the light from the window to change... it's clouds, the Sun moves. So that's the Auto feature, super easy. Let's look at doing it manually. So let's-- I'm going to-- So I've got this one here, I'm going to go to 'Edit', 'Copy'. I'm going to scrub along a little bit using the middle of the little rubber band thing. Bring my CTI along here. It's wherever this Playhead ends up being is where it's going to paste. So if you leave it behind, even though you've scrubbed along... it's going to paste wherever this thing is. So we're going to go to 'Edit', 'Paste'. I'm going to use shortcuts from now on. That's 'Command V' for a Mac, and 'Ctrl V' for a PC. So I'm going to use those shortcuts from now on, pretty common. So I've got this one... which has been auto corrected. I'm going to duplicate it again. So I'm going to put one just next to it... and I'm going to go to 'Edit', 'Paste', I'll use a shortcut, look at that. I'm doing down here... just to kind of show you different ways of working. So you do the same, have two versions. This first version is being done with Auto, the second version here... we are going to... let's go to 'Reset'. So I've got the second option selected, reset it, so it's back to normal. What I'm going to do is show you how I manually correct. I find, weirdly, that working from this tone... this is where you start in tone... and you start at the bottom up, I find it gives you a more... just it works more-- I find that's the best order to work in... working from exposure down I find is quite tough... but working up, doesn't matter, there's no right or wrong... but basically all you're doing is... dragging it back and forth. So I've got that selected, grab blacks, drag it left, right... and don't be afraid to like, to give it a good drag. People in my class are like... "Oh just get it up a little bit, just going down a little bit, just... Go forth and back, you can always go back to 0. And all I'm doing is, I'm not even looking where the slider is. You can't see me but my head is pressed against my screen... and I'm just kind of going back and forth. Then I get slower and slower until I find like, that feels good. So when I'm dragging it, it's blurry... it's because I've turned my quality down to quarter. Earlier on, because, while it's static it tries to go full resolution. It's only when it's either playing or you're manipulating it... it goes down to the quarter. I'm going to be, probably for the rest of this course go back to full... because my laptop's pretty good. You might have to toggle between half and a quarter... the whole way through this whole course... just to get the best out of your laptop. So I'm going to go to full, and drag it back and forth. Close to the screen. There you go, that feels nice to me. It's a lot different than the -5. This is just like my preference. Same with the weights, I'm going to get up and down. I'm not caring where it is, I'm just kind of going back and forth in to there. So it's up a little bit, so the same, start big, start big... until I find it. You can see that one went up 5. I'm not watching the numbers, I'm just clicking, holding with my mouse. Looking crazy by getting real close to my screen... until I find what I'm looking for. You see mine is 6, what have you, 0.6? Why even bother. And exposure. Hey, I ended up at 0, that never happens... but, yeah... so you can see, my manual ones are a lot different than my auto. The difference is, let's have a look, click here... click here, click here... click here, which one do you like more? You're like-- it was a big waste of time because they look pretty close. I like my one better... because I took some time to do it... but to be honest, when I'm doing this kind of-- I'll probably manually edit... or manually correct for an important video. If I was doing a documentary I'd spend a lot more time doing it... a short film, loads of time. These how-to videos... if I'm more honest, I just click on auto and just move on. Maybe not the intro... but definitely for the 100th video I just kind of click on auto. All right, one last thing we're going to do before we go is Saturation. So this little slider down here I ignored. We are going to look at saturation, we're going to go left and right. Do we want it more saturated, less saturated? Mine are pretty good... like the camera and the lens, and the lighting's all very nice. So I'm not going to mess around with it but there might be the last thing is... I often go in and just pump out up a teeny tiny bit just... I just want a little bit more, always a little bit more. So just a teeny tiny bit more saturation... and probably 105, you can-- Oh, I didn't show you that, did I? You can drag them... or you can click in here and just type over the top... '105' on my keyboard, hit 'Enter'. I can just bump it up a little bit. Basically in terms of this footage you can only go as high as my skin tone allow... because if you go too high I get a big suntan, or a sunburn. So I'm going to go 105. And when I said it was the last thing I don't mean it's the last thing, I mean... this is the third-to-last, we're going to look at Tint and Temperature. Don't worry too much about these words, it's blue to red... and then green to magenta. So depending on-- cameras these days are shooting... really lovely balanced colors. So very rare that I actually have to go in and mess with temperature... other than when I'm Color Grading, giving it a certain look... but let's say you've shot it inside, and you are shooting in... somewhere that has like lots of florescent lights... those big long tubes. You might find it's just a little bit on the blue side... just a little bit like, "Yeah, I... And it looks fine, there's nothing wrong with it being a little bit blue. It's called a Color Cast. Doesn't matter if you like it kind of bluey. It's great, there might be a sad moment in the film... but I often like mine quite warm for what I'm doing. So you could move it into the oranges or the reds, or way down here in the blues. So you can kind of find your happy medium again. I'm finding mine's, just up here in the middle. Same with magenta and green. This happens less, it's mainly to do with temperature. The tint is moving between these colors. Again, it'll depend on... sometimes a lens that you're using on your camera can give it to you. It might be that it's shot in a room with... green wall, so greens cast everywhere. So you might have to do some adjustments to tint and temperature... but most of the time it's tone, starting from the bottom, working your way up. A little bit of saturation, and every now and again a bit of temperature and tint. All right, one thing before I go... that I want to just tidy up this Color Correction is... we need to do two things... first of all let's delete, three things, let's delete this. We don't need those, they were just like a trial. The other one is, we didn't actually add auto to this last one. So we did it to number 4... number 5, but not number 6. It's all still at 0, and this brings up a really good point. So my Playhead is over here. Basically my Playhead is displaying this, the sequence. So I'm actually looking at this... but I can actually have this selected over here but I'm still viewing that guy. You can kind of see, I have this one-- I can have lots selected, but my CTI... displays it in the Program window. So that's confusing explanation, let's just demo it. I'm viewing it here but I've got that selected, so if I go through and I go... dip, dip, dip... Why isn't it working? It's not adjusting. You start dragging it around. What's happening is, if I click over here... it has adjusted it with the one I had selected... so I'm going to hit 'Reset'. Another good point to drop in here... is reset only works for tone. Watch this, if I go yip, yip... okay, add your own sound effects. And I hit 'Reset' it resets all of this but not these guys. So 0 and 0, or just drag them close enough to it. All right, so we're back to this, we're going to click 'Auto'. Lovely. All right now, that is it for Color Correction for the moment. We'll do a bit more high core stuff later in the course... but for the moment you are Color Correction good enough. Let's carry on to the next video. 10. Adding transitions between videos in Premiere Pro: Hi everyone, welcome to the video. We're going to be looking at Transitions in this one. Transitions is, we'll be doing one at the moment, it's just this. Watch for this, goes from this video to the next one, and we just do a cut. Just jumps across, but that is a transition. We're going to look at other ones like, ready? Cross Dissolve. We'll look at another one where it fades to black in between. We'll fade it to white in between. Different transitions, we'll also get it to kind of like dip to black at the end here. There you go. We'll also talk about Pre-roll and Post-roll, and what it is... and we'll do some adjustments to our workspace. Yeah, let's get started. All right, let's look at our transitions. So we've done a transition already, right? Just a cut, watch. I'm going to put my Playhead there, hit 'Spacebar'. That is a transition... but we want to do some fancier transitions... but you will use just a lot-- you know, just so you know... cuts are really common. So what I want you to do... I'm going to show you some basic ones here... we'll do some more fancy ones later in the course... but I want you to just keep an eye out... now that you were a Video Editor, just look at your... favorite TV show, your Netflix, look at... your YouTube channels you watch, and just see how they do their edit... just to build up a bit of, like a vocabulary about it... just get a feeling for what you like and what they kind of convey. So the very next TV show you watch, that's not my video course... go and just keep an eye out for like the transitions. Just to get an idea of how they work. So we're going to look at some of the basics. To find your transitions-- they kind of hide them... they're in the Effects panel. In my particular screen layout, I've got to click this little double arrow here. It's kind of there-it-is-there effects... and it jumps across. So that is painful, because I don't use info very much. I don't use libraries at the moment very much. Media Browser, we're not using these in this Essentials course. Markers, History, there's lots of stuff we don't need. They're all kind of lumped in here. We will use Effects a lot, and we'll use... the Project Window a lots. So what we're going to do is just click on the little, see the little Burger menu. Next to the word History, or any of these ones, go to Close Panel. Next one, Close Panel. Effects, we're going to leave on, Info, so I just click on the word. Libraries, and then the little stripy lines appear, Close Panel. I'm just going to get that down to 2, nice, and clean, and clear. If you accidentally, I bet you... half of you have gone through and actually closed the wrong one. So you've gone, "Oops, effects is gone"... or your Project's gone. Just go to 'Window', there it is there, 'Effects', turn it back on. If yours has gone horribly wrong what you can do is... go to 'Window', 'Workspaces', and go to 'Editing'... then go back into here, 'Workspaces', and go to 'Reset to Saved Layout'. Problem is, Lumetri Color's going to close... and all these windows down here are going to reopen... but you can kind of get back to here, eventually. So these two are what we need most off, and the one we're going to use now... is called Video Transitions. See this little chevron here, little arrow, click on it... and you can scroll down, and there is transitions. So we look at the main ones to get started with, and the main-est one-est... is the one under Dissolve, hit the little arrow... there's this one called Cross Dissolve, this is the main one. So cuts, all other time, Cross Dissolves, rest of the time. And all we need to do is we need to-- I'll show you what happens, click, hold, and drag it... and we're going to put it between... number 1 and number 2. You can kind of see, it's like, where do I put it, just kind of dump it in there... regardless of where it is, and we'll have a look at how to adjust that afterwards. It's very teeny tiny so we have to zoom in, so get your Playhead... where it needs to be... and let's zoom in a little bit, hitting ' + ' on your keyboard... or struggling along with the little rubber band. You can see, there's a Cross Dissolve in there. I'm going to click on it... just select at the middle and hit 'Del', that's how you get rid of a transition... and I'm going to add it again. So dragging this on, and you'll notice that there's a way of putting it there. I can kind of like have it on the right-hand side... can have it on this side. It just depends on what kind of like dissolve you want. You want it to be mainly this side disappearing... and this side kind of like starting off fresh... without any sort of fuzziness... or you want to kind of an equal blend. Most of the time, stick in the middle... bit of both... whereas this, you can drag it afterwards... and kind of decide that I want it mostly on this side. So it just means that-- can you kind of see... Dissolve's already finished before we get in there. It doesn't really matter... at this stage at least. So I'm going to Cross Dissolve right in the middle... I'm going to grab my Playhead back... hit 'Spacebar'. Look at that, soft transition, moving across the screen. So that is how to add a transition. Let's look at how to adjust it. So let's say that you want it to be... more of a Scooby-doo kind of like extended stretch. So that was a bit quick. You can just grab either ends of these... and when I say grab them, use your Selection Tool... and just hover above the end, do you see this little icon? Click it, hold it, drag it, and just drag it up, it will drag both sides. You've got a-- basically doubled the length of that Cross Dissolve. So move your Playhead back here, hit 'Spacebar'. That is very... too purposeful, you'd have to be doing something other than... a how-to video to really pull that off. I feel like, just so you know... like a Cross Dissolve can be used quite simply. It doesn't mean a whole lot, but when you extend it out a bit... it's kind of playing with, like time. It's saying that time has passed, watch. So lots of time has passed in this one. You can use it for different effects. I'm not going to go into too much detail... on what the meanings behind the different transitions are. It's kind of another course, but... in this case, a nice simple transition. I might speed mine up, you can make it smaller as well. Just to kind of change between scenes. I don't really like it here, but, hey... you'll use it in lots of different projects we do through this course. Let's look at another one... so I'm going to leave the Cross Dissolve there... and I'm going to grab the middle of my little stretchy rubber band thing... and going to find that gap between 02 and 03. Let's have a look at some of the other ones in Dissolve. So Dip to black is a nice one. Stick it between, here, 'Spacebar'. Nice simple one. Just transition between two different videos, Dip to Black. Let's scroll along a little bit further... you can Dip to White, let's have a little look. Just a different way of transitioning. Let's not-- Film Dissolve looks a lot like... Additive Dissolve look a lot like Cross Dissolve. There are lots of other ones in here. You're happy, like, I can't really stop you now... from going and playing with them all. Some of them, like Morph Cat is super hard core... it's going to freak your machine out. We'll look at Morph Cut later on... but you can play around with these at the moment. We will cover that later on in the course... if you do want to hold off, but you don't have to. There's only two in here that you're not allowed to use because-- Page Peel... and... where's Barn Doors? Is Barn Doors in this one? Barn Doors. So Barn Doors and Page Peel, you're banned from using, it's against the law. They are terrible, terrible transitions. You are going to go and try them out, I know. You'll see that they're terrible... and if you find somebody actually... that's using Page Peel in their video editing... make sure you, I'm serious, contact a member of staff, and tell people. Those are really bad transitions. What else we need to do? Oh yeah, let's look at kind of other uses for, say Dip to Black. So let's go back to Dissolve, let's go to the end of our video. Dip to Black, even though it's kind of like a transition as well... you can actually just stick it on the end. Watch this, just a nice-- So it dips to black, a nice way of finishing my clip like this... and you can drag your way out so it kind of starts fading nicely. There you go. Another thing before we go, I'm going to talk about Post-roll and Pre-roll. So I'm going to click on this 'Dip to Black', and get rid of it. I'm going to explain why-- what Pre-roll and Post-roll is... and why I sit around like an idiot at the end of these, doing this. Watch, playing, playing. Then I sit there like an idiot for a while. You're probably like, editing the video, going, "What is it telling?" It's so that I can do transitions like that... it gives me scope after I've filmed.... to kind of go like this, add this transition... scope it-- you know, drag it out so that it is... can you see, now I've got scope to do it... if you finish, and the first thing that the talent does... or the actor does, or in this case me, is finished... then quickly stands up. There's nothing you can really do at the end... other than just cutting it, which is a little bit lame. You'll notice at the beginning of lots of my videos as well. Let's go back. So that's pre-roll, uh, post-roll. So post as in afterwards, so after the footage... try and get your talent to sit there for a little while... and-- I feel like an idiot, but let's have a look at this one. So I'm looking at 01 again, you'll notice that I do a lot of-- I always got Post-roll because I'm always thinking about something. So, can you see, it's just a little bit of like me. Being a dork. It just means I can do the same thing, grab my Razor tool, slice it off there... delete that bit, grab my Effects, grab my Dip to Black. Things freaking out, I'm going to use my Selection Tool. Drag it on, you can't drag it on to the audio. So I was trying to drag it onto the audio then, it's like, it won't work. You might have already had that problem in the course... but just make sure it's dragged up to the video part at the beginning. And now I got some Pre-roll. There you go, see. And Post-roll. That's what it is, it's more just showing you... so, "Why does Dan do all that stuff at the ends and beginnings?" That's because of that. All right, that is the basics of transitions... we'll do some fancier bits later on... but a nice good introduction to it. Let's move on to the next video. 11. Manually Balancing & Levelling Audio your audio in Premiere Pro: Hey everyone, this video we are going to look at adjusting the video's volume... or leveling or balancing. Basically what it means is, we need the volume to be at a certain level. At the moment it's too quiet, and you have no idea... you're like, "What? Sounds fine"... but we need to kind of reach a consistency with the rest of the world. So we need to be able to send this video off... and it not to be too quiet and not to be too loud... compared to everything else that's either on YouTube... or on the television or at the cinema. So this needs to be balanced to make sure it's right. So let's go and do that, so what do we do? First of all we need to see the volume. So I've got my Playhead amongst my video clips, I'm going to hit 'Spacebar'. You probably notice this thing jumping up and down, that is our volume... but it depends on your laptop. If you can't see that, go to 'Window' and find 'Volume'... where is it? Under 'Audio Meters'. So turn that on, turn that off. So what we need to do though is we need to see the actual measurements on it... and it's too small. Like we did between here and here, we can adjust the gap between this, watch. See, no numbers, numbers; yours might already have numbers. So drag it out minimally to where you can see the numbers. It could be really big, it doesn't matter as long as you can see the numbers. Now if I hit 'Spacebar'... so you can kind of see in here that it is bouncing in between... kind of gets up to 6... but mostly it's bouncing between this -24 and -18. Weirdly, 0 is the highest, and it uses negatives, don't ask me why... but it is bouncing about here. So it's fine but it's just not loud enough; what is loud enough? So dialogue, people talking in videos... should be bouncing somewhere between -6 and -12, somewhere kind of in here... not past -12 really, just somewhere in this zone. So how do we adjust it? First of all we're going to use the first video... so we're going to click in here... have this one selected, give it a click. It is-- kind of creeps up there when I'm yelling... but most of the time it's a bit low. So to raise it, the easiest way to raise it is down here, in your audio track... if you haven't already... remember, you can click the bottom of it and kind of drag it bigger. I'm going to zoom in a little bit. So this line, that's kind of hovering in the middle here. That is your volume, that's the easiest way to do the volume. So at the moment it's set to 0... if I click it, hold it, and drag it all the way up... can you see, so it's raising it by 3 decibels, 7 decibels. Way too high, I'm up at 13, see what it's going to do. Hold your phone, ready? Ah, very loud. Getting into the reds, so what you need to do... is you need to come back here and figure out where it is. So that looks about fine. Bouncing, roughly in there, doesn't have to be perfect. You'll notice that I start off real excited in all my videos, "Hi, everyone." It's getting a bit of consistency. Later on what we might do is, lower that down a tiny bit... once we get a few more skills... but at the moment, consistently I've raised it up by about... 7 decibels, to make it bounce in this right area. So do the same over here. About there, about 7 decibels, it doesn't have to be super perfect. I'll show you more perfect ways of doing it later on, but for the moment... and not just for the moment but most of the time, just grab it, drag it along. The other cool thing you can do when you're manually doing it... is you can hit 'Spacebar' and let it play... and drag it while it's actually moving, watch. So you can kind of let it roll, just... move it up and down just to kind of get it where you want it. If you do have a lot of stuff to do manually, like that... you could go through, because I've only got six videos, easy, done. If they're all different... then you're going to be raising and lowering them all differently. So there's no point doing like a bulk, raise it by 7 decibels because... you might have-- you might be shooting outdoors... or in different rooms, so that audio is going to be at different levels... but this is all the same, so what we can do is, we can grab this... we can right click it anywhere on the clip... go to 'Audio Gain', they call it. So we want to add to it, we want to adjust the gain by 7 decibels... and the line doesn't move, but watch the, like graph in the background. Can you see, it gets bigger by 7 decibels. You've done the same thing... you've done the same thing, it just looks different down here. So this one, the line's raised, but the bar graph, sorry, the waveform... the little hills and valleys stayed the same... but doing it that way, using Audio Gain... you've essentially done the same thing... it's going to sound the same on the other side... but you've done it, just kind of looks different down here. When do I use both? I'm going to show you the automatic one in the next video... you're like, "What, there's an automatic view?" Automatic way of fixing it, there is, that's the way I do... but we need to know about these things, what the line does... trust me, we need it for the course later on... but for the moment I'm going to leave... the fifth and sixth one, I want to use that for auto in a second. All right, let's get on to the next video. 12. Automatically raising your audio in Premiere Pro: Hi everyone, my audio's too low, if I play it... you can see it bouncing around in here, it is too low, I need to raise it up. Imagine if there's a button though that would do it all for me... and I just had to select on the clip... and then click a button, called Auto Match. Look at the graph, went up, undo, redo. There is such a button, and I will show you where it is right now in this tutorial. All right, to fix our audio automatically, we'll do it to the last one, we'll use 06. Have the track selected, or the clip selected. Track is the whole length of it... and the clip is the actual unit that's on it... in our case, a video. Let's go to 'Window'... let's go down to 'Essential Sound', that's where the magic is. It should open up next to our Lumetri color, there he is there. So Essential Sound, what we're going to do is click on '06 XD'... then click on-- you probably won't be able to see Loudness, I've used this before. So click on the word 'Loudness' to open it and close it. You want to find this one that says Auto Match... give it a click, and watch this. Well, happen to be quick, I'm going to undo it, watch, down a bit. Redo it, above it, undo, redo. Just razors it all up, let's do the same for 05, move along. Grab this one, say 'Dialogue', go 'Auto Match', happy days. The other thing you'll notice is that if I undo it... you'll notice that... see this thing here, is kind of like dulled out... but when I click on it and go to-- keep an eye on this effects. I'm just going to add the Auto Match. Can you see, this glows yellow. Just to give you a visual cue that that one's being done... because later on you might come back to this in a week and go... "Did I auto match these, I'm not sure, did I adjust the volume? I can't tell." Anything that has a little yellow cube means you've messed around with it. This one we did with the gain. Remember, we right clicked it and went into Auto Gain, and raised it by 7 decibels. This one was different, we went through and raised it up. So just a visual cue that you've done something to the audio... and that is automatically how to fix your audio, it's pretty cool. All right, that is it, I will see you in the next video. 13. Add text & lower thirds to Premiere Pro: Hi everyone, we are going to create something called a Lower Third. It's called a Lower Third because it's lower, in the third part of the screen. Not half way, not on the top, that's Top Third, there's a Lower Third. Doesn't really matter if it's on the right hand side or the left hand side... we are doing a Lower Third. If you want to call it just text on a screen... that's what it is as well, Lower Third is more like a generic term... for something like-- traditionally it's this, I'll show you. So let's have a look, news bulletin, and watch, this guy, stuff appear here. Where is it? Wait for a second, and then gives you... at the bottom, a little Lower Third that says... this guy's name is Robin Brant, and he's a China correspondent. Same thing for this one here. Let's look at another one. So that's like a traditional Lower Third... but you can use it for anything, it's the same term. I use it quite a bit for - let's have a look. - for social media stuff, so when I start talking... you've probably seen at the beginning of this course... just gives you, like still a Lower Third... it's in that position, lower third of the screen. It could be a logo... or text, typically not an image. Yeah, let's work out how to actually do that Lower Third now in Premiere Pro. All right, to create our Lower Third's text... we are going to use the Text Tool, there he is there. The bottom of this little tool bar, click on it once... and then click where you want it to get started. I'm going to kind of start it about here... because I know it's going to type off to the right, click once, start typing stuff. Your Type might look different from mine, I'm Daniel Walter Scott. To adjust the text we're going to open up a panel. So we're going to work on 'Window'... we're going to go to one called 'Essential Graphics', click on that. Opens with this gang over here. So a lot of your time in Premiere Pro... is going to be using Lumetri Color, Essential Sound, and Essential Graphics. So what we want to do is, with our Move Tool have this selected... and just make sure our Playhead's kind of in the middle here. Have it selected and click on this one that says Edit. This is the best way of editing text in Premiere Pro. If you use the old titling thing-- we're not going to use that anymore, just so you know... this is the replacement for titling if you have used it before. So we have that selected, we can change the text up here. So let's look at a couple of things, let's change... we won't go through all the text features, because Centered... Left Align, Right Align, you can work out, there's a lot of just basic text features. Pick a font, we're going to pick anything. I'm going to pick one that I'm using lots of, Museo Sans. Museo. That's been way too long, picking font, I'm going to use this one. Size wise, drag it up, drag it down... to... mine feels appropriate about that sort of size. Obviously you want to design for the longest name you've got. If you've got a series of interviews, and it's with... Dan Scott, it's very short. So you can do some stuff, but if you've got... a really long name, I can't even guess a really long name... but Danielle Wallen Tarantino... you know, big long names, you're going to actually have to... make sure that it kind of like starts over here. So we're going to get it to about there... and we are-- how am I moving it, that's one question... is back to this Arrow Tool... or the Selection Tool, so Type Tool for editing... Arrow tool, and you can click anywhere on the word and just move it around. So get it to where you want, and pick a font, pick a size. Done that, what else we want to do? Let's look at some of the more unique text features for Premiere Pro. It's down here in this Appearance Panel. Let's have a little look at Shadow. It adds a Drop Shadow, actually let's turn that one off... let's look at Background first, so let's click on 'Background'. You notice it puts a background behind my text, just to kind of help pull it out. So let's say that I want to do background, but I'm going to do... a black background. So it's got a background behind it. Let's change the color of it... by clicking in this, like little square here... and let's open up on my other monitor. I want black, so black is, see this little circle... you can kind of drag it around to pick your color. If you want to change the hue, see this little slider here... say that I want pink, I slide it down to here... and then I move this around to decide on the shade of pink that I want. In my case I want it to be black... so I'm going to drag it all the way up here... and instead of just kind of like getting it close just drag it past. So I've-- I keep my finger on my mouse, I'm dragging, dragging, dragging... and I'm dragging way past where it needs to go... just so it gets really jammed up in that corner... never let go of my mouse... and I've clicked 'OK'. So I've got a black box in the background here. I'm going to change this one here, the size around it. We're going to drag it up, click, hold, drag, drag, drag. I'm going to drag it right up, can you see where it is? So it adds a box around it, and I like the opacity. Say you don't, you want it to be solid, you can play with this slider here. Drag the opacity right up. So have a play around with these, get your name in there... it's probably weird having your name, type it in, put my name. Get the opacity how you want it. Get the size how you want it, and we will look at Drop Shadow. How do I show you the Drop Shadow really well? Let's turn Background off, let's look at Shadow. I'm going to do the same thing, for some reason the default is like yucky gray... and then it's transparent out, I don't know why. It's the default anyway, it is at the moment, so I'm going to make it full black... and I'm going to, leave the opacity probably. I'm just going to kind of show you the basics for a Drop shadow. You probably know how to do a Drop Shadow... but I'm going to extend it out. Let's move it up here to make it easier to see, you can see it there. There it is there. So you've got-- we're not going to cover this too much but you got distance... and you've got how fuzzy it is, it's this last one. Can you see, it kind of gets more blurry... and now if I ring it right in, it's nice and sharp. It's up to you what you want to do. You can expand it around the outside of it. Basically this is what I do, this is the direction. Can you see, if I grab the size... and I drag this, you can kind of drag it around. Click it, just move it around, you'll get a feel for it. Can you see it changing up the top here? So what I do is often, straight up and down... oh, I've spun mine around twice. So I'm going to set mine back to 0. So straight up and down, I might go to actually 80°... so it's pointing straight down. I'm going to lower it right down... and I want the blurry right down. What am I doing now, Dan? Just a real simple Drop Shadow, probably the opacity straight up... and probably put that down to maybe something like 2... just a real subtle, maybe 3. Subtle Drop Shadow. There's no right or wrong, the Drop Shadow... but that's my Drop Shadow, anyway. So I'm going to actually leave the Drop Shadow on... and turn the Background on in one go... just because. Now a couple of other things I want to show you... is where it appears in the Timeline, I just randomly put it wherever my cursor was. So it's at the wrong time. So what we're going to do is we're going to zoom out... so I'm going to hit minus, ' - ', ' - ', so I can see it. I'm going to zoom a little bit... because what you want to do is grab your Selection Tool... and drag the center of it, trying to grab the ends of it... grab the center of it to kind of move the core of it along. I'm going to kind of move it over here, move my Playhead, and hit ' + '... because remember, you zoom in to wherever this thing is... so if you zoom in over here... zooming in the wrong bit... just get your Playhead where you want it, zoom in a bit. And how long do you want it? So the duration is in there by default. You can change the duration of this... how long it appears on screen, in your Preferences, but for the moment... let's just say I want to shorten it up. I could just grab the side and just drag it in. It just gets shorter, just on the screen for a short amount of time. Let's have a look. It's up to you. It's a bit of pacing to see how much information is there... how long does it need to be read. Mine's pretty short, so I'm going to, maybe... I want it to kind of finish at the cut, at the transition here. Could be a Cross Dissolve, and it's going to start here. Now a couple of other things when you're working in here... how do you change the text? Grab the Type Tool, and you can kind of just click on it in here... and start working on it. Change the spelling, or you can do it up in here, you can double click it... and just start typing over the top, depends on how much text you have. You might have lots of different parts of text... for the moment I've only got single. So you can just kind of like double click it up here... and start typing over the top. Typing over the top. I'm going to undo. And that is it, position it. The one thing when you are positioning text... now when it's going-- it depends on its end format. So if it's going out to television... you need to be a bit more specific about how far away from the edges it is. So if I put it down here... and I'm on a TV that doesn't quite suit my Aspect Ratio... or the shape of my video... it is going to get cut off. So it's very common to have something called Title Safe. Where is it, Dimension In and Out. I'll show you that later on, a bit more detail... but just be wary that it's probably... probably good design as well, just to kind of not have it right at the edges... but know that some screens, say you're doing this and it's going to be... shown in a-- on a TV inside of a showroom... and go be on loop, you make like some sort of, I don't know... property developer, and it's just going through lots of videos... and it's going to be on loop, it's going to be on a physical TV... and it's going to maybe get cut off, so just keep it away from the edge. One last thing before we actually move on is... we-- it just kind of appears, like, ta-ta. What we might do is actually get it to fade in and fade out a bit more nicely. Now there is animation, which we're going to do later but to be honest... to do this we're just going to use a technique we've already used. It's cheap, it's quick, and it works. We're going to go to our Effects Panel. We're going to find, under Video Transitions we're going to find our Dissolve... and we are going to find Dip to Black, no, sorry, Cross Dissolve. Click it, drag it, and dump it on the front here... and we'll dump it on the back as well. So we're using transitions normally to transition between two shots... but you can use it just like this, watch. Just fades in... and fades out. Nice, you can obviously extend it like we did before... to have it long fade in or a long fade out... then just kind of time it. Can I read it before it disappears? Probably. Maybe a bit longer. All right, that is Lower Thirds, or just text on the screen... in the bottom right hand corner. Yeah, let's get onto the next video. 14. How to export a video from Premiere Pro: In this video we're going to look at exporting what we've made. We're going to go to File, Export, where is it? Export there and go to Media. If you're using the new version of Premiere Pro, you can actually just click on this little option here that goes to export. Either way, you end up at the same place and we're just going to cover it briefly. Now, we'll cover more details later on in the course, but I'm going to do what your going to do or need to do most often. We're going to export it. We're going to give a name. Depends if you've played around with this, here's my already default to this. We're going to give it a name often when I'm exporting mine, my video. I'm going to call mine XD intro sequence. I'm just going to call it XD intro. I'm going to call it V1 because it's going to be a first draft and send it to the client or check it and if there's something wrong with it, you're going to end up with V2 and V3. Call it final actual payroll it's like the kiss of death. You're laughing because you've done it and let's do V1 and give it a location. I'm going to put mine into my exercise files, Talking Head and I'm just going to dump it in here. Often I'll create a folder called Renders and put it in this, just, so I've got a place for all my final outputs. Up to you. Dump it onto your desktop with all the other junk you've got lying around, up to you. I've given it a name, give it a place and leave the presets like this. Match Source Adaptive High BitRate is perfect, awesome, because again, it gives you a good quality, is good as quality is it needs to be. If it's coming out too big, just switch it to medium or low. But use this Match Source Adaptive, that's perfect. Format. We're going to use H.264. We're not going to explain this too much. I will look at codecs later on, but basically, this format is going to give you an MP4 if you need something else, say MOV, so use QuickTime and you'll see it change up here. You might have to play around with all these different ones, to see which format you need. Don't use MPEG-4. Feels like an MP4 should be this one. It's not different. You want H.264 and that's it. That's all you really need to do. We'll talk about this stuff later on, but for the moment, just click "Export." Now, I'm going to speed mine up. I'll see you in a second. actually, I'm not going to speed it up. Mine is going fast enough and if yours is taking very like," Hey, mine didn't take like 10 seconds." You might have a really old computer. It might take forever. You might have to go, have lunch or [LAUGHTER] go to bed. Sometimes, rendering equals sleepy time. Let's have a look at how I'II put it. Now, put it is another word. Let's have a look at Exercise Files. I put it in here, I put it in my sweet renders and follow, here it is there. Its my MP4. My nap being a 175 megabytes, I'm going to double-click it to open it and play it. Hi there, my name is Daniel Scott. There it is, cool. That is the basics of exporting and 99 percent of the time, all you need as an MP4 and that's going to probably do what you need. That is exporting from Premiere Pro. But before you go, I want to show you the old way. Actually, before we go on, I wanted to show you something that might catch you out. You might have gone to File, you might have gone to Export and you went, " Hey, it's grayed out. Why is it grayed out?" It is because it doesn't know which sequence to export. We've got our sequence down here. Can you see this little blue line around the outside of up here? I clicked on here on papers or click over. Actually, this should work, but you might be clicked on something random. It doesn't know which sequence. You're going to say," This sequence down here," File, Export, Media. You need to indicate, because later on we're going to actually have a project which is the whole project with more than one sequence. This happens, think of a TV show with different episodes on it. You can have a project is the show, the dance got Show [LAUGHTER] and Episode 1. We might call this one EPO1. That's that sequence there, but I could create a new sequence, a new sequence or from a video can you making new sequence from the video, that is Episode 2, Episode 3. You can keep everything together in one giant project and have all the different episodes. When you do that, so let's create a new sequence. I'm just going to click "Okay" on everything and if I call this one episode EPO2, if I have two of them open here, it doesn't know which one and really doesn't know if you have none of them selected. It goes, you Export Media. Whereas down here you could say," I want Episode 1, no two," let's export this one. It's got nothing on it, but you get the idea. It needs to know which sequence. Just click down your timeline. [LAUGHTER] That's how foolish you might run into that problem. Let's get on to the next, but let's look at exporting using the old version. Now, why do I show you this? It's because this course was finished and just after it was finished, Adobe Premiere Pro updated some bits and one of them was the export feature. The one you just saw is probably the one that you're using now, because you've got the latest features and it looks great. Throughout the rest of this course though, I'm going to use the old way and I'll show you it because you might be using an old version of Premiere Pro. But also, so that you can see when I do do it later on, the connection. In the old version of Premiere Pro, did the same thing. Click on your sequence, go to File, go to Export, click on "Media" there's no little tab up there, this is Export did you notice? That's the new thing. The difference is, you get this window instead of the other one. Everything is in there, they're the same. They just laid out differently, a bit more intuitive. The UX is better in the new version and the old version, you do the same thing format member H.264 and over here, you end up to Adaptive High BitRate. Because Dan said the output name we're to click on this to give it a different name. Remember we did V1 and that was it, then we had export. Those are the same we're. This is what I'm going to do for the rest of this course, but for you using the new version, you'll have the same stuff just in a different layout. You've actually come back from the future. Are you sure I can come back from future? Yeah, this is future Dan updating this video for you. Because they made a significant change. The import has changed and the export is changed. Same features, different layout, there you go. That is it. On to the next video. 15. 14 vimeo: It is class project number 2 time. This one's a little bit more involved. What I have done is you need to save and close your current project. In I'm going to the File, and close project. You can quit it, and come back in. Just save it, and close it, because we're going to start with a new project. When you get back in, you can get a File, New project. There it is, project. It says that doing you are project, give it a name. Call it web course, and give it the date that you are currently at in your life. Then import videos, they are listed here, they're in the exercise files, and I'll show you we're. When you exercise files under class projects. There's one called class project 2, and this is what we're up to. Project 1 we did earlier on. I sent you just a couple of videos to add, and there wasn't much else to it. This one's a little bit more involved, because you can see this eight videos in here. This is not anything connected to the last project we did. This is another intro that I've done, some of the sort of thing. There's a bunch of these that you need to stitch together into a final intro for a course. You're going to have to create a sequence from it. Later on in the course, when I said homework, I'm not going to be as explicit, because you're new, and just getting started. I'm going to give you a little bit of help at the beginning, but then I'm going to abandon you at the end. You do it all by yourself. You need to create a sequence from them. That can be painful to remember when you're new, is that once you've imported them. Just pretend is you right-click any of them, and go to that new sequence from clip. Then rename it instantly, calling it with intro sequence. It's probably a good one. Then keep going with the project. Going to use sequence, I want you to add all the clips to your timeline. I want you to edit them any which way you want, you use razor tool, drag ends. Probably practice with both, I want you to color corrected all. Remember color correction? We're going to use telemetry pile, color panel, and remember starting from the bottom, and working up, or you can just hit order. That's okay. I'm allowing that. At least one transition, if you deciding that you don't like cross dissolves, you might just do the transition to the lower thirds, which is another part of this project, or you might just do dip to black at the end. Once you prove that you can use it. You won't be judged on how amazing this is. Later on, I'll give you more creative projects, just get it done, and tickle these boxes. I want you to level all the audio. Get the balancing all right. You can practice it manually, but also you can go through and do auto. Remember under the essential sound panel. You set it to dialog, and there's an auto match. I want you to have a lower third in there. Just do my name at the beginning. Exactly what we did in this last course. Case the type tool, click on it, pick a font. You might get it to fit in. I don't really mind. I probably put it in a more appropriate time than I did the last project. Then I want you to export an MP4. A little bit of a jump cut here, but once you've created a your MP4, I want you to share it with me. You can send your MP4 directly. It's just too big, and it doesn't work. What I need you to do is to upload your video to something like Vimeo, or Behance. You upload your video there, and then you send me that link. You can post the link on this page, and the comments, or any assignments, but also, I would love to see it via social media. You can see it down here. Share with me on Instagram, Twitter, there's a Facebook group, LinkedIn group, so share with me in the comments, and assignments, but also on social media. The one thing though, when you are uploading yours, be sure to have a look at at least two other projects from other students. I'm finding it really super hard at the moment to review everybody's work. I'm getting hundreds of assignments every day now. What I need to do is we need to do this together. Take a look at somebody else work, and you might have some time to add some constructive feedback, or even just some little stuff might be a high-five, nice work, I love it. We need to help each other out in that reviewing aspect. I tried to get to as many as I can. I've got teaching assistance that helped me do reviews, but yeah, we needs to be teamwork now, so I talked about uploading it to Vimeo, or Behance. They're written there, Vimeo.com, or Behance.net. You'll notice that both of them are free services, but you'll notice that I didn't include YouTube. I had originally, that's why there was a jump cut a second ago with a screen change because originally I did say to upload it to YouTube, but we've had some problems with YouTube thinking that you as my student are parting my videos because we're all using the same content, and it's originally my content. We tried to work with YouTube for a little while to figure it out, but we couldn't figure out a solution. Avoid using YouTube to upload your assignments. Even though all through this course I'm going to say upload to YouTube. When I say upload to YouTube, what I really mean is upload to Vimeo, or Behance. Just make a note of that. When I say upload to YouTube, and share, I mean upload to Vimeo. Vimeo is just a complete competitor to YouTube, but doesn't have the same pirating problems as we have had with YouTube. You can use Behance.net as well, and that you can share videos through it. It has the bonus of being a portfolio for creative. Check out that as well. Upload them to either, and then share the link with me. That is it. Good luck with your assignment, and I'll see you in the next video. 16. Weird Stuff I wish I knew when I started: Hi everyone, it's live me again. I just want to check on you, see if you're still awake. You look all right. This video is all about checking some of the weirdness that goes on in Premiere Pro. So you might have run into a few issues already... that you're like, "Oh, what's wrong with it?" So this video is going to hopefully... save you from those ones, and hopefully prevent some in the future. Premiere Pro is a big program, it does a lot of things... and there's just some quirky bits that you need to get used to. So let's jump in now and look at the weirdness. All right, the first one that kind of causes lots of problems is... stuff disappearing here on the Timeline, and often that's due to your mouse. If you look at your mouse, you might be using a trackpad on your laptop... which is probably not going to cause you much problems... but if you are using a mouse that has a scroll wheel... or I'm using like a magic Mouse from Apple, they do some scrolling stuff... watch this, if I scroll accidentally... can you see, half the stuff disappears, scroll down, scroll up. It's meant to be helpful, you're like, "I can scroll down the tracks"... but it means, often when you're new, you're like, "Half my stuff disappeared." All it means is, find your scroll wheel, and just move your-- You don't have to click anywhere, just kind of scroll back down... or grab the little rubber band and drag it up and down. It's the same-- because like that, you're like, "Where did everything go?" Restart machine, close it down, open it up. It's always kind of hidden up the top there. So just be careful that... it happens the same with this, if I make the video bigger... you can kind of bend it up, scrolling down, going, "I lost a track." It's just, it's there, just kind of scroll down. So that will happen. On to the next bit of weirdness. All right, the next interesting thing that Premiere Pro does is that you can go to-- at the moment I've got a project open, it's called XD Intro. You can open up more than one at a time. So I'm going to open up this project we're going to do later on... called Wedding. So now I have two projects open. You can see, this is like a new feature... and it's just painful for people that are new. It's useful for people that are hard core. When I say hard core, I mean, some people that are using it quite a lot... really good at it. The cool thing about it is I can grab this stuff... copy it and paste it over to this one. So you can see, I've got two sequences open. I also have a bunch of different projects, I got the project for the wedding. I've also got the project for XD, and it gets really confusing when you're new. The one thing you've probably tempted to do is go... okay, go to this wedding one... that we're going to do, and we're going to hit the ' x ', and it's closed. It's actually not, you can kind of still see it. It's open over here in the Project Window, it's still kind of open. So the best way to do it is, let's-- find this project... and I have it selected, or have the Timeline selected over here... that I've already closed... and go to 'File', 'Close Project'. Now if you just-- if you're like unsure... just close all projects, and just open one back up. So it's not really a problem, it's more just a quirk for it. So I know that only one of them is open now. All right, that's multiple project weirdness. Next thing to be aware of, is converting your file. So let's set up a little scenario where... Dan, I'm using the new version, because I'm awesome. I got that brand new version of Premiere Pro. Let's say my brother, Ben, he's already featured... he uses a really old version of Premiere Pro.... let's say 2018, or something. Let's say he sends me a file, and I go and open it. Premiere Pro is going to say... "Hey, I can't use it unless I convert it"... and you're like, "Mmm, what is this?" You don't worry about it, it works just fine... you can convert it, it's going to say-- Let's not use the same name, I'm going to call it ' _1 '. This is where I call it, maybe v2, or, yeah, V2. It's missing a bunch of footage, that's okay. Ben forgot to send me all the PSDs, I'm going to find them all in a moment... and that's easy peasy. Now the other way is not so good. Let's say I work on this now and send it back to Ben... and Ben tries to open it, won't open at all. It will just come up with an error saying... "Can't open it, made in a newer version of Premiere Pro." It is not, what they call backwards compatible. So remember, if you kind of go forwards you can't go backwards. So if you are working with somebody who's stuck on 2018... for some reason you need to be stuck on 2018... otherwise you can't send it back to them. All right, that is converting files which will appear from you. What mostly happens is, I'm just opening up my own files in the future... and it converts them every single time, so v1, v2, v3. Cool, next feature. Next weird feature is, I'm grilling the features. This thing here, you're like... "What is all this junk? Why is it all gray?" So before, after. They're in and out points, we're going to look at them properly later on... once we're a little bit more skilled, but for the moment if that appears... they're just annoying, they kind of actually make it play weird. You can right click anywhere in this kind of like gray stuff up at the top... and go to 'Clear In and Out'... and just get it back, "Whoo, all right, gone away." The shortcut most people hit is... if I have something selected and hit ' x ' on my keyboard... that's the thing that kind of cause it. We'll talk about the in and out points in more detail later on, but for the moment... just know that if you accidentally get them going, how to clear them. All right, next not feature. Next thing let's quickly throw in again, is if I have something selected... you can see up here, in Premiere Pro, lots of things are grayed out... and can't be done, do you remember why? Just to reiterate you need to have-- like lots of things that says, okay, let's do stuff to the sequence... and you don't have a sequence selected. See the blue arrow-- blue border is around the Source Monitor. So doesn't really know what you mean... because you can have more than one sequence open. So here, I say, this sequence... and then I get lots of things glowing again, so same with clip. It's like, "What do you mean, it's all grayed out."... but if you click on a clip... then it goes in here, all comes to life. So there are some things that are not going to work... and you might just have to be conscious of where your Playhead is... sometimes it has to be up here. Sometimes it has to be selected over here, it depends on what you're trying to do. Just make sure you might have the right thing selected. Grayed out bits, all right, next not feature. All right, the next thing I want to cover is... let's say that I am-- it's called Insufficient Media. So if I drag in this first video... and then I grab the second video, and I put it just after it. I want to do a Cross Dissolve between the two... and I haven't edited it, like we did before, remember, when we cut it off... to make it all look nice, but let's say I don't. Go to 'Effects', I'm going to use a 'Cross Dissolve'. I put it between, and disappears; insufficient media, ah. It's just saying that-- let's have a look. When I get into here-- because that's right at the extent of the mp4... and this Cross Dissolve, there's a bit of like... can you see, bit of that one overlaps this one. So it doesn't know what to do... because there's no extra bit of footage to try and... kind of get the dissolve to work, so it's going to fake it... and it does a perfectly good job... but let's say-- it doesn't appear because - let's zoom out. Let's undo that. - because, before we trimmed all this off. Remember, so there's all that stuff that was there, it's still in there, remember... and Premiere Pro can use that to do the transition, to make it all look nice. So when I do it like this, there's plenty of bits for it to trim in to. Got you, there we go. Doesn't complain. So if you are using footage that is completely already pre edited... there'd be stuff that you've brought from, like a stock library site... a stock footage already cut and ready to use... you might end up with that. All right, that's Insufficient Media. The last thing to help you is, often Premiere Pro is... prone to just kind of do some weird stuff... and you can just close it down and start again. So on a Mac, if it is just giving you problems... first thing to do is just go to Premiere Pro... on a Mac, go to 'Premiere Pro', quit 'Premiere Pro'... on a PC it's under 'File', down here somewhere. Just quit it and restart it again, and often it can run a bit faster. Media starts loading properly, you can fix some problems. If you're still running into issues there's something kind of weird about it... and you might just want to get it back to default... on a Mac and PC you can reset all the defaults, pretty easy. On a Mac you need to find the application, mine's down here in my Taskbar. You can find it on a Mac under 'Go', 'Applications'. Dig around there and find Adobe Premiere Pro. However you normally open it... and all you need to do is hold down the 'Option' key on a Mac... and it's the same on a PC, but you hold down the 'Alt' key. So on a PC it's slightly different... you find it in your kind of like 'Start Programs'... wherever you've got it. So before you open it, hold down the 'Alt' key on a PC, 'Option' key on a Mac... and hold it, hold it, hold it, hold it, and this will appear. It says, "Do you want to reset your preferences?" The trouble will be, is if you have changed preferences... things that you really want to keep. So I'm reluctant to do it myself, because I've changed lots of things. So I'm going to cancel, but that will just get everything... kind of back to, as it was when it came out of the box... and that can be just helpful when you're new, and you're like... "I don't know what preferences I've changed," so go ahead. All right, that is it for the weird stuff. Know that there is another weird stuff number two video later in the course... because it covers some weird stuff that is bit more... advanced from where we are now. There's kind of two of these videos of just strange helpful things... that Premiere Pro does, and how to fix them... but for now my friends that's the weird technical stuff over. We're now going to get into the exciting world of File Management. 17. Working with lost missing offline videos in Premiere Pro: Hi everyone, this video is about File Management... and what happens when this big red scary box with all these languages on appears. We'll cover what to do when you delete it... rename it, move it, we'll go and find footage. I can tell you're excited for this one; File Management. Let's do it anyway. All right, the next thing that's going to cause you problems... not problems, just good to know, is when you mess around the leading footage. So I've got my project here, there's my Premiere Pro file. You can see it's quite small, 43 Megabytes, Kilobytes even. It stays nice and small by actually just linking to this footage. It doesn't actually bring it inside itself like... something like Microsoft Word or Photoshop... where it kind of like draws it into the one file, just links to them. What happens though, if you delete one of these files it's trying to link to... let's say for instance I deleted it by accident... and I come in here and it freaks out, and goes... this window up here is the big red scary thing... and lots of languages appears. It's going to say, "I'm missing this file." You're going to say-- let's say we've deleted it and we didn't mean to. What I'm going to do is-- I can't go and locate it because it's binned. So what I'm going to do is I'm going to offline it all. Now I need to go back and just find it. Undelete that file, or get it off the network drive that I left it on... or my USB stick, put it back where Premiere Pro can get it. It's not clever enough to go and find it, I can right click it. It will go and find it, you can either... you just have to turn Premiere Pro off and on again, and it will link to it again. Let's go to 'Replace Footage'. Let's go to you, and all's well in the world again. All right, let's do another for instance. Let's say that I'm bringing in footage, just to kind of test it... I was like, "I wonder if this will work." I'm going to bring in something that I was messing around with. I brought that in and I kind of played with it, this is me talking. The beginning of this video, I was just checking, it looked all good. I do this all the time, I'm like checking out... I'm like, "Yeah, that looks cool," or "I don't need that anymore."... and I'm going to go to my files and there it is there, I'm going to delete it. Then this thing goes, freaked out. So I've deleted it on purpose, and I just forgot I had it anywhere. So I'm going to go offline all, and I'm going to do this, I'm going to say, you... I can trash you, what is it, 'Del' on my keyboard, get rid of it... because I don't want it on here, I just... was like a test, I was just checking it... but Premiere Pro says... if it just deletes, that's great, it hasn't been used anywhere. If this pops up, it says... "Hey, you're deleting something that actually... is being used in one of your sequences." "Would you still like to delete it?"... and that's when you kind of take pause and go... "Actually, I don't realize I was using that somewhere." And you need to go and look in your sequence to see where it is. I'm like, "Yep, I don't mind, go away"... and it deletes it from both the Timeline and your Project Window. Next issue, is renaming stuff. So you're going to kind of record it, it's going to come through as like... what if your camera records it in... and you want to kind of maybe, you know, name it nicely. So let's say I go in here and I need to call this one v1. Same problem's going to happen here, it's going to freak out. The red bar's going to appear at the back here. It's going to say, what would you like to do? Let's say that we-- you can do it from here... straight here, or let's say you do offline it. Let's find the big red bar. You can see in here, it's question mark. The same kind of principle as deleting it, doesn't know where it is. What we're going to do, is slightly differently... is right click it and go to 'Replace Footage'... and say, actually this is it. Where are you? That one there. It connects it back up again. So renaming will freak it out, so just be careful of that. Next thing that is less weird and more helpful... is where I go and move footage, so let's say that I... I'm in here and I've got it all messy and I need to start... some kind of folder structure, I'm going to put in my footage... and I go and move 01 XD in there. The cool thing about Premiere Pro, goes... it kind of had a little twitch here, but I went and found it. It seems to only work if it's kind of like... near the program-- the Premiere Pro file... and kind of deeper, it doesn't seem to work as well, or at all. I haven't put that-- I don't know exactly how this works... but if I go and stick it on my desktop it goes... too far, can't find, back to the crazy red box. So if you're moving it-- I imagine it's just kind of like from the route... to where the file is, all the way through to kind of other boxes... it seems to work just fine. So I'm going to-- just know that. So you can rearrange without having to relink... but if you go too far freaks out. Last tip in terms of this file management, let's just say that... you've got footage and it's all moved-- so I'm going to hit 'Cancel'. Let's go to this one that says... this one here, I'm going to put them all on the desktop... and they're all going to freak out. Let's say I left them at work on a network drive, or on a USB stick... and it's going to go, "Ah." You don't want to have to go and find each individual ones of these... or right click them and relink footage. What you can do is, let's say that later on... you know, I can't, man, I'm just going to cancel that. And what you can do is just put them back where it got it. Everything can go back in there. Get one back as well. And what we can do is, in here... instead of having to try and relink them, right click, Link to Footage, or... doing any sort of other thing, just go to 'File', 'Close Project'. Yes, I'm saving it. Then open it up again, and Premiere Pro is pretty good, and goes... when it opens it goes and tries to search for them all... and just kind of cuts down your time having to go search for them. All right, that is kind of it for the File stuff. You'll end up moving things around or losing them... and seeing that red screen all the time. One last thing is quite helpful when you're dealing with footage... let's say I do move it... and I'm like, it's going to desktop, and I don't know where it is. It's on my machine somewhere, I go to 'Offline'... I don't know where it is, I can right click it, and say... actually let's go and replace the footage. Actually we're going to link the footage. And in here we can do a search. So I can say I want to find this one here, I'm going to go to 'Locate'... and this window here is, if you're like... "Man, this is really hard to use," it is, I hate this window. I just use a Finder window, like everyone else. Yours might be on this as well, so I'm going to go to List View. What I want to do is kind of give it a help, I'm going to say, look... I'm in my hard drive somewhere... and I want you to display only the ones that have the exact match... because that's all I'm looking for. Hit 'Search', and it will find it, it is there, hello, click on it... click 'OK', and the cool thing about it is if you're missing other ones... it will automatically go and find those at the same time. So if you do miss one, you don't know where it is, use the Link Media... and then use Locate. All right, that is enough about File Management. Let's get back into some of the more exciting things in Premiere Pro. 18. Getting started with editing a wedding video in Premiere Pro: Hey everyone, it is time for another project. We are going to edit this 'Wedding'. So let's have a little look through it, just to kind of see where we're heading. "Marriage is what brings us together today." "Marriage, that blessed arrangement." "That dream within a dream." "Marriage is the promise between two people, who love each other." "To trust that love." "To honour one another as individual." Okay, you get the idea. So we got lots of footage taken on a wedding. We're going to add music... there is a nice kind of a dialogue from the celebrant, we're going to mix in. We're going to do filters, to kind of give it a look. Yeah, lots to learn in this particular course. So let's jump in. All right, before we start inputting the footage... I need to know a slight difference... between my footage that I'm going to be using and the stuff I've given you. You'll see, this is my stuff that I'd be using in the course. The big difference is that, you'll notice down the bottom here... there is no watermark, the ones that I've given you... have to have a watermark, can you see... footage provided by EditStock. It just means like... EditStock is a company that has supplied me footage for this course. It's a paid thing, that they sell. So Misha there said, "You can use it... you just got to keep it watermarked for your students." If you do want to remove the watermark-- there's no real difference other than... it's an annoying watermark, if you want to use it for your portfolio, or-- we've got just a limited amount as well. Part of the deal is, I get to use a few of the footage... but not every single thing from the whole wedding. So we've got a limited amount, there is probably... another 200 videos that you can use... that are downloadable from EditStock. So if you do want to use it, for whatever reason... either you just want to remove the watermark... because you want to use it for your portfolio... or that you want to get more footage for this wedding... because there's going to be a project at the end, you don't have to... you can go out to EditStock, go to bringyourownlaptop.com/editstock. Also note that some of the links that I do in this course... are affiliate links, just means... misha@editstock gives me a small commission on any purchases that you make. You can go around me by going to EditStock directly... but these guys are pretty amazing regardless. The cool thing about EditStock is that... if you want to become, or practice being an editor... especially if you want to kind of get out... of just editing your own YouTube videos, or whatever you're doing... the cool thing about this is you can go in and actually start looking at films. EditStock have done deals with kind of independent film makers... and what it is, is... let's say you want to start working on a music video... or let's look at 'Wedding', because that's the one we're working on. Click on 'Wedding'. You can grab the rest of this 'Wedding'. Kammes, Krammes, Kemes? Can't remember... but you can see in here, you can download it, it's not that expensive. 29 US dollars, and you get all the footage... high quality, no watermarks, and you get to play around with it. They give you the ability and the license... to actually start editing it, and adding it to your own portfolio, and practicing. The cool thing about it is, there's so many cool things in here... you wouldn't get a chance to edit otherwise. It's hard to become a world famous editor... when you don't get to work with world famous directors and camera people. So there's really cool stuff in here you can practice with. So check it out, go to bringyourownlaptop.com/editstock... and you can download the rest of the wedding footage... if you want to remove the watermark... but it's not essential to this course... I've got everything that we need right here. The other thing I didn't mention is, obviously... there's lots of other things you can practice with. We're going to do a couple more from EditStock... as part of the course, but there is loads up here, just, of amazing... kind of raw footage that you can start editing yourself, and practicing. I practiced with the Jacuzzi the other day... just because it was shot in New Zealand, and uses New Zealand actors... and that's where I'm from. It was just a really nice experience to work on stuff. I end up, tend to working on... kind of video that's less in the... kind of cinematic shot film world, and more in the... going up to the internet type world, so it was really fun doing that. The other cool thing is that the-- people that make the film... get a commission on the sale as well. So it's just a way to kind of-- it feels like a bit of a win-win. They get to share their footage, you get to edit it... which is really hard, to get hold of raw footage... and they get a bit of a cut back... which is really cool. Lots of cool stuff on here, but let's get back into editing our Wedding video. 19. Organizing your video editing footage like a Pro in Premiere: All right, I promised you exciting, editing a wedding... and it's going to be great, I tricked you. We're actually going to be organizing the files within Premiere Pro... but doing it right. So this is the exercise files. You'll notice the first project I gave you... inside of it, that's all just dumped in here... like here you go, there's some mp4s. That works fine for little projects... when you get into something slightly more complicated, like this wedding... you'll notice that if I go into Project 2, in your Exercise Files... we've got a nice file structure in here, this is the one that I use. So this is how-- whenever I start a new job, doesn't matter what it is... I have an audio file, I have a copy file, footage, graphics, all of these six. So audio is any dialogue or music. Copy is, there's often some sort of text that goes along with it. It might be talent releases, it might be a shooting kind of timeline. It might be, in this case like a wedding program... actually had the timings on it. Footage is where everything goes, that's the main stuff... that's all the mp3, sorry mp4s. All the stuff you've captured off a camera, or being given. Graphics is just any JPEGs or PSD files I'm working on. Project Files is where my Premiere Pro files are going to be... and Renders is that final, like export folder. It's called Export or Renders, it's up to you. These are the-- this the footage that I, or this is the structure that I use. So if you want to copy that, I've actually included it in here. It's called ZZ Template Folder Structure. ZZ, is just so it's at the bottom. So you can just copy and paste that. So whenever I start a new job I go, all right, copy, paste. Then I call it the New Project, and I give it the date. In Jan 2024, in the future. So at least I can get started now... start putting the footage in the Footage folder. It's just a nice quick way to get started. You might not like that. Everyone's slightly different, you will find, working at agencies... or other kind of editing houses, that they'll have their own structure... but I find that's a real kind of generic one... that works most of the time for all projects. Let's look inside Wedding. Now the other thing I want to point out is... this footage came through and split up by cameras. So A cam, B cam, it just means... this wedding actually had four videographers, with cameras. Running around, recording everything... and that's the way that this footage was given to me, to say... okay, that is-- here you go, here's camera A, camera B, camera C. It seemed like an easy way for them... well, that's the way they organized it. Let me show you different ways of organizing it, so you don't... freak out, you're not going to freak out, but let's have a look. The Jacuzzi, that's the one that I was working on... that New Zealand kind of short film. It's going to that. They've given me this, so they're called it Media. I often go and rename, call it Footage, just to keep my own kind of sanity good. What they did is they broke it into different sections. So OO is the driving scenes. There's a section in here... whereas this bit's all the kind of entering into the building. So this is the second scene, and then this is all the... these third to fifth scenes, so they've organized these by scenes. They're just kind of like groups in this short film. Let's have a little look in-- this is a television commercial. So we go into this one, they've put it into scenes. They've broken it into different sections. This one has kind of some footage of somebody folding an airplane... that we're going to use. Then there's a section of trying to throw it in to get it going. So they've broken it into kind-- seems similar to the Jacuzzi... but nice, explicitly named, so it's really easy for me as an Editor... to kind of know which ones to start jumping into. Let's have a look at one more, let's have a look at-- So this one, Parkour, we're going to do this a little bit later... but if we look at footage they've broken theirs into indoor and outdoor. What they did was, they did a lot of naming of the cameras. So they've used two different cameras. So they've used, it's a Canon DX2, and a 7D. Oh no, sorry, it's a 1DX2, they've named the cameras. So they've actually filmed in two separate cameras... and they've just grouped those together. So indoor, to kind of group all the indoor stuff... and then there's an outdoor section, which we're going to be doing the most of. You can see, a Hero 4 is a type of camera, it's a GoPro. 1DX is a type of Canon, I think as well. So this is the way that they have grouped it. So you're going to get stuff all grouped like this, hopefully. It's just good to see how other people do it. If you're filming your own stuff it can be really handy, if you're like... "Man, I just throw it all in the desktop, and it's fine." That's fine too. I'll have a panic attack when I open your computer, but... you don't have to put it anywhere, there's no real rules... but when you are working with larger jobs... and if you're a little bit like me... you'll love a little bit of folder structure. So you can come back two years from now... and they say, "Can you grab that stuff for us?"... and you're like, "Oh, the stuff." And you're like, "Can you grab that footage that was shot, that was outside?" You can go, "Okay, cool." You can know the folder, you know it's in footage, you know it's on the outside. All right, that's enough of the theory of... how to actually get your files all together. Let's actually start bringing it together inside of Premiere Pro in the next video. 20. Importing & organizing you footage inside Premiere Pro: Okay, let's get started, let's make sure you've got nothing open. So go to 'File', and go to 'Close All Projects'. So make sure, let's go to 'New Project', or 'File', 'New Project'. Let's give it a name. Now this project came with some paperwork. So we're going to go to our 'Project 2 - Wedding'... in our 'Exercise Files', look, there's a 'Copy' folder, handy... and in here there's a couple of PDFs that came from the project. In this case, under 'Miller Kammes', can't say that... there is a PDF that has a few things. So A, we can get the name right... and in this case we're probably going to name it with the occasion. Actually have the name of how it's pronounced. It doesn't help me at all, Thames, anyway. Should help me. So we're going to do Wedding, say I'm a wedding videographer... I'm going to start them all, probably not with Wedding... because I'm doing all of them, but I'm not. My part-time wedding, so I'm going to put 'Wedding'... so I know it's a wedding... and I'm going to put in a name... then I'm going to put the date in, and it said, the 24th of August 2013. Occasionally, like-- normally I use the date, today's date... so I know the month that I've actually got started... but in this case, because it's a wedding... it's quite a specific date, and it might make it easier to find in the future. Where am I going to stick it? I'm going to put it in my Exercise Files, you do the same. Put it under 'Wedding', and remember, we got a folder... all the project files go in here. So I'm going to stick it in; perfect. I'm going to change nothing else, click 'OK'. We're going to import the footage, we've done it a few times. You can go to 'File', 'Import', remember, just double click down here. We are going to go to our Exercise Files, and I want to bring in part of the footage. So 'Wedding', let's go to 'Footage'. Let's bring in, let's say the Cam A stuff, so go into it, 'A Cam'. Let's bring in all of this, yeah, why not. Let's bring it all, click 'Import'. What you might find as well, is if your computer is pretty slow... it might be buzzing away down here, saying, converting files... might need to process them so that I can use them... but this has come through just fine. Let's switch to 'List View', just because. Let's bring in another bit of footage... so we can't double click the background now... you kind of can, you can squeeze down the bottom there... but you could learn the shortcut for it, 'File', 'Import', it's not hard. 'Command I', I don't know, because I double click every time. Let's bring in, instead of the footage let's bring in the audio. Let's bring in just the three bits of music, let's click 'Import'. You can see quite quickly how this is becoming a little bit unmanageable. It's really well named... and it's very clear, you're not going to have this kind of clarity... so we're going to have to organize something into bins. What is a bin? A bin is a folder. That's just the way you call it in video land. Bins were just, actually literally bins... when they used to have film on reels... big physical reels, they just stick them in a bin. So you'd have different bins, and they used to be labeled. So they continue that along here. So if you hover along this, it should say New Folder... it says, let's make a big dusty bin. We're going to click on that one... and let's kind of re-- let's re-- kind of create that footage. That same folder structure I had. So I'm going to grab the first one, click it once. Scroll down to the bottom, hold 'Shift', click the last one, they're all selected. Scroll back up the top here, and grab one of them and try and get them in. How do I know they're in? They're kind of indented, and I should be able to close it, they all lock in there. Hah, phew; organization. Let's go to 'Music', so I made a new bin. Call this one, not going to call it Music, I'm going to call it Audio. There's no rule, you can call it Music if you like... but I'll feel bad putting dialogue in there if it's called Music. So you can see how bins can be really helpful for larger jobs. A little bit tedious to reconstruct, so I'm going to show you some tips... but actually one thing I want to show you... before we go off and do kind of a little bit more helpful stuff, is... bins can be confusing, so watch this... if I double click the footage called Bin... it opens up in its own tab... original one, the project, it's home base, the bin is open. So it can be handy just to have the footage open... and the audio open, so you can kind of switch between these two... but it can be confusing at first. So I'm going to right-- no I'm not going to right click it... I'm going to click the little stripy Hamburger Menu thing... and go to Close Panel, and I'm going to click on this one, 'Close Panel'. At this stage, probably what we want to do... is in the Project Window, is just twirl it down, twirl it up. Hit the little chevrons, there's nothing wrong with doing it this way... but if you do want to open up separately-- you'll probably do it by accident... and you can close the panel. So that's one thing with the Project Window. The other thing that happens is, when you're creating new bins... you might have already done this... and you're like, "Ah, my bin is inside another bin." You have to be very deliberate about where your bins go. For some reason it really likes to put them in where you've got selected. So if I've got audio selected I'm like, "I want another bin"... and I want to put it next to all of these guys, called Copy... or Graphics, let's call it. So new bin, and you're like, "Where did it go?" There's a bin, I can't see it. What's happened is, because audio was selected, watch this, if I twirl it down... my bin ended up in there... and you're like, "What are you doing in here?" I don't know, it's just the way that Premiere Pro works... and it's a little bit, gets me all the time. So don't feel bad. So if you are creating a new bin... having something selected, means it's going to disappear inside. There he is there, you can just drag it out... by dragging it kind of out here, it's painful. I've just dragged it into Audio, it is hard, promise you. So Audio, it's easy when you can see the outside. So what I'm going to do is delete that guy, and just be very mindful... of having nothing selected, not you, not you. Just kind of click off in the background... or scroll down to the bottom, and is like... always a space at the bottom, click off, and then hit a new 'Bin'. You can kind of rebuild that structure we learned earlier. This one here, Audio, Copy, Footage, Graphics, Project Files, and Renders. You don't need Project Files obviously, inside of here, or Renders... because Project Files is a Premiere file... and Renders are something external as well... but you can rebuild these ones. So now that we learned a little bit about it we're going to delete it all... and you're like, "He does this again, there's an easy way," there is. Now that we understand it though we can actually do a nice, real easy way. So we can just double click anywhere... and if you have got fancy folder structure that you want to kind of rebuild in here... so let's click on that one. I'm inside of Project 2, I'm going to select all of these. Actually, don't want you and you, I want you. So I'm going to hold 'Shift', and click just those ones. You can import them one at a time. Watch this, I can import it and it will convert it into bins for me. It's failure to import a couple of things, what's this? Not like-- It's something that is, I think it's the PDFs... I can't see it, hover above it. Failed to import. It hasn't imported the stuff in copy because it doesn't like PDFs. So it will only import the stuff it can use. So it's got things in here, yeah, that's the PDFs... but it's given me the actual folder. The cool thing about the footage is in here... remember it was kind of separated out in terms of other sub folders, Cam A, C, D. So it's kind of rebuilt all that, which is handy. Audios in there, so that's kind of the easy way to get started. Copy, am I going to need? Probably not in this particular video, so I'm going to get rid of it. You might be asking, "Where's the graphics folder?" That was definitely there, when we dragged it in. The graphics folder is not there because there's nothing in it. It's empty, so it's like... "Mmm, not going to bring in a bin that has nothing in it." Your last question is, "Can I just have them all lying around in the folder?"... or just in here, without bins, you totally can. That's-- happy if you're happy to work that way. I always work that way to get started, and it takes me... like if it's a short project I don't change anything... they will just lie in the Project Window... but as soon as they start getting a little bit unwieldy... I start creating the footage... or creating the bins and start kind of organizing them a little bit. It's just personal preference, and you will need to-- a bin or two... there are some quirks to it, but now you know them. Let's save our project, and I will see you in the next video. 21. Where to find free music for Premiere Pro: Hey there, this video we're going to talk about where to get free background music. We want some background music for our wedding. I'm going to show you the couple of places that I use. If you've got a place that you're like, oh man, this is a cool spot. Everyone should know. Drop it in the comments. If you're a student watching this video, check out the comments. There might be some good other places to get free background music. Wistia is this place I go to bringyourownlaptop.com/wistia. They do video hosting like Vimeo and YouTube, but more commercial. But they do some free stuff in terms of music collections and just really good music. It's my favorite. [MUSIC]Good. There is just lots in here. You can download them and use them in your work. That's Wistia. The other place that I get free music from is YouTube directly. Sign up to YouTube or at least login. You don't have to have a proper business account. This is my YouTube channel for Bring Your Own Laptop. Go check it out, YouTube.com/bringyourownlaptop. But in here there is audio library. So it doesn't matter that if you've got a personal account, which is free or a professional account like this one. You can go into audio library. Inside of here, there's some really cool stuff that YouTube giveaway. Now the cool thing in here is that there're free music. There's also sound effects. But in the free music, you can organize by genre and mood. You can go through and say, I need some stuff that is ambient background stuff, but it's a little bit calm, it's only using drums. You can get really specific and then go through and preview it. [MUSIC][LAUGHTER] You can't really hear that, I know, but it's great to fine. You can easily download it, use it in your Premiere Pro project. Your question might be, can I use this commercially for other things other than YouTube? The answer at the moment is yes, they're not really explicit on it, but there's a couple of forums that I follow and according to the T's and C's, it says yes, but don't take my word for it if you're going to be doing it for some large insurance company background music you might have to look at paid sites, but or at least get somebody to look through the T's and C's to make sure you can use it. But in the moment people are using this stuff all over the place, and some of it is bad and some of it is really good. The one thing you do need to check on is attribution. Some of them, if I click on this one it says, you are free to use a song and monetize your video. So there's nothing you need to do for it. Just use it. There are some attribution required. It's narrowed down the list. I've got a very specific group of requirements. But it just means that you can use this one, but you must include this in your video description. Just check whatever one you like. Don't worry about, some of them just require you to write that this is from us. Some of them are a little bit like you actually have to have it in the video. So just check out what they want from their licensing point of view. Or you can just go only showing me stuff that does not require any attribution. That means I didn't have to acknowledge it in any way. Just get to use it. It's pretty amazing stuff. Let's look quickly at some paid sources. I'm about to show you another link for paid stuff. It's going to be bringyourownlaptop.com/envato. It goes to Envato Elements.. I've just realized there's going to be a lot of links, so I'm furiously scribbling them down or wishing I did. If you look in your exercise files now I've started a file called links and I'll start popping them all in there. There's the Editstock one we looked at earlier, Free Music, and this is the Envato one we're up to now. So Envato Elements bringyourownlaptop.com/envato. Envato Elements I have a license to, I love it, it is amazing for music, but you pay a monthly subscription, but also you get lots of cool stuff like stock footage, they get to use photos, graphics or icons, all sorts of cool stuff. We'll reference at a couple of times in this course because there's some really cool templates for Premiere Pro as well. But in terms of music, you can click on here and similar process. I'm going to actually just hit search and look for at all and you can refine it over the top here. You get a bit more control and you can download them from here [MUSIC] and download them from here. The one thing with this though, is when it downloads, you'll be given a document in case you get challenge later on by somebody like YouTube. It says, hey, do you have a license to use this music? You can say, yes, here it is, and wave the bit of paper at them and they'll let you monetize the video if that's something you're into. But this is just a, I guess a high level of quality and a lot more range. YouTube audio is cool, but it's quite limited and it's being used quite heavily by all other YouTube channels, which might not be a problem for you. I use it myself loads when I'm working with a client who, I just know that it's not worth trying to see if I can make free stuff work and it's just easy to pay for something like this where I can get a license, official license, better documentation. So everyone is happy and the legal team is happy, and I'm happy. Great music, but that's it. Better. Wistia, a bit of YouTube audio and maybe some paid staff through Envato Elements. Let's get into the next video. 22. Saving & updating your workspace layout in Premiere Pro: Hi everyone, this video we're going to get our workspace all in order... and then save it. By workspace I mean, like this is here, and that's down there. We're going to save it, in case everything gets lost... we can at least come back to this lovely laid out version. Before we do that we need to get our sequence going... so we can lay it all out. We're going to go to 'Footage', we're going to go to 'A Cam'... and we're going to pick any of these footage to get started. The right way to create a Timeline or Sequence is to right click it... and go to the one that says 'New Sequence from Clip'. If you're lazy, you just drag it over here, efficiency, they call it. You just drag it, and it does the exact same thing... get to the exact same place, and have this name. Let's rename it, because it's got a-- it's got the same name as my movie, which is not that useful. So we're going to call this one 'Wedding'. It's going to be 'Kammes'. Kammes, that feels like it, right? And I'm going to put in the date for it, can't remember what it was. That's what it was, it was Aug 2013, that was it. It's in the wrong place, it's in kind of a bunch of folders... so how do I get it out? It's a bit of a weird one. If I drag it here, it's going to end up in Footage... can you see, it's highlighted. I'm like, "How do I get it out?" Best way is just to kind of drag it to the left of it... all the way back out here... and hopefully, if I close down 'Footage', here it is, there. You might have to do some like, it might end up in this folder. Drag it out of that one. See if you get it down, the root, kind of... home base, so that's where we want our sequences. All right, that don't have to be in there, just useful. The next thing I want to do is get my workspace laid out. So you can grab any one of these. You're going to have to work it out for your screen. I like having Lumetri color, and the Essential sounds... but, I don't know, not sure what's wrong with me... but I like Lumetri color first... then graphics, then sound. And I like it that width, nice width, so I'm on my big screen nicely... and change at the Timeline, I'd rather, a smaller... kind of Project Window... and a much bigger Timeline. In terms of the Timeline, doesn't need to be that big... because it's already got a little bit going down here. Same with this Project Window. You can actually grab where they all coincide there. I just want this to be bigger... and I'm happy for my Source Monitor to be nice and small. So that's how I like mine, and I'm going to save it. You can already see, I've got one there... but let's say, for this class, let's go to 'File', 'Workspace'. What we're going to do is save as a new workspace. You're going to give yours a name. Something unique, so it doesn't blend in with the other ones. That's unique. Let's click 'OK'. So I know that if later on, I'm messing around with it... and I end up messing it all up, and I'm like... "Ah, what's happened?" What's all this stuff, what are those, those look scary. You drag that all around, and you've broken it. You can also-- you can just go up to 'Unicorn' up here... or go to 'Window'... 'Workspaces', and pick 'Unicorn'. Hah, back to normal. That is how you create your workspace, let's say you need to update it. Let's say later on, actually that's just too small in there. Oh, don't drag that one, drag this side. And you're like, actually I need a little bit more going on in here... and I want to adjust it now. So you can go to 'Window', 'Workspaces'. This one here, 'Save Changes to this Workspace'. So it's going to, like update the unicorn. The other thing you might do is... I had to kind of delete all my preferences to make this course, but I've got... one that's Unicorn, I've got another one called 4K Monitor... I've got another one called Laptop. So that-- At the moment I've got my laptop in front of me... you've probably seen it in the videos... and I've got my big screen plugged into it. So I've got a different kind of layout. If you have-- but when I unplug it... and I'm working on just my laptop, which I do very often... I've got a different workspace that utilizes... my screen on my laptop a little bit better. All right, that is Workspaces. That's it, let's get on to the next video. 23. Rough Cuts Using Source Monitor in Premiere Pro: All right, we're back, what I forgot to do was... we got everything in there, figured out how to get free music... and didn't actually add it. So I used that track here just to kind of create the sequence. I'm going to delete it off my Timeline, and add the music. So in Audio-- this is where the Source Monitor... is going to come in a lot more handier... is that if I-- I don't want to actually add it to everyone... to kind of pick the audio that I want. I can just double click it here, it opens in the Source Monitor. I can make sure my Playhead's kind of where I want it to be... and we're going to hit 'Play'. Double click this one, hit 'Play'. Ah, that one's good too, this one. I found some very, well I-- what I like is... very appropriate wedding, getting ready music. They're all from YouTube, those ones. So that you don't have to go and find your own, totally. Go have a look at the free stuff or the paid stuff... and get your own music for this, if you hate the music selection I've done... but for the moment I'm going to use Blizzards. I'm going to double click it, I've previewed it, and I like it. How do I get it down to here? I could just drag it across here, that's fine... but I want to, I guess, get you some experience with the Source Monitor. You can see, this particular clip here has no video, and only has audio. So you can drag the audio part down here. And why won't it go up the top? Because everything above here is V1, V2, V3, it's video. Everything down here, A1, A2, A3 is the audio. So I'm going to drag it down here. All right, next thing we're going to do is... close down Audio, we're going to look at Footage... and we'll open up Cam A... and we'll start with this first one, we're going to double click it... because now we're not sure, like the last ones it was very clear... we're going to drag them all onto the Timeline... but in this case we have no idea what we're going to use. We've filmed a lot of different things and we're going to decide what to keep. We're going to use A003. What we're going to do is a real rough cut... before it goes on to the Timeline. Instead of just dumping it on and trying to edit it... it's very common, especially with larger jobs... is to do some kind of rough cut editing in the Source Monitor. What does that mean? It means that you can play it in here... or scrub along in it, and just figure out what it is. I like that it kind of disappears down here... but I don't need the whole 13 seconds of it. So what I'm going to do is pick it, just a little chunk... do a little rough edit before I add it. To do it get it to where you want it to start... and then hit this little button here, it says Mark In. I add the sound effect. There's a little gray bar that appears. At the moment if I drag this in it's going to drag in... from everything from this all the way to the end, but I want... maybe when it starts disappearing down here I'm going to transition into the next shot. Good work, videographer; and there's a Mark Out. Now I want to drag it in, and I can drag-- It doesn't work for audio, but video I can just drag the center of this... just put it down here. And you'll run into your first problem with using that method... of rough cutting, using the Source Monitor... as everything overlaps. Can you see it down here... zooming in with the + button, it's kind of cut my music off. Music only starts here now, so what I'm going to do is undo... and before I drag it in, the audio, or at least this background music... really needs to be on the layer underneath. I can just click it, hold it, and drag it. So it starts on the second layer, now when I drag this in... here it goes, you notice you can drag it on to different layers. Just deciding which layer it goes on. In this case I want it to go on V1 and A1. It expands out from there, it's an interesting little setup. So I'm going to hit 'Spacebar'. You'll notice, it's only brought in that little chunk here. So we are doing kind of rough cut edits. Rough cut is, I find it really hard to do a rough cut. I do it, but I have to force myself... because basically what you want to do is open up the next one, go through. What do you want? Oh, the change of focus, look at that. So I like it there, so my end point, go along. Get my out point, they did it a couple of times, can you see? They changed it to decide which one you want. When you're ready for it chuck it in. Already conscious that chuck it in is probably a very Kiwi way of saying it... but you get what I mean, just throw it in... and keep doing that, run through it really quickly... and just do real big rough cuts. Don't go in and think... "Oh, how's the transition going to work?"... or "I'm going to work on this audio." It's better just to dump it on to the Timeline... get a feel for it, get a feel how long it's going to be... because you might be spending ages getting this to work... and then realize, "Man, this is epically long, or way too quick." So it's really just to do a real rough cut. You can see how useful it is to use the Source Monitor... that we were scared of before. I was; double click this one. You might decide, I don't want... fancy shoes, I'm aware of, but I don't want that in my shot. I want this though, you know, and like... you do the same thing over here... it's at half, you put it full or a quarter... if you are finding it hard to scrub along, because your machine's not really coping. It's a little hard for me now because I just want to pick a rough bit... but I want to actually look at it. So I'll get the editor to speed this up while I have a little listen and a look. All right, I'm back. So basically I'm just scrubbing through... and I'm just trying to do what I want to do in terms of an editor. I didn't want, there's a lot of like... they have a lot of fun in this, and I want people smiling and having fun... but I don't want-- there's a lot of like, let's not jinx it. I don't want that appearing in the video, just as my editorial choice. So I like this little bit. And what you would have noticed, you wouldn't have... because it was zooming along, as I didn't click these buttons... because they are a pain, you've got your in and your out point. Can you see, if I hover above it, it says I in brackets, and O. So if you look at that on your keyboard, I and O sets the in and out points. So if I go along here and I hit 'O', can you watch this? This is my out point, it's just the difference... instead of clicking that button. All right, so I want to add it to it, there we go. And that is my first little rough cut. Now of course if this is a wedding, I'd go and rough cut all of these. I'm going to leave some of this for you for practice. One thing I want to show you before we move on is... that-- mine is out-- I want to add another chunk there, so I'm going to pick... I kind of half looked at this before. This person looks like having a good time. Cardboard body, anyway. So she's laughing at the beginning... see my end point, and I'm going to get to here. Laughing, having a fun time at the wedding. I've got this little chunk. Now we've been adding the audio but it's really loud, listen. I don't want to interrupt the music, I want it to be quiet. And there was a person talking in the background of this. So what you can do is a nice neat trick of using the Source Monitor... is you can actually just draw-- If you drag the middle it drags both the audio and the video... but if I just want to drag one or the other... I can drag this part, so you drag video only, just drag it down. Then I don't have to go and separate it later on. I'll show you how to do that in a bit, but actually, might as well do it now. I've got a special class on it, I'm cheating. You can right click it here, and you go to 'Unlink'... and you can click on this one and delete it. So either way it's just easier just to obviously drag this. You can do with the audio as well if you just want the audio from a track. In this case I don't want that... but that's the basics of using the Source Monitor... why it's there, and some tips for using it. Set your in and out points before you drag it onto the Timeline... because it can get really busy on this Timeline... especially when you're doing a wedding, when there's lots and lots of clips... and it's just really hard to drag every single one there... and start adjusting them and then dragging them all along. All right, that's our rough cut, let's get on to the next video. 24. Premiere Source Patching & Track Targeting what is the difference: Hi everyone, welcome to the video. This one we're going to talk about Source Patching and Track Targeting. We're also going to show you another way of editing. So let's look at the other way of editing. I want to show it to you because-- I don't use it myself very much... because there's a couple of ways of doing it, right? We've worked out the way of using the old Razor Tool, to kind of razor it... you know, to start deleting stuff. We've also dragged the ends using the Selection Tool... that's one way of doing it on the Timeline. Another way we just learned was doing it in the Source Monitor. We were setting in and out points. So let's find a bit of footage. Let's all do this together, go to Cam A, find something, what are we going to use? I'm going to use AO12, it doesn't really matter. Just double click it so it opens up in my Source Monitor. In here we set in and out points, say you like this part, we set it in... go down here, and we like an out. We've been dragging it across, and adding it to our window. Now a lot of people, for good reason... like do do this, they just like to click 'Override'. You can see, it just adds it to the Timeline... rather than having to drag it across. So it means you can kind of really quickly work, and say... set my end points and my out points. That's I and O on your keyboard, in and out. Then just click, you can click the button... but if you are starting to get in this flow of rough cutting... can you see in the brackets there, insert is comma, ', '... and the override is full stop, or a period, ' . ' You see them on your keyboard, down there, next to the M key. They're right next to each other, just a handy kind of little shortcut. Go I, O, and then I'm going to use period, ' . ' to override. You can start, sees you can get a good flow going. I end up just dragging it across... no better, no worse, but you need to know both because... you might start using it... and it helps us understand this next thing called Source Patching. So what the hang is Source Patching and Track Targeting? It's annoyingly confusing. Like I'm really good at it, and I still, like find it hard to explain. I had to re-record this a couple of times... just to kind of like, "Okay, this is what it does." And what it's to do with is these guys here. So you'll notice that when I hit the 'Override' button... so it puts it onto my Timeline-- Actually, first of all, before we go, I did Override... we'll look at Insert, you can use either. I use Override mostly when I'm using it but let's look at Insert. If I use 'Override', look what happens, it just sticks it there. If I hit 'Insert', the exact same kind of clip here... can you see, it cuts a hole and pushes the music along. So if I'm back here and I'm like... actually I want to insert something right in the middle here... I'll hit 'Insert', it all kind of like push everything else along. Let's look at the difference between Override... when you're over the top of some stuff... it sticks it over the top. Cool, so there's a couple of things I've been ignoring. Let's delete all this. Is we're not being adding it, it's been adding it to weird tracks. Yours might be going to here, and you're like... "Why is yours going to here?," or you might be using this... and forever dragging it on afterwards ... you're like, "Why does it sometimes appear on track?" Kind of 1, 2, 3, 4, not at all. That is the thing called Source Patching. So I'm going to delete this... and it's to do with this kind of line here. These guys don't have any relationship to each other. They should be called something else, different colors. And they disappear, if you have nothing selected... nothing in your Source Monitor, if I go 'File', and I go 'Close Panel'... and I have nothing selected over here... do I have nothing selected? You see, they disappeared. You're like, "Hah, they're gone." Because what it needs to know is what you're talking about. So I'm going to click on this, they appear. Double click it to open in the Source Panel. So what is Source Patching? This is my source, where is it going to patch to in here? So when I hit 'Override' now, it's patching the video to this track. Look at it, it's perfect, the exact one I said... and audio is going to this first track here... which is what I kind of told it to. So you're like, "Actually, go there buddy." Now I delete it, do the exact same, use my shortcut, the period key. The source is patched to your Timeline wherever these guys are. I'll show you it here, just because you're going to be... going through this course and you're going to have it-- If you have it off I think it just patches to the kind of... oh look, I turned it off, and it only patched the audio. So I show you this, more of that bug, so you're going to be going along and... having no audio, no video forever, and restarting the machine. You'll eventually change your preferences and it will start working again. You have to delete your preferences, you're like, "Hmm'. It's mainly because of these guys. I have lots of problems. with my students in class, by them clicking these things by accident. Where it's going to go? To this window, you can turn them off. That brings us onto the next one, this group of them, something different. Kind of similar but they do a different job. It's called Track Targeting, let's do that. All right, let's talk about the Track Targeting. There's no prizes for remembering the words... Track Targeting, Source Patching. You just need to know, kind of what these two groups do. This is where stuff comes from the Source Monitor... and this thing here is mainly to do with things like copying and pasting... and one of our little handy shortcuts, I'm going to share with you... because you sat through this video. Let's look at inserting. So it went to these two tracks because of my Source Patching... but this one here, my Track Matching... watch what happens when I copy it and I paste it... and I have this set to here... watch what happens, paste, it pastes to this one... which can be useful, and really annoying. That's mainly why I show you, because you're going to have it off... not realizing it, or not knowing which one should be on... and it's going to end up at V3 or the wrong one. It is quite useful later on... like, at the moment, the default... if you're like, "Man, this is all confusing"... just have it here, make it look like this. All on, those two ones, that's the, like-- It's going to do probably what you think it's going to do... or want it to kind of do. Later on though, when you get a bit more handy with things... you can do things like, if I want to copy this... and you want to paste it kind of over the top of this... but if I paste it like this, kind of overrides. So what I want to do is actually say you can go on track V2... and the audio, not on 1, not on 2, but on 3. Can you see, kind of wraps around the outside. So that's Track Targeting. So by default, I'm all on. Because you did hang around I'm going to give you a secret shortcut. So we've used the holding 'Shift', and dragging... it kind of snaps to the beginnings and ends of all of these... that's really handy, right? There's another super handy one, is the up and down arrow. So look at your keyboard, you've got the little cursors... the up, down, left, right, just hit 'up'. You'll see on my one here, watch, up, up, up, up. Just jumps to the next, like chunk... which can be really handy if you're like... "I just want to go along to the end here." Rather than dragging it, you can just use your keyboard shortcuts... or drag it, it's fine... but the one thing that will be, maybe annoying... is let's say that I'm down here... I've got something on this... and I'm going to put the audio up here, and move it down a little bit. I'm going to paste you, paste it here. So I've got all this stuff, and at the moment... if I have my cursor here, and I hit 'up', goes to the next one. Oh, down, next one, next one. Jumps to the next one. So that's doing exactly what I hoped it would do. If you turn these off watch what happens. So I only have it on the 1 in A1. It won't see this guy because he's on V3, so if I hit my-- I start over here, watch, next one, hitting down arrow, next one. Ah, it jumps it. You're like, "Just go to that one, why are you doing that?" It's because it doesn't acknowledge these exist without these little lights on. All right, that is Track Targeting and Source Patching. I show you here probably not so much as to like... show you the benefits of copying and pasting all the stuff... because it's a bit early in the course for this. I'm showing you because it's a pain in the bum... when they're off, and you're like... "What's going on?" You're like-- Yours looks like this, yours might already look like it, and you're like... "Ah, it feels like it should be doing something else." Remember, just do that, it will work just fine. And you learned a sweet shortcut, up and down. Love it. Oh, you learned a new way of editing, using the comma and the period key. Bam, bam bam, look at us editing. All right, I'll see you in the next video. 25. Mastering bins & the thumbnail view in Premiere Pro: Hey there, this video we're going to start mastering the bins. We're going to have separate bins, looking differently. We're going to show you little tricks, what these icons mean. Let's jump up and do it now, jump in, let's jump in instead. All right, the first thing I did was I cleaned up my Timeline. I was inserting and overriding, like a champ in the last one... tied it all up. What we're going to do is work on this Project Window. So bins, bins can be tricky. We're going to make them a little bit more better, more better to use. So Footage, I've got this one open, I've got cam-- I'm liking List View because it helps me personally, see all the structure... but there are times where actually it's better to have a separate bin... that's set to Thumbnail. Let's say I'm going to open up Cam A, double click 'Cam A'. It will open up in its own bin... its own, like window, so you can toggle this one and that one. There it is there, yours might be set to List View. So it depends on what you were doing before. So this original Project Window I'm keeping... and this List View, but in this other bin... Cam A, I'm going to say, you're actually better in Thumbnail view. The other thing you might do is you might not be able to see Bin A... depending on how big the name of your file is... it kind of, can push it over... so this little double arrow here can hide everything... because you can't see the Effects Panel anymore... this is the way to kind of jump through them. So let's master it, let's switch to bin-- A Cam. What I'm going to do is, remember from before... you can switch it by User Order, I like it Preferred by Name. So that it's in kind of some sort of alphanumeric. The other thing you can do is... your screen's going to be different from mine. So I'm going to kind of extend mine out until it gets to - can you see, they get bigger. - until it breaks into three, I find like that's a nice good size. I'm going to make this a little bit bigger so I can at least see that. Now I'm going to go to reset my Workspace. So workspaces that we did before is my Unicorn one... and Reset to Saved Layout. It's the next day of recording. I think, back sometimes I'm like, "Where did Unicorn come from?" You're a weirdo, Dan. Anyway, so we've saved-- oh, I hit 'Reset'. All right, open it up, it's in this, let's go back. Let's practice, practice together. Just so I can see the last names, now I've got it good... and I go to 'Workspaces' and I 'Save Changes to this Workspace'. So now if I mess it all up, I can go back. 'Window', 'Workspaces', now I can reset, ah, phew. So it's really kind of, you get... eventually get this like sweet spot off your monitor... and you're like, "Man, got a nice system going." So overall project, Cam A, you can do it for A Cam, B Cam, C Cam. Let's look into these little Thumbnails a little bit more because... can you see some of them are blue and some of them aren't. Basically this is showing me that the video... and the audio, because they're both blue are on the Timeline somewhere. This one isn't, watch it go blue when I add both of them there. You see, it's added to both of them. This is really handy when you're working on something... especially when it's not yours. When I'm working on my own stuff, I kind of have an idea... when I'm handed somebody's wedding... you're like, "Have I used this clip before?" "How many times have I used this thing?" Just handy to know what's been used and what's not. Takes a little bit of update. Other useful things you can do here... is, you can see, track is video, video you use because you can see it... and then audio is, if you can-- this one has audio, some of them don't. Remember, you can add video separately from audio. The other thing you can do, you can hover above it so... remember, just kind of like scrubbing back and forth. If you've got a really slow computer this never works... but for mine it's quite fast, and I'm just moving my mouse back and forth. Other thing you can do is click it once, not double click it, just hit 'Spacebar'. Can't really hear it but it is actually playing through. So you can actually kind of work out, because some of the shots... would be like, what's the difference between-- they're all very clearly different ones, mainly because I've... pre edited them for you just to give you a good sense of different shots... but you'll have lots of-- looks like the same thing... and you're like, "Which one is that?" You can hover above it, but you can actually click on it, and hit 'Spacebar'... drag that Playhead, but it needs to be selected first... then you can drag it along, 'Spacebar' to play, 'Spacebar' to stop. Cool, huh? So you can kind of do some like previewing down here... and that's why this User Order is pretty... you know, can be useful, is you can actually drag this one up here... instead of alphabetically... stacking it, you can say, actually I want... actually I want this one to appear, but earlier on... you're just kind of doing some, like story boarding style in here. It's really helpful. It can be really cool to do inside the bin. All right, so remember you can open them up like audio... there's going to be no point having this as Thumbnail. So you can have this one as nice little lines, Cam A... B and C, we'll call B little Thumbnail, be open down here. All right, closing bins, and then we'll move on, Close Panel... to close that particular one. All right, that's it, let's jump into the next video. 26. How to do an audio transition in Adobe Premiere Pro: Hi everyone, this video we're going to look at Audio Transitions. We've done video transitions, where they cross dissolve. We do the exact same thing with audio, so they kind of blend together and merge. The easy way is, go to 'Effects', 'Audio Transitions'... and just use this one, Constant Power, drag it on, add it, you're done... but for a little bit more detail let's watch the video. All right, first thing, let's kind of zoom in a little bit. Remember, ' + ' on your keyboard, as long as you've clicked inside your Timeline. Scroll along a little bit. Next thing I want to do is... extend out this waveform. I just want to make it bigger. You just hover between the two lines here, remember. I want to see that, I'm not too worried about the music... just want to see this in a bit more detail. All right, audio transitions are hiding in the same place as the video ones. So if you're on your bin... you might have to hit this little arrow if you can't see Effects. So grab 'Effects', grab 'Audio Transitions'... and 'Cross fade', it's pretty limited. So this first one, I can see between them. Exactly the same as adding video transition, except when you drag this... you don't drag it up here, you drag it down here. Basically you're going to use Constant Power, every single time. These other ones are very similar. Let's have a little look at them, visually, let's click on that one. Give it a click here, basically it's going to kind of... it's got a bit of a curve in it, so basically this one, this clip here... is going to slowly but surely... start off going slow, and then... go more faster. More faster. You can kind of see it there, right? It's not completely consistent. So Constant Gain, if I add that one over the top of it, and I click on it... you can see, it's just more of an even one. To be honest, don't tell anyone, but I feel like they all do the exact same thing. They're meant to do something different, I can't tell the difference... but you might be an audiophile, and you might be like, "Man." Constant Gain is definitely the game changer. For me, I just use the default. You can tell it's default because it's got a little blue thing around it. Can use Constant Power, or anything. To be honest, I don't do a lot of transitions for audio. It's not necessary, completely. It's just useful if you do have something that's quite abrupt. This, there's lots of kind of murmuring going on in the background... but there is-- there's not too much going on... there's not like huge, not cutting to a... I don't know, a police chase, that you might need to cross them over... but we have to have it because you might need it. So I'm going to do the same thing here. Oh, I don't have audio for this one. So this is what, A006. So I'm going to find it in here, my bin. A006, where is it? I can drag it straight from my-- Here we go. Straight from the Project Window, rather than going by the Source Monitor. There he is, there. I want this last one because this has a pretty good-- like this. One of the things you might run into, which one was that? 16, this one has left my Timeline. I'm going to have these ones here, 16. So got them all on here. Let's add the-- this one here has no cut, so I haven't cut it. This one here, let's say I've edited... but this one here actually starts where I want... where she starts smiling, and I want to kind of get rid of it where she-- Look, that looks perfect. So I want my 'Effects', 'Constant Power', look when I drop it in. It doesn't know what to do, it's all kind of stuck on one side. It's because there's no pre-roll to this one here, there's no bit over here. This one does, it's got all this extra stuff to use and mix across... whereas this one here, it will still work and you probably won't-- Premiere Pro will do its best to kind of fudge it for you... but it's just letting you know that there is no kind of... like cross fade audio to actually make it work. So it will just kind of blend them across. All right, just drag it on, give it to me. You got to be careful where you drag it, right on the gap there. Cool. Constant Power, like we did with transitions... you can speed it up or slow it down. That is Audio Transitions. If I'm honest I very rarely use them. Maybe the only time I do is when I want to fade it out of the end. So I've got this chunk here and I want to fade it out... I'm using it not to cross, you know, not to transition really... but kind of like we did when we faded to black. So I want it to fade out, and I'll do the same thing with the video transitions. Go to 'Dissolve', 'Dip to Black'. That on there, on the video side, if you can actually get it... man, I'm a Pro. Around the end there, you can see, it's fading out. I'll turn the music off, I'll mute it. That's something I'll show you again properly in a sec but... you can see, kind of fades out both the video and the audio. All right Audio Transitions, done. 27. Editing Audio in Premiere Pro: Hi everyone, we're going to do some audio editing. There's a celebrant that we're going to do. We're going to cut it up, we're going to mess with the audio. Not much different than editing video... but let's have a quick little listen of what we're going to do. "Marriage is what brings us together today." - "Marriage, that blessed arrangement." - Ah, beautiful. So we've done some spacing, we've cleared out some laughter. We've deleted some tracks off this video, lowered the music. Nothing real special, just practicing some audio specific editing. All right, let's get in there. All right, let's find our celebrant. He is in our Audio folder, there he is there. And the celebrant I'm going to add now... I'm just going to move the music and the celebrant around. The music I want to unmute, because I did that in the last video. I want to kind of just drag it down, so I'm at the beginning of my Timeline... I'm just dragging the middle of it down to this one here. You got to be careful because you can grab the kind of audio levels. So just kind of-- try and-- if it doesn't move you might have turned it all the way down... in terms of the volume. Remember, when we zoom in there's like a little line that you can drag. Cool. All right, so I've got our empty track here, which is perfect. I'm going to add my celebrant to it. Now I'm going to do a bit of pre editing... because the celebrant audio - I double click it - it's actually quite long. The cool thing about the audio track is you can view the audio. I've already had a little play around with it but about in here... I'll tell you the time code in a second... because there's like a bit of preamble. Let's turn up a little bit. So there's a little bit of walking down the aisle stuff. They just recorded the whole lot of it. Cool. So I'm going to go to... I already know, I wanted to go kind of about where it starts. Hello, welcome. So that's kind of where I want it to start. No, I decided that, not hello and welcome, I'm going to start it there. Now if you're following along you can either drag it, and find it. Remember, I'm using my ' + ' and minus, ' - '... and it's working because I have the little blue bar around my Source Window... and I have my panel just a little bit over, come over here, buddy. I'm zooming in, I'm finding this, or you can just type in here. We've got the time code reviews down the bottom here. Do the same thing, that Source Monitor to follow along with me. I want you to go to 18, what did I write down, 4122. That gets us to the position that I want, I'm going to set the end point. Anybody remember what the shortcut was, remember? 'I', or you can just click on this button here, in, out. I want it to play along to... I've already decided where it's going to go... and I'm going to go to 190515. So there you go, type in that, 190515... and set the out point, you can see with a few little shortcuts... which is, out point is 'O', I'll click the button... you've got some-- we've done some editing. Now I'm going to drag it down, you can't drag it from the center. You have to drag it from this, there's no video. So you have to drag that little icon down there, or you could... let's just do it once, the thing I never do... is, remember, Track Matching. That there, it's going to go there, we don't want it to do it. I don't want to insert it because it's going to push everything along. I want to hit 'Override'. For the people that are keen on using those shortcuts that's what would work good then. Kind of flick to the end, because it's quite a long track... but that was Track Matching, look at that, good example, Dan. So next up we're going to do is, I'm going to show you some icons here... because I need to balance all of this. There's people talking. I think the celebrant's talking amongst all of that, it's hard to tell. So what do you do? First of all let's get the celebrant to the loudness it needs to be. We've used mute, you can mute that track, unmute that track. It's very common though just to solo a track. Solo, like a solo artist, means that track is only going to play by itself. These guys are going to be excluded. It's just useful, if you've got 10 tracks you can just solo one of them. So only the celebrant's going to talk. Marriage is-- And turn it off and they will come back to life, so I solo it again... and I'm watching my little bar... remember, if you can't see the numbers you might have to drag it out a little bit... and 'Spacebar'. It's not quite high enough, we know that, we can either click on it and drag it up. Let's do it both ways just to get the hang of things. So I've made it bigger, you notice when it's quite small... you can't see that little line, that's it there. You can't see it down here in teeny tiny view. So I'm going to drag the bottom of it just where it joins. I'm going to scroll down a little bit so I can see everything. Next I want to do is-- actually I've got a lot more audio than I do video. This bar in the middle, I can say, actually go up there a little bit. Just got a little bit more room for the audio. All right, so this is my celebrant, I can just crank him up until-- It's kind of close to it. Yep, I'd say that's it. Up about 7.8, or you can go the other way, I'm just hitting 'Edit', 'Undo'. I can go to you, go to 'Dialogue', go to 'Loudness', 'Auto Match'. Give it a second, and it's raised it up. There's a lot of laughing in the background at this wedding, it's a funny wedding. If you want to watch it all the way through-- do I have the final one in here? Go check it out on Editstock. Did I put it in your class files, I can't remember. I think I kept the file size down. It's not in there, but go check it out. The final edit is on EditStock, you can see somebody else's edit. Yeah, they are a fun couple, lots of jokes through the wedding... but we're going for like emotion here, but there's people laughing, listen. Can you hear the people laughing, you can't probably hear them... but play it through yourself, and you'll see... between kind of this chunk here, all through the chunks. There's laughter, because they're making gags all the way through their wedding. So what we can do is we can start editing it out. I can grab my, say I want to cut the chunk where there's, like giggles. I can grab my Razor, and you edit it just the same way you do the video. I want that back on, maybe right to the beginning over there. Now back to my Move tool, which is the V key, and delete it. So now we've just got the celebrant. You can get in there, and start cutting it all out. What I've found in this particular instance... is I don't really have to, because if I put the music on, turn solo off... and I'll undo that and put that back in... it's in Solo off, let's hit 'Play'. First of all that's really loud, and talking over it, I don't want that. I could just mute the tracks... or-- I don't want this background audio music. I want the background for this... All this, getting ready stuff, I want to delete it. So what you can do is you can right click one and go to 'Unlink'. Click the bottom part, hit 'Del'. All that work we've put in with the cross fades. So right click, 'Unlink', click that way. On a Mac, right click, I think you hold down... I've got a mouse in front of me so I can right click. I think you hold down 'Option' and click. I'm going to go 'Unlink', and then delete the audio. Let's zoom out a little bit, same thing here. You can't do them all at once, you can select them all. Unlink them all, then select them all, delink them, so got rid of that. I should probably grab them all, and drag it up to the next track. Here we go, so I've tidied everything up. Kind of run the risk of-- I can't put anything back in there, you can drag them, they're easy. So it's good, but the music's too loud now. So I'm going to grab this, and just drag it down. I find, with music, is you play it and drag out while it's playing. You need the balance, there's no official rule. The audio dialogue needs to be bouncing between -6 and -12... but music is, it's up to you. Maybe just a little bit lower. So you can kind of still hear it. When I was doing another edit I felt like the music could be louder... and I couldn't really hear the laughter, so I just left it... but now I can hear it and it annoys me. So I'm going to use my Scissors Tool, sorry, my Razor Tool... just to slice the bits out, and it's pretty easy too, where it needs to be... and you can get a bit of flow going. Let's have a listen. So there's a big chunk of... the big chunk in there. So that dream within a dream. C key, click. Drag Playhead. It's easier often to have the Playhead where you want it to be. If you try and do this... and go around here, it's fine... but I find, getting your Playhead... and it will snap to wherever the Playhead is... I find that's quite useful. V key, click, delete, ah, look at us. The cool thing about this ceremony... because it's-- you can't see the person talking... you can adjust this to kind of get it. It's going to be part of one of your projects... so you're going to go through and edit the rest of this. So know that it doesn't have to be-- we're not going to-- You could mix them around, who would know? We don't really want to mess around with the world... but there's no reason why you can't. If there's an awkward bit... or he just fumbles it and ruins the mood, you can delete it... but there's a lot of laughter in there so I might solo this track... or mute that track, either one... just to see. Go through now, and edit out a bit of that. You noticed, there was kind of jumping. The reason that's bad, well not bad, it's kind of like, why, oh-- You know I was trying to get in front of it, can you see just above it... there's the Dip to Black. So it's trying to snap to that, which is useful... but not in this case, I'm like, "Don't split to black"... so I get my Playhead, put it where I want to... and it will snap to both Dip to Black and my Playhead... which I can kind of force it to go where I want. V key, click, delete. So you might decide that's a bit closer... and that these are all spaced apart. I feel like they all should be really far apart for the mood that I'm going for. All right, so that's kind of basic editing, we've learned what 'solo'ing is. Make sure to turn it off afterwards, and you can mute different tracks as well. One last thing I want to do for my mood, is I want to grab all of this... and just drag it off. I don't want to start straight away, I want it to be a bit of music. 'Spacebar'. Marriage is-- Probably even further along. Just to have a bit of, get the music going, in the mood. Let's save it and let's get on-- like we're not doing full audio now... but just easing into it. There is a full section on fixing audio in terms of like reverb... and getting rid of background noises... like fans and air conditioning, that sort of stuff. That is in the one a little bit further along. The video will be called Fixing Audio. Haven't actually made it yet, but something like that. All right, that's it for audio for the moment. I'll see you in the next video. 28. Introduction to Color Grading & LUT & Looks in Premiere Pro: Hi there, the next kind of group of videos... we're going to start looking at Color Grading. So remember, earlier on, Color Correction is kind of like this. I started off washed out, now I'm a little bit richer... because I was playing with, remember the Lumetri Panel. So I'm dragging the sliders here to make myself a look a little better. So that is Color Correction. Color Grading, the two terms that come underneath Color Grading... is Luts, L-U-T-S, and Looks, we're going to look at both of those. They're basically the same thing... and they have this, where we go and change the feeling of it... to give it a vibe, Instagram filter style... and there's a bunch of them, look. All sorts of different Luts and Looks.... that gives a certain feel and quality to the image. Now we're going to do those... plus we'll look at things like black and white... we'll look at black and white. Black and white with some film grain. We'll look at some stuff... like this kind of orange and teal as well. Anything else? I've written them down. I was going to-- we'll do vignettes, my favorite, see the coolness. I use this too much. And that is kind of what we're going to be doing in the next few videos. The other thing I'd like to point out though is that... this is a applying a Lut or a Look. It just changes the-- you take the raw footage... and you just kind of change it a little bit... but for really true color grading... the cameraman and the lighting people... who need to be involved, I'll show you like... this is, I just flipped through all the filters there... using the Easy Panel that's in Premiere Pro. I'm pointing over there, there's nothing there. It's going to be over there soon... but I just flicked through all the filters. What needs to happen really is... this camera, just got these lights set up the exact same way. So let me change it a little bit to try and get a different look; you're ready? See, what do you think? How is the transition? Did I click at the right time, look in the right direction? I'm probably not sitting in the right spot. Hey, amateur. All right, but you can tell the difference, right? Like this is... I've done nothing with Color Grading... I just changed the way I've set up my lights. I guess I show you this because I'm definitely not a very good lighting person. It's more, I wanted to show you... because I got disappointed as well... like I'd go off, find this amazing videographer that I loved, buy the Lut... because it looked really cool, and I'm going to apply it to my footage... it's going to make it look really awesome, and you apply it, and you're like, "Hmm." It's kind of changed it but not really... because what you need to do is... you need to put effort into kind of the shoot. Know what you want it to look like at the end... so that when you are shooting you can talk... with the camera person, the lighting person... to work with them to kind of get the effect you want. The right lenses, the right camera, the right Frame Rate, the right lights. It might be out of what you're doing now... but if you do enjoy this type of, you know, the camera side of things... you can spend probably... a teeny bit of time, and be way better than me. I just wanted, I guess, show you... yeah, the possibilities of... why Luts potentially don't work as amazing as they promise to, and why... lighting and camera is important. What I might do is quickly show you what it looks like-- we'll do a little bit Color Grading here, what do you think? This is my favorite. I'll show you some of the setup that I have just for these two. Again, not a professional lighting person... but I'll show you what I did just so you get an idea. This is the first thing that you see, you've seen all through the course. I've got a bunch of lights in the roof... I put in some LEDs that are, the sunlight Kelvin... or bright day Kelvin, at least. I run those, I also have these two lights. They're the LED lights with soft boxes over the top of them. And that's what gives me that look. I like just a really bright look. Sometimes people like to ask... well, catch you off, asking what kinds of lights. That's the brand of this one, there are lots of knockoffs of this one. They're fine, these ones. They are actually just, let me show you. They are actually just, they come like that. Actually come with like, fences on the side, or gates, on doors. Can't remember what they're called... but that's it, it's like an 500 LED panel. That's dimmable, which is cool... and then later on, after a few years I bought these soft boxes. They're just, they're not made for that brand. They're called Diffuse, there's a bunch of these as well. Just Velcro's over the front of it... to diffuse the light a little bit more... because I'm looking for that real gradual light. I found it was a little bit harsh with just the LEDs... but that is my setup, let's look at the other one. Okay, this is the second setup. So that light that I had over there with the soft box on... I took it and moved it over here, and used it as a fill light... just to kind of, so it doesn't look like us... recording in an empty cave. So it's called a Fill Light, fills the background. I had that little guy on as well, just give it a little bit more. I'm not sure how much he's doing. That light there I turned down a little bit. You'll notice I turned all the lights off on the roof. Then I thought I might need this, this is just a ring light, my beauty shots. I thought it might need it to cast on the other side of my face... but I ended up, it looked a bit dumb, so I turned it off... and that's why that's there... but that's the second setup, that's all I did... really was, move the light that was there... and face it that way, and turn my head lights off... well, the top lights, you get the idea. So actually let's go ahead and do some Luts and Looks. 29. Adding a LUT & Look to video in Premiere Pro: All right, in this video we're actually going to... apply some Luts and Looks ourselves. It will be a bit clearer why they're the same but different. So I've got my wedding video sequence open. I'm going to be-- it doesn't matter which one but I want to see a person. Either this one or that one, or whatever. It's probably best to make sure that the Look... doesn't make the person into an alien, or some wrong color. So I'm going to use a person, I'm going to open up my Lumetri Color. If you can't find it, it's under 'Window', 'Lumetri Color'. Yours probably looks a little bit more like this. Now why I say Luts and Looks are similar, a Lut is a lookup table... and a Look is just a shortened version of that. Just so you know, a Lut is kind of more of a universal term. People talk about Luts all the time, doesn't matter what program you're using... but a Look is what Premiere Pro have decided to call it. The weird thing is, they've got spaces for both. So you can input a Lut here, they got a few built in. So I've got my track selected, or my clip selected... and work through a couple. Now go back to 'None', that's my Lut... and the Look goes into this creative section here. So what we'll do is we'll click the word 'Basic Correction'... just to tidy it all up; ah, safety. And under Creative there's the Look, it's just short for Lookup Table. Why have they got them in two different places? Basically Look is something that Premiere Pro does. There's a few other things about it that make it special... but they're out of the scope of what we need to know now... but the cool thing about it is... Premiere Pro's gone and made a bunch of presets for us... whereas in the past you'd have to download... a Lut from somebody and load it in. The other strange thing, and why they're so similar is you can load a custom Lut... that you've downloaded from some videographer that you really like... or some website that's got free Lut downloads. You can browse and load them in, which we'll do in a little bit... but you can also do the exact same thing in Basic Correction. So you can browse and load them in. The real big difference between the two is that... under Creative there's some presets... whereas under Basic Correction there's some standard camera stuff... but there is not the kind of wide gamut of awesomeness. You have to go and find them, but you can load them both in, in the same places. The other thing to note, and the difference is... I guess it's good to get clear about it. Wasn't sure how much detail to go into. So if your brain's broken you can skip to the next video... but the other difference is... basically these are fixed, get applied in order that they appear. So if I do a Lut here, then start adjusting the color... it's adjusting the exposure of the Lut. So that's been applied, and then I'm doing stuff to that Lut... to mess around with it... whereas the other way around, if I go to 'None'... what's happening is, if I mess around with the color here... get this right... I apply this creative thing afterwards. So I'm applying this Look after the fact. So once before, then you correct for color... and then doing the Look is afterwards... and I prefer this method, afterwards. I like to leave the luts alone... do my color correction, get it how I want... make it look good, we'll just smash on, on auto... then close down Basic Correction, go to Creative... and then pick a Look. Now since we've gone down this rabbit hole... one last thing is, often Luts are there to fix cameras. So say you got a camera, and you are shooting-- a specific camera, these are all camera names. So say you're shooting with this Alexa one here. They will give you a Lut to correct for it. So it might be you shooting something called Raw or Log... and they say, "All right, you've shot this footage... we've got this special Lut for you to make it the absolute best it can be." You can go find your camera manufacturer... and apply it to your footage, and it will just make it look more normal... or correct any sort of issues that that particular camera or lens has. Often Luts are technical fixes. And what people did in the past is they went, "Oh, if I mix this... you know, I'm using Alexa camera but... let's say I'm using this Phantom Lut on top of it, what happens?"... And you kind of mix them up... and people get excited by the different look... you got from mixing up Luts. Brain melting. Yes, so it's generally a little more of a technical thing... and then Looks are just... effects that you can apply, like Instagram. I keep using Instagram, I know. I'll stop doing that. Now we're going to look at applying these things. You've kind of seen me do it already. So we're going to ignore the Luts, you can use those, no problem... but under Creative it's quite handy... because you can kind of just move through these. You can either use a drop-down... you got to have a clip selected... and just, you can use the drop-down and go, "Oh, I wonder what blue ice looks like." It's 'blue'y and icy... or you can kind of move through it. You can kind of see down the bottom... it gives you a preview of what you're up to in this list. Then you click in the middle of it... and it applies it to the clip you have selected. So, yeah. I do a lot of this... right click, right click, right click. Because the thumbnail's not big enough for me. You might be fine with the thumbnail... gives you a good general sense of it, you can kind of get closer, you're like... The other things that are important for working with Looks is the intensity... because sometimes you're like... "Actually I like that but it's just too strong"... so I'm going to lower it down. You can decide to double down on it and make it 200%... or lower it right down, just so it's like a little hint. There's some ones in here that are quite, like Matrix. Matrix has a really specific color grade. Especially the green one is pretty clear, it's always that murky green. You can decide how murky green you want it to be... but it's that Matrix movie look. There's a bunch of other ones in there as well. Now let's say you do like-- I'm going to go to-- I like this one here... the Bleach HDR, for this particular wedding... I don't know, it's a Look. The problem with these is that... you're going to look back in five years, and go, "Oh, geez." Go into that Bleach HDR phase. Your client's going to have preferences as well. Fashion's going to change, so looks change as well. The thing though is to give it a good kind of-- is it-- how does it look? You're going to find a good part of the footage, I think that looks good. And you can turn it on and off by ticking next to Creative. You don't actually have to click that word. Just click the tick on and off; before, after. You see, it's a very distinctive look. I quite like it, that's the one I picked for this course anyway... but a picture, I'll be looking back, going, "Geez." Way too much Bleach HDR in my editing life. The other thing you might need to know is, under 'Look', you can go... scroll all the way to the top, there's like a little slider there. You can go back to 'None'... if you need to set it back to none. I'm going to go back to Bleach HDR, up to you. Now it is not really a class exercise... I just want you to, after this video is finished... just go through, just start toggling through and have a little look. What do you think works for this wedding, there's no right or wrong. Obviously Bleach is right, and whatever you pick is wrong... but pick something, it doesn't matter for this course, pick something you like... you can carry on with it... and I'll see you in the next video. 30. How to comparing before & after video in Premiere Pro: Hi there, in this video we're going to show you how to do this kind of comparison view. Before, you can see it up there, after. You can split it side-by-side and kind of do that, top and bottom. We're going to look at it now in this video. The cheat is, just click on that button and then click that button... but there's a little bit more I can explain. Let's do it now in the video. All right, to find the Comparison View, we go up to 'View'... and, ah, it's all grayed out. Why is it all grayed out? It's a test, brain test, how're you doing? Why are things normally grayed out? It's because we don't have the right things selected. At the moment my little blue box is running around Lumetri Color... because that's what I was using last. So you're like, "All right, I can fix that, no problem." Click on this, maybe you can click on my clip. Whoo. And go to 'View' and it goes, ha, still grayed out. Rats. So it's not always the Timeline... in this case I want this view here in my Program Window, click it once... and now, 'View', hey, it's will come to life. I can go to 'Display Mode'... Composite Video is kind of the general one. That's the one that we always look at... and 'Comparison View' is the one we're going to use temporarily, click it on. Really, that was more just a test of working out... how to make these things un'gray'... because there's actually a little icon... and you're like, "Why don't you click on there?" The icons there, in earlier versions it's not actually there... you got to click this little + button to add it... but currently it is, hope they don't move it off again... but we get to here, and what we need to do is-- what's this? This is doing some other fancy stuff, we want Frame Comparison. So I'm not sure if that's on by default, or not, can't remember... but you want it on, so you see the same thing either side. Now the before and after look the same... because what it does is, basically put it, turn it on and then do your changes... because it doesn't know what it's comparing to. So what you do now is you click on this... and you make some adjustments. So let's say I'm using Bleach HDR... and I want to change it to a different one. So I've got my clip selected, I'm going to go up here, and I'm like... I don't know if it's that or this Cross LDR... like which one, so now you can see the comparison. It's kind of like the last thing you did. So now you can see this one ore that one... and you can decide how you want to view it as well... you can decide, side-by-side or vertical split. Mine's not quite vertical but it should start off like that. You can just grab the center of it, just kind of like, okay. Just gives you a really clear, you can drag it back and forth... to kind of see what it does, and decide whether you like the before or the after. You can do up-and-down, vertical even. Horizontal, man I get this backwards, it's horizontal. That is the Comparison View. I often do it this way... just to see the before and after while I'm messing around with this. Just so that I have to turn it on and off... I can just kind of work through it and check it. When you finish with it you can just click on this little icon... or go back to 'View', 'Display Mode'... and 'Composite View' is the one we kind of normally end up in... and then, did not want orange or gold. Going back to Bleach HDR, High Dynamic Range. SL, it's Speed Look or Studio Linear, I can never remember. Doesn't make any difference doing it. Guess, the acronym game. Looks like this, which is cool. All right, let's carry on with the course. 31. Class Project 03 - Wedding Practice: Hi there, it's time for another class project. So class project is listed, remember, in your Exercise Files... under Z Class Projects, and open up that Word doc. The Word doc looks like this. So what I want you to do is I want you to add four more videos. You can add three, you can add five, but don't add them all. I want you to get them from the B Cam bin or folder. What I mean by that is, remember, this is our kind of home based project... and we've been working in A Cam, I want you to grab four of them from B Cam. I want you to practice things like opening it up in its own tab... and playing around with List, go to Thumbnail. Scrubbing along to get used to this type of editing work flow. Then I want you to add it into the Timeline. We don't need the audio from it, you might decide you'll have the audio. So you might have to make room for it on the tracks... but I want four of them all stitched together, put at the end there. What else we want to do? So it's all about rough edits, so I want you to do the editing up here. So I want you to double click on the one you want... have a little look at it, or look at it down here... remember, we can hit spacebar down here... to preview it as well... but up here we want to set-- I want you to practice doing your in and out points. So shortcuts are I... and O, practice doing that... and then adding them to your Timeline. Now in this case it's probably going to be dragging just the video... because that's what we want, we don't want the audio at this stage. So yes, it is just a bit of practice to get used to that. The other things I want you to do are, choose music. You can use the one I-- you know, I've been using. There is a couple more in your actual-- where is it, here, in the Wedding... under Audio, there is... those are the two I've been using... Blizzards, you might decide one of these two is good... or you might go back and find your own audio, which can be fun. Remember, there's the stuff from YouTube, Wistia or Envato Elements. Use your own music. The other thing I want you to do is I want you to color correct. Remember, just fixing the colors of each and every one individually. Just because they're all shot at different times... different lights coming through different windows. I want you to practice your color correction. Then I want you to color grade. Color grading is quite important in this particular one... because there are lots of shots that are, like very different. Like that one is very different from that. There's a very different look to it. So color grading is going to allow us to... add some consistency across all these different shots. So pick one, you're going to have to apply them each to every clip... decide on the intensity, you can play around with Faded Film. You can mess around with it... but it's under Creative, find the look that you like... and apply it to all the different clips. Make sure there's some sort of video transitions. They can be cuts if that's what you prefer... but remember, under 'Effects Panel', you can go into 'Transitions'... and don't make the world explode by using Page Peel. You probably just use Cross Dissolve... because that's what looks good at a wedding. Ah, fady. But that's up to you. We can't do audio transitions even though I want you to practice... it's because we've got rid of the audio tracks from this. These are all kind of hung out by themselves. You're going to have to tidy this up... get rid of the laughter, stretch it out, get it feeling good... and what I want you to do is export it and send it to me. What you'll have to do though is-- let me zoom out, can you see my audio track, it's very, very long. So what we're going to have to do is... I might need this eventually, but for this one... I'm going to get it down to this, even my celebrant... tied it up to here because if I leave it all the way up there... and I go and export my video now... it's going to be lots of video... and it's going to get to here, and the whole music's going to play. So just tidy it up to here, so that it will only export to there. Remember, it's under 'File', 'Export'... and go to 'Media' and then export an mp4. Then I want you to upload, it's like, "Man, there's a lot to do, Dan." It's like, yeah, we're practicing, we're doing stuff. I want you to upload it like we did earlier... to either YouTube, Behance, or Vimeo, or some sort of video hosting... because then I want you to get the link that you've got... from uploading that video... and I want you to share it on, depends... they changed the name of this, so it's either Assignments or Projects in this particular website... or sometimes it's just the comments on page. Just dump the link in the comments. Make sure you have a look at some other people's ones as well... and give them feedback... take some notes from what they've done as well. Remember, constructive criticism, please. It can be just a high-five, like, "Wow, that's really nice, nice work." The other thing to do is share it via social media... if you're okay with doing that. So make sure you share it, Instagram, Twitter... there's a Facebook group link here, LinkedIn group. Just tag it using the hashtag Premiere Pro. Just so that I can find it... so that when I'm looking for Premiere Pro stuff I can find it... because there's a bunch of other courses that I do. So social media if you like, I'd love to see what you're up to. It's also good to be held accountable. All right, that is your project, I will see you in the next video. 32. How to use an adjustment Layer in Premiere Pro: Hi everyone, this video we're going to look at this thing. It's an Adjustment Layer, we stick it on top of all my clips... and then we can add our Look to that... instead of doing it each individual for every clip. It's really easy to adjust, cover everything up... we turn it on, we can turn it off. All in just one lump rather than trying to do it for every single clip. Let's jump in now and I'll show you how to make it. So to create our Adjustment Layer what we're going to do is... we are going to go back to our kind of Project Panel. If you can't find it, little double arrow... it's this one here called Project, you know that one. We're going to stick it in here, I'm going to do it wrong to start with... because I know everyone's going to do it, I'll show you how to fix it. So we're going to add an Adjustment Layer. You do use it using this new item... little tag down the bottom here, little turned up page, click on that. For some reason they're not alphanumeric, you got to find Adjustment Layer. You have to look for every time. Click on that, and you get an Adjustment Layer. It's going to match the same height and width... of the sequence they have open. So it's all going to be perfect, we're just going to click 'OK'. The trouble with it, it's going to go into... like wherever you have had selected. In my case it ended up in Cam B, I'm like, "I don't want it to be in there." Do you remember how to get it back to the kind of like the root folder? Right back at home base, do you remember? You do, I knew you would. You click it and drag it to the left. Kind of drags out everything and kind of appears at the top here. I'm going to leave it at Adjustment Layer... but you can double click it and give it a name. Let's call, Adjustment Layer, let's call it Color Grading. Just to be clear because you can have more than one Adjustment Layer. Now it's in here, another way to actually create one if that doesn't work... go to 'File', 'New', it's in a weird place, there he is there. Where is it? I can't even see it, Adjustment Layer; why aren't you alphabetically ordered? Anyway, you can add it there. If it's grayed out it means you don't have a Project Panel selected... with the blue line around the outside. All right, we're getting there. So to add it you kind of click it and drag it. We're going to add it above all of this video. So that looks good to me, I'm getting right back to 00:00 I'm going to start it there... and I'm going to drag it all the way across. Now this is the bit where you're not going to like me much. The last video I said, add your color grading to every single clip... and you're like, "Man, there's going to be an easier way." This is the easier way. So a bit of pain, now you're going to find the awesome version... and you're going to be relieved. Step-by-step, we're getting better. So what I want you to do now is click on every clip... and go and set them back to 'None'... you're like, "He's not kidding... he's better be joking." I'm not joking, sorry. Go set them to none, you can do a little trick. We can go through, click on this one. Actually I'm going to zoom out, and try and drag... a little teeny tiny box across all the ones I haven't changed. Like that. Oh, you can't do it that way. Easiest way is probably click on it... and just turn the tick off Creative. So it's turning everything I did in Creative off. That maybe a slight tickle, I'm going to speed it up now. All right, sorry about that. All right, so why? It's because we can apply it just to this one Adjustment Layer... and we'll cast its color grading goodness across them all. It's best to color correct each individual clip... unless they are all shot in the same... like a lot of my how-to videos, nothing changes... so I can do it for the Adjustment Layer... but often you need to correct for every single clip... because they're all the shoes that are shot in a different room... from this one, potentially. So Adjustment Layer. It's kind of the same thing, there's just, with it selected here... we're going to make sure Creative is turned on... then we're going to go through and pick whatever one you liked. I used the bleach HDR, and you'll notice that it's applied to this whole thing. You have to have the Adjustment Layer selected for that to work... and now anything underneath has changed. Let's just do a really big-- I'm going to do Faded Film. So it's a really big clear change, you can see... it applies to them all, kind of like that. Let's go there. So Adjustment Layers are handy... for both color correcting, if you're doing general stuff for everything... but it's really good for this color grading... where we add a look, just to that, we can adjust it and turn it off. You can just extend it along forever as you keep adding footage. All right, that is the magical Adjustment Layer. Let's get on to the next video. 33. How to make a Black & White video in Premiere Pro: Hi everyone, this video is all about making black and white videos. The short version is, you select your clip... go to 'Lumetri Color' and pick 'Monochrome'... from the Creative Look Panel... but this video goes into a little bit more detail, mainly around... sequences, and kind of getting multiple sequences going in our learning experience. So hang around for that as well. All right, let's jump in, let's make some black and white video. What I want to do first is, let's go back to our 'Project Window'. So remember this little arrow here and go back to 'Project'. What I'm looking for is-- you might have to close them all up, tidy it up a little bit. I want to find our footage. I'm going to use the little arrow to get into it. I'm going to open 'C Cam', and I'm going to go down to... something called 'CO19'. That's why I like List View for looking for file names. What we're going to do is right click it... and we're going to go to 'New Sequence from Clip'. It's giving it the same name as our movie. Yours are going to be dot mp4, '.mp4'... because I've reformatted them to make them a little smaller for the exercise files... but it should have the same name. We're going to call this one Experiments. Experi-ments, that's close enough. Now it's in the wrong folder, remember how to get it back to the root? You click, hold, vaguely drag it around here... and it should disappear from that list; scroll up... and there it is down here. Experiments, that does it for me. Cool. So what we're going to do is we're going to experiment with black and white... plus a few other effects we'll learn in the next couple of videos... and I want you to get used to... toggling between these two Timelines. You now have a project with more than one sequence. We're going to keep it pretty light for this course... but I want to show you a file, wait there. So this is a file I just grabbed out of my archive, because it looked impressive. Look how many, can you see all these folders here? So this is one Premiere Pro project... that has 92 different separate sequences in it. So you can see, it's up in number 3. There's a video that I've made... it's the third video in this series, and is a 4K version... but I also made a version that's not 4k. I made a version that gives away some free stuff at the end... so there's a different version of it. They're all separated into their own little bins... there's a 4K and an HD version... and that goes on forever. So you can get projects that are huge... in terms of the amount of sequences they have. You can see, all mine are open over here, all the different Timelines. My media's missing at the moment because I didn't want to... download and link all that up because it takes forever... but just know that we've got two new projects now, right? We've got our Wedding one and our new Experiments. We're going to toggle between them, but you might end up with ten, five... or me, a hundred and-- well, was it 92. So I've now got two projects open at the same time... which is real confusing, we looked at this earlier... I'm going to go to 'Close the Current Project'. And by doing that you need to be on the project when it closed, not this one. I want to close this one, this is just an example for you. You don't have this file so you can't play along... but I'm just going to show you, I close this project... and this is going to disappear... all the sequences that are all open, in a second. I'll speed it up, and I'll see you again in a sec. All right, so we're back, we're in Experiments... practiced toggling between these two. What we're going to do with this one here... is we're going to apply the black and white look. So with it selected here, make sure Lumetri Color's open... remember, 'Window', Lumetri Color'... and where it says Creative, click on that, go to 'Look'. You've probably discovered these already. Let's go to 'Noir'. So either of these three, 1965, I quite liked... but you can maybe click through them, click on them, decide. Now the thing is, with black and white there's different kinds of black and white. There's another one here called Monochrome, where are you? There's, these group, different-- They have these things like Kodak and Fuji. Just to kind of represent old-style actual physical film. Remember, you might not remember... but there were film that went into cameras... and they were-- Kodak had their version and Fuji had their version... of what black and white should look like... and they're just different, and it tries to mimic it here digitally. Anyway, pick your black and white. What you can do though is once you've picked that Look you might go back down... to Basic Correction, and start adjusting it in here. Things like the blacks and whites... and shadows, and against there, at the bottom... and just kind of work through and decide what works for you in this film... to get it how you want it to be. What I think is quite cool when you are doing black and white... is to look under Creative... I click these words just to close them up because it does get confusing. So under-- close down Basic Correction, open up Creative... and the Faded Film effect is pretty cool. Just kind of built into there. So you can decide on, whether that works for you. Let's add some noise in the next video. Kind of hopefully finish off our lovely black and white look. Lastly, before we go, let's just practice toggling between these two... closing that one down, you can close both of them down. There's still here, my Project Window, so I can open up Experiments... and Wedding if I need to, I can close down Wedding... but still have Experiments open. Was getting used to having multiple sequence in a Premiere Pro project. One project, potentially lots of sequences. In this case there might be a small version and a long version... like a 36-- a 30-second version that's kind of more of a promo one and then a real long version. That's what we had for-- that's what I had for my wedding. Just a short one, everyone. Good to see, was quite cool and quickie, didn't last very long. Then there was the one that only me, Mum... and Nanna sat down and watched where-- it's the really wrong-- and my wife... sat down and watched. So in this case you might have two sequences. All right, let's get into the next video, we'll look at Film Grain. 34. Adding Film Grain using the effects panel in Premiere Pro: Hi everyone, this video we are going to make our video... have a bit of film grain, kind of noisy stuff. I'm not sure if you can see it in the preview, I'm going to turn it right up. That's the stuff we're doing, that's far too much. So I want something a bit more subtle like this... but it's easy to do using the Effects Panel. We're going to use something called Noise to add this kind of Film Grain. All right, let's jump in and work out how to do it. So I'm going to show you Film Grain... but really what I want to do is introduce you to the Effects Panel. Currently we've been doing everything through Lumetri, black and white. You can do some stuff like Faded Video, some cool stuff... but in terms of like special effects... there's a panel over here in your Project Window. Click on this little double arrow, and let's click on 'Effects'. If you can't find it go to 'Window', and come down to 'Effects'. Some effects. We've done transitions... and we're going to look at this Video Effects now. So let's twirl this down. Now I'm going to introduce a little shortcut because this is... it's not hard to find but I'll show you the way that... normal heavy users of Premiere Pro... not even heavy users, just people, just see how this panel is used... because I know it's in Video Effects... and I had to go through and like, I'm pretty good at Premiere Pro... and I was like which one is it? Isn't it under Distort? No, it's under this one. Oh no, that's right under Noise and Grain. And then you find it in here... I know what it's called, it's called Noise... but what ends up being an easier way to do things... is go to 'Effects', see this little search guy at the top here? Just type in the beginnings of 'noise'... and you'll see everything that has, in any panel, has the word noise. I find that's an easier way to find it. We're going to apply it. You click, hold, and drag it either to the window... you can't do it here, drag it to the clip... but the video part of the clip, not the audio, drag it on... and we have some Film Grain. One thing when we are using this Effects Panel, let's say that we-- I just want to wrap this up, the search in case. If I delete noise, and I'm looking for-- remember our Cross Fade? I find it's easy just to type 'cross', there it is there. Constant Power, Cross Dissolve. I want to do Dip. Instead of digging through which ones they are... Dip to White, and Black are there. The one thing with it though, is the search doesn't disappear... so you might later be going... "It's broken, Dan," it's broken. It's because this guy never disappears. You have to actually hit the little cross or just delete it... then everything comes back to life. Cool. Effects Panel, we've applied it, you're like, "Hmm, what happened?" Have we done much of this? It's clip selected, Effects Control. So you apply the effects down here, and this is the way you control it. Technically when we added our Lumetri Color... when we did our black and white... that's been applied up here. You can see, Lumetri is the first thing we did. There's some default stuff... like our Motion Effects and our Opacity... and Lumetri's what we've added... and what you'll notice is, can you see, Lumetri Color... it's the same over here. You'll see there's basic Correction, Creative, and Curves... can you see over here? Basic Correction, Creative, Curves, they're all in two places. They've made this lovely Lumetri Panel... because it has nice little icons and sliders. Up until they made this lovely panel you had to do it through all of this junk. Ah, it's hideous. It worked, worked perfectly but doing the effects through here... works, but it's just not intuitive and nice, and it's a poor UI. So you can do in here or over here, it doesn't matter. We're going to twirl it up for the moment. Just to get rid of Lumetri Color. We're going to look at Noise, there he is there. So you have to have your clip selected, you've dragged it across... and you can see it in here. Now, by default it's at 0, so it's done nothing. Click, hold, drag this to the right, you can type it in. I'm just dragging mine. It's very common to scrub. So click, hold, and drag left, right, left, right... in these sorts of programs. So you can click it in here to type '20', if you're that way inclined. You can actually twirl it down, there's like a little slider here... lots of ways of doing it. So I've added Film Grain, I'm going to put in way too much just... because it's hard to see sometimes... on the video that you're watching. Now we're going to hit 'Play'... and your machine's going to freak out. I'm going to hit 'Play'... and even mine, super serious machine-- Effects are... depending on the effect, can really slow down your machine. That will render and play fine when they're exported... but while you're in this working view... you're probably going to need to go down to 1/4... because I don't really need it to be super high quality when it's playing. It looks bad there, but watch, when I stop... you can see, it actually shows you the high quality output. It's only when it's playing does it go down to 1/4. And that's important for all things, when you change it down to 1/4... when it's paused it's giving you the full version... but when you play it, it's just going to give you a basic one. It's up to you whether you can live with that or not. Not sure if you can hear it but my poor laptop, the fans are flying on... trying to keep up with this effect, it's not a big effect... but anyway that's adding a bit of Film Grain. It's actually just called Noise. You can play around with these types... whether you're going to use color noise or just black and white. You have to zoom in quite a bit to see the differences, color, non-color. Decide what works for you, there's no like right or wrong... and what I find is - I'm going to go back to 'Fit'. - is that it just needs to be subtle. It's too consistent that way. I'm going on 20%, kind of works for me, gives them that... gives me that effect without it really being overbearing. Black and white, bit of Film Grain. Another thing I want to show you is how to turn this off and delete it. Say later on you're like, "Ah, man, don't like the grain"... or the client comes back and says... "What the hang is this grain?" I thought you shot it in really good high-quality cameras... I'm like, "Yep, I did." So over here you can turn it off by hitting this little 'Effects'... and you can't really see, I'll crank it up to a 100%... just a second, see it turning on and off. So on/off. Turns it off just temporarily... and if you export your video now it's going to export with it not on... or you can be a bit more hard core. Click on the word 'Noise' and hit 'Del' on your keyboard, and it's gone. It's the same when you're doing Lumetri. So Lumetri Color, say later on you're like... actually, you don't want that anymore, just delete it, and it goes away. So that's how to turn it on and off. All right, that's Film Grain... and bit of an introduction to the Effects Panel... and getting used to this Effects Controls. All right, let's get into the next video. 35. How to add darkened edges vignette to video in Premiere Pro: Hi everyone, we're going to look at adding a Vignette. It's this lovely dark stuff around the outside. Off, on, off, on. You can add white stuff as well around the outside, very different effect... but very easy to apply, let's jump in now and apply a vignette. All right, to apply our vignette... we're going to add, remember, my Experience Timeline. I'm going to drag out a bit of footage, you can drag anything. I'm dragging B005 from Bin B. Just make sure your Playhead is above it and that the clip is selected. Make sure you can see your Lumetri Color Panel. It's this one here, under 'Window', and there it is over here. What we might do is just close down everything... so that you can see the last one here called Vignette or Vi-gi-nity. I can never spell it, I'm typing it in Google. Even Google's, you know, "Did you mean?" Sometimes it just doesn't, so Vi-gi-nity is how I remember it. With it selected, and down... with your clip selected, just drag this top slider to the left. You'll see, ends at nice kind of darkened edges in here. So dragged to the left gives you dark, drag it to the right, gives you white ones. It's probably not the right effect. I feel like it's more of a... you know, like... thought actually might have died... and this is more of like a recount of a life, remember when... and this, dramatic. All right, this could be me. You can play around with Midpoints, basically I just leave them... but just so you know, you can kind of stretch it in, stretch it out. It depends on how much you want. Roundness, let's drag it in there... I want to show you roundness, you don't have to. Can be a square vignette or a really round one. Can you see this one, let's go for Amount, Midpoint. I'm trying to kind of at least show you, there you go. So roundness, do you want it to be like that? Feather is how blurry it is on the edges, you probably want it pretty high. And Midpoint, let's turn that down so you could see what Midpoint does. You might want to just get the edges, look at that, just a little hint at it. It's a weird feature where it's... you know, we-- I add it way too much, I love it. Every video that I ever make, add a vignette. Never a good-- it's like Lens Flare in Photoshop. When I first learnt it, put it on everything. Problem is, I've never grown out of it, I just have it on everything. What are the defaults? I can't remember... Just going to stick more in the 'middle'ish. Now we add as an effect, it's kind of a by-product of old photographs. When you had bad camera equipment... you were forced to have vignettes because it couldn't capture the light... and the focus around on the outside, we add it now as an effect. So it's up to you, you might hate it, I love it. You want to turn it off, just turn the little tick off... turn it back on; that my friends is a vignette. Known only to me as a Vi-gi-nity... you too, now. I've cursed that word for the rest of your career... you look at it, you'd be like... yeah, geez, vi-gi-nette, I can't spell. All right, that's the end of that one, let's jump on to the next video. 36. How to apply the Orange & Teal effect to video in Premiere Pro: Hi everyone, this video we're going to look at an effect. It's Orange & Teal, which are off. Looks fine, Orange & Teal is just a really kind of... a popular Filter or Look, or Color Grade at the moment. Call it Orange & Teal because it's got orange and teal bits in here. There's another one we do; off... that's the original footage; on, just gets a little bit of... I don't know high fashion or retro awesomeness. Same with this one; on, off. This one here, clearly something retro... but yeah, that's what we're going to be looking for in this video. Those are the examples, I want to quickly show you... just some other, like it happens a lot in photography as well. We do it in the Photoshop Essentials course. And just, this is kind of... this one here is probably my most exciting example of it. You can see before and after. I'm just looking at other people's kind of work through Google images. You get a sense for the feeling of it, that's what we're going for. Some movies use it, like the latest Blade Runner... has a very, like they've kind of, not overcooked it, they have... really embraced orange and teal as a video... kind of color grading, you can see it, it's quite "Matrix'ey... but the new Blade Runner has it all the way through. You can kind of see this orange and teal going on through it. Let's have a little look at-- say with one of the latest Transformer movies. You can see here,it's got a very, like... it's not subtle, they've gone... they've gone all in on the Color Grading there. You can see some of these examples. All right, that's Orange & Teal. Stop waffling, show us how to do it, Dan. All right, to add this effect, it's pretty easy. We have-- you might have been wondering... why this footage was in here; today's the day. So underneath-- in your 'Project Panel ' you'll find under 'Footage'... there's one in there called Orange & Teal that I've been ignoring. This is just for this particular exercise. Why? Because you can apply it to this Wedding one, we will... but it's just not the right footage for it... and doesn't give a really nice effect. So I want to show you like... A, give you the best footage to give you a great effect... but also explain that doesn't work on every bit of footage. So Orange & Teal, what we're going to do is... using our Experiments let's drag in, what have we got? We've got... this one's got audio, let's drag in the first two. Not organized, you can see mine's got 3, 2, 1, 4, random. It's organized by Frame Rate, so I'm going to hit 'Name'... so that they're in 1, 2, 3, 4, happens all the time. We're going to drag in two at a time. I've clicked the first one, held 'Shift' to click the second one, watch this. Two at a time. Oh, does it fit in there? It does. I'm just kind of separating this out for no reason... other than these just little experiments. So works really good on 'beach'ey scenes, I feel. So with it selected, your Lumetri Color Panel open... go to 'Window', 'Lumetri Color', if you can't see it... we're looking for this one called Color Wheels & Match... and it's pretty simple. You want to do the shadows first, highlights, and their midtones. Shadows, there's this little target in the middle. All you want to do is kind of click in this sort of area. Even in this dark area you'll notice it just kind of moves. You can drag it, it's painful to drag for some reason. Ah, I'm dragging it really hard. So you can just click anywhere and it will jump to there. We've done the bottom right. Highlight's kind of in the top left. So you want to get this down into this Teal range... and you want this up into this kind of like... gold orange amber color, you can already see, it's got that effect. Midtones will depend on your image, sometimes I don't move it. Does it need it here? This one I'll actually just click a little bit up there, is that better? Little bit down there. Depends what you want to do. There's no like official-- it will depend on the footage... and how much you want to apply this thing. It's the basics, let's turn it off and on; off, on. You can see it's got that lovely glow, I feel like we're in Miami. I have no idea where this is, but... I've never been to Miami, but feel like we're there. Let's have a look at some other footage, the second one called Coffee. It's a fine-- finally, you know, composite image. The rule of thirds have been applied. Just kind of occupying this space, that's great, let's add that effect. So with it selected, remember, down here... up there, and then something in the middle. I always find this effect works really nicely when you go up to Creative... and look at Faded Film, just kind of add that a bit as well. Gives it that retro-- man, look how good it is. It's up to you, there's no real, like an official look. You're going to find it, and you're going to go... "All right, that works for me in my situation"... because I actually went out and found footage that work really good with this. I trialed a couple of things, it didn't work... and I'll show you that in the Wedding one at the moment. The other thing you might do is... under the 'Color Wheels', let's play around with the intensity here. Crank it up, lower it down. Depends on-- there's no right or wrong way as well... just to kind of get a sense of... adjustment. I feel like mine's fine as it is, this one here... just a little tweaks. All right, let's have a quick look at the one that doesn't work. This one here, my vignette, there's nothing wrong with it. First of all I want the... dramatic vignette... and the Color Wheels here, I'm just going to show you like, you, you... then something going on, it's cool... and it's very like my-- one of the Looks that we had earlier. Looks like Bleach. Obviously this is one we can customize a little bit more... and it's fine, there's nothing wrong with it. I just feel like it's not very, like if-- it's not very clear what it's doing, it's a Color Cast. It's Color Grading, just not that hard core. I guess what I want you to do is... you'll see people's tutorials online, they'll go like... "Do this," and you look at their example, and you're like, "My God, that's awesome." And you go off and do yours, you're like... "It's okay, but just not quite right." It very often has to be Miami pictures. If you're doing... I don't know, selling houses in Miami, or tourism in Miami... this is only going to work. All right, these are like our little micro class project. So what I want you to do is there's another two options in here. Orange & Teal 3 and 4. I just want you to drag them to the Timeline, and on your own... someone's got some audio... you can delete that, it doesn't matter, I don't think it says anything... or has anything in it. This one is pretty heavy color cast already. You can kind of see, but have an experiment with this one. Have an experiment with this one just on your own. I don't need to see your results. There's no like homework to do... I just wanted to give you some stuff to play around with. You can go download your own, obviously, look at your own footage. Play with a bit of Orange & Teal. Remember, Faded Film is a little bit of secret source... to make it look even better... but yeah, all right, I'll see you in the next video. 37. Creating your own default preset effect & lumetri in Premiere Pro: Hi everyone, we're going to create a preset. We're going to add some noise to this film... we're going to add a bit of color grading to it... then we're going to turn it into a preset... and then we're going to grab random of the footage and apply it. Ready, steady, apply. It applies both the Lumetri Color changes that we made... plus some of the effects that we made in the Effects Panel. It's a way of kind of bringing together... separate parts that you've done in Premiere Pro... to change the footage into one reusable preset. Super helpful for those repeatable jobs... where you want to do the same thing every time... and get the same kind of effect and look. All right, I'll show you how to do it now in Premiere Pro. To create a preset we need to actually do something to some footage. I'm just going to use-- which one I'll use? I'll use this one here. So which one is this one? This is the shed. I'm just going to do a quick little bit of... orange and 'teal'ey looking stuff. Remember it captures Lumetri Color... and you could just do that, and create your preset. We're going to do something a little bit more... so we're going to say that, plus we're going to do our effects. Remember, under 'Effects', we want to put on our 'Noise'... and where's our Noise, there it is there. You can do as much or as little as you like and increase the noise up. Okay. Oh, it's looking good. So we've done a couple of things... it could be the black and white, we have to have a vignette... because that's my addiction, can't help myself. So we've got a few things applied. Basically what we're doing is we're looking at this Effects Controls. Doesn't matter if you applied Effect on here or Lumetri Color... you can see in here, these are the different things we've done. You can include anything in here. We are going to include-- I'm going to hit those little chevrons just to... tidy things up to make it look nicer... and I want to include this one. I'm going to hold down my 'Command' key on a Mac, and click on this 'Noise'. So 'Ctrl' key on a PC... and I could decide to hold that one... so you can see, you can select more than one. I'm going to click it again... holding down 'Command' on a Mac, 'Ctrl' on a PC... so I just want two of them. These are what I want to include in my preset. All you do is right click any one of the words here and go to 'Save Preset'... and that's basically it. What I'm going to do is going to give it a name. I always give mine my first name... mainly because later on-- if you call it Black and White or, I don't know... Orange and Teal, or something else... you might forget, like is it the one that's Preset... or is that one that came with Premiere Pro... or is that one I've made? So I'm going to call this one... Orange Teal + Noise. I'm going to leave it 'Set to Scale'. You can add a description that nobody will read. Okay, where does it go? So we're going to add, you can add any footage here. You can be working on our-- let's go back to our video footage. What have we got here? Let's do it to-- I'm going to bring in the last one. You've already done it in your practice exercise. So which one are you going to use? Let's overwrite it. Actually no, let's use a bit of the Cam B footage. So I'm going to grab it, grab anything I like... and I'm going to stick it on my Timeline. Oh, can't fit it in there, what do you do? Zoom out a little bit. Remember, minus ' - ' on your keyboard. Stick it in here, I'm going to apply my preset. Where do they hide the presets? Go to 'Effects', click on this. You can do a search for it, if I type in 'Dan'... here you go, all the Dan ones together. If you don't do that though they're all under Presets. So if any of this is open just close them all down... go to 'Presets', and there's mine there. So there's my preset, I'm going to drag it onto my clip... and it will apply both that orange and teal thing that I made... and way too much noise. Good shot. So yeah, that's how to create a preset, it could be anything in here. You could play with the opacity when we get into doing animating... moving things around. We set Position Scale, will be in your Preset as well. So really handy for 'repeatable'ness. Can you see over here? For some reason that's the icon for your presets. It will show you, if you squint and look in there... actually has noise applied to it... and the orange and teal just gives you a kind of a... tries to give you a preview. All right, that's presets, my friend. Let's get on to the next video. 38. Importing & using someone else's preset in Premiere Pro: Hi everyone, this video we're going to look at... how to find and import other people's presets... free ones from the internet... and get them into Premiere Pro, drag them onto our footage, and... ah, like we did in the last video... but using other people's downloaded presets. The super shortcut version is, in your Effects Panel... just right click this little stripy line here and say 'Import Presets'. I want to discuss a little bit more in this video... around how to add them, how to change them... delete them, where to get them from. Let's dive in and talk about other people's presets. All right, to get started let's pick a bit of footage. I'm sick of Cam B. We're going to go to Cam-- we got footage. We'll use Cam D, haven't been in there yet. So I'm picking D005, haven't even looked at it, it's going to be great. It's kind of cool. I am going to right click it and delete the audio, you could mute the track. I don't want this audio so I'm going to unlink it. Click on the bottom part, hit 'Del'. Find a good spot, it's in focus, that feels good, at Full. I am going to install somebody else's preset. To install a preset we're going to go along to our 'Effects Panel'. There we go. We're going to right click 'Presets', we're going to go to 'Import Preset'. So just right click the word up there. You can go up to the little burger menu here and import it as well. Either way we'll end up here. What you're looking for is these, that's the extension, the ugly extension. Premiere Pro Preset... not sure. Filter Preset, there you go, that's what explains that one, it's a crazy one. Now where can you download them? I'll show you that towards the end. I've got one ready to go for you, so I'm just going to show you... it's easy, just download them... but in your Exercise Files, in your-- where is it? Under Wedding. I put it in Graphics, that's where I tend to put my presets. Probably they are project files, whichever feels good to you. I've got this one from Motion Array. They've given us some presets... for free to download, I'll show you where to get them in a sec. So you've done it, you're like, "Huh, awesome, where are they?" Down here in your 'Effects Panel' under 'Presets', twirl that down. It's whatever they've called them. They've called theirs 10 Free Color Presets. It might be called Motion Array Presets. So just be looking through these folds, and seeing what they might have called it. This one here has a bunch of presets; cool, huh? To apply them, it's the exact same way we did our own preset. So if you grab 'Vignette', and drag it over... you get Dan's favorite; a vignette. You can see over here, they've done it slightly different... they've done Lighting Effects, there's a-- they've done a lot, different way of applying the same thing. You might like it better. To delete it I'm going to click on 'Lighting Effects'... and just hit 'Del' on my keyboard, go back to normal. Let's have a look at, looking at Moonlight. This one here, click, hold, drag it on to my footage. It's got a very specific look. It's got this kind of like Color Cast over here... let's do some other footage. I picked this randomly. It was a terrible idea. Let's have a look at Cam D. Let's go to-- let's open up 'Cam D', let's go to Thumbnail View. Let's go to something, let's use that one. It's easy to see with some people in here. So back to my Effects Panel... and I'm going to use 10 Moonlight. Very dramatic, looks like night time, and the moon's there. So this is somebody else's preset that we've installed... you can work your way through. The one thing you need to be careful of is... let's say that I don't like Moonlight, I'm going to apply 'Spring'. It won't override it, it will just add it to it... which might be exactly what you're looking for... but over here you can see, if I twirl these down... it's added that lighting effect which was Moonlight... but also these two other things... that are Spring, and they're all combining. So what you might need to do is delete Moonlight. Spring... it's not working for me, but it's all right. Now you can adjust them all, hopefully adjustable. So in here if you're okay using the RGB curves.... you can start playing around with this. If you're not, you might stay away from it. Some of them are easier than others. The 4-color gradient should be easy to adjust. So you can decide, if you don't want green you can double click it... pick another color, you might work your way through adjusting it this way. So you might just start with somebody's preset and do some tweaking... and when you're ready you can select both of them so you've done some changes. Remember, select more than one of them... if there is more than one. Hold, which key down on my keyboard? That's right, on a Mac it's 'Command', 'Ctrl' on a PC, select both of them... right click them and save as your own preset. Kind of based on theirs, but you've made your own. One thing we should really be doing is... I'm going to select both of these and hit 'Del'. I'm going to be doing it on an Adjustment Layer. So let's say that I've got this, let's look for Cam... D Cam, I say that backwards every time, it's probably annoying you. So let's add this one as well, I'm just throwing a few in... to give you an example because you can do it per clip. That's what we've been doing up until now with presets... but remember, early on in the course we learned what an Adjustment Layer does. So we're going to create a new Adjustment Layer, new item... find 'Adjustment Layer'. It's going to match my footage perfect, I'm just going to drag it on. Extend it out to cover everything, and apply it to this... then it will affect everything underneath. So back to my 'Effects'... and let's go for 'Spring' and add it to the 'Adjustment Layer'. Then you're controlling just the Adjustment Layer... and everything underneath it. we've got the same effect, random effect. So there's times in this class... where it's actually just easier for me to add them to the clip... but if you're thinking... "Hmm, why doesn't he do an Adjustment Layer, that would save time"... you're probably right, I'm just trying to keep the class... like it's concise and not to get them too confusing. I'll try and use more Adjustment Layers. Cool. Next thing I want to show you is where you get them from. It's not particularly rocket science, type in 'Premiere Pro free presets'... and there's loads out there, and it's like lots of free stuff. You've got to search through lots of, not that good stuff to find good stuff. One place I do end up going back to a lot is this place called motionarray.com I'll add it to your links file. There it is, Motion Array... I'll add it to your Links folder, that's in your Exercise File. Yeah, there's no real-- you just kind of go through... and you've just got to look for examples. Motion Array as a video editor comes up a lot for things. So Luts are different, but basically they're the same thing. It's like Lumetri Color... but doesn't include effects as well, so it doesn't really matter... I guess, Presets, Looks and Luts are doing the same thing, we're correcting video. A Preset often includes not only the Lut or the Look... but also effects, like the noise that we did... and the lighting effects we saw a second ago. So basically just kind of go through here and you're looking for free color presets. The ones that I got for you, I can't remember which ones they are. It was called 10 Free Presets, and they're pretty cool. You just kind of go through, download them... and you'll end up with this weird extension. I think you have to say-- I think you might have to sign in. Wow, it's loud. You might have to sign in to download them. Yeah, I'm pretty sure. I've already done that, it's free to sign in. You just download them and you end up with your weird PP... where is it, there, prfpset file. People sell presets. You will find people online selling them, and there's nothing wrong with a sold one. You might like somebody's style, and they sell them... and that is amazing, it supports them and it can look really good. Note that-- we've done it a few times in this class where you add a Look... and it looks good in the example, and it looks terrible on your footage. That is more common than it is not. So often you're like, "Oh yeah, make it look cinematic"... and drag on a Preset, and you're like... "Oh, it looks a little bit more cinematic." That's probably pretty true. A healthy dose of realism is required... dealing with Templates, Presets, Luts and Looks. Man, I'm such a downer today. Let's do more happy stuff, let's get in and talk about... other things in the next video. All right, bye guys, next video. 39. Speeding Up Premiere Pro so it doesn’t run slow 1: Hi everyone, this video is about speeding up your computer. If you are ready to throw your computer down the stairs because... it runs real slow, and the bouncing ball of doom happens on a Mac... where you get the hour glass on a PC, and it just can't work... and you're super frustrated. Even if you're not, you will be soon. The more that we go through this course, the more effects... and presets and filters that we're going to do... and it's going to slowly drive your computer to overheat. If that sounds like you then this course is for you, or at least this video is. Let's see if we can tame the rage. So you might find that your computer is already stressed out... or not quite stressed out, mine seems to be running just fine with the footage... and the reason why, mainly it's because... these are mp4s that we've imported, and... Premiere Pro loves working with them. It's a really easy codec that it can work with. If you're using other file formats, sometimes, like movs or other formats... it can stress it out a bit more. The other thing that I've done is I've made the mp4s really low quality... which means it can play it really easily. So if you're working with mp4s and it's really slow... it's probably because you've got really good quality footage. So how do we stress my machine out to try and show you? I'm going to just pretend it's running really slow. By slow I mean you hit 'Play' and it just spins and doesn't quite catch up... and it jumps along, and it can't do things. So what we want to do is... just so you know, the things that mostly stress it out... are things like the Effects Panel. So if I add a Gaussian, there you go... if I add Gaussian Blur as an effect... Gaussian Blur is the effect... it's the blur everyone uses in every single creative product. It's the same here in Premiere Pro. Blurring it out, let's hit 'Spacebar', ready? Hit 'Spacebar'. It's actually doing okay. Good, bad computer. You might find, if you do the exact same thing with your footage... Gaussian, it might take a little while, so how do we fix it? The easiest way is, we've looked at this before... is actually just to playback in 1/4... speed. If you are dealing with 4K footage... like really big high quality footage... which we'll talk about later on in the course... you can go down to these lower resolutions. They're grayed out because it doesn't go that low. So you might decide that 1/4 or 1/2 is the thing that works. Remember, you're not changing the actual export quality, you're just ex-- just the way it previews in Premiere Pro, it exports perfectly good. Now the other thing is just to check the minimum requirements... which is way too late. You've got Premiere Pro going, you might have to have a look at... what Adobe says should be your minimum and recommended requirements... and try and maybe upgrade your computer or buy a new one... but that's obviously out of the scope of this course. Let's look at things that affect the performance for me the most. It's mainly due to RAM. So RAM is a specification on your computer, right? So up here under 'Premiere Pro', under 'Preferences'... on a Mac I want you to go down to 'Memory'. If you're on a PC it's under 'Edit'... and down the bottom here will be 'Preferences'... and go to 'Memory'. What you can do is you can allocate how much memory Premiere Pro is using... and leaving for the rest of the programs. You can see in here, in my case I have 64 Gigabytes of RAM, which is... at this time of recording, quite high for a MacBook Pro. Won't be in the future. I've left 10 Gigabytes left for other things to do. Often I have to come through here and change this quite a bit. I used to say actually leave 30 Gigabytes for other things. Mainly because I do lots of screen recording... at the same time I'm doing Premiere Pro... and the screen recorder needs some RAM to do its thing. So you come through here and say, actually get none, everyone else gets... it's a minimum of 6... and the rest of your operating system only gets 6 Gigs whereas... Premiere Pro gets the rest. So that's something you can do in here... but let's just say-- I'm going to put mine back to a moderate... that some of my other applications work, I'm going to click 'OK'. That's an easy one to look at to see how much RAM you have if you're not sure. PCs are quite easily updatable with RAM. Macs are near impossible. So you could go through and throw some more RAM into your computer... if you are finding you're around the 16, and it's running really slow... you might want to think about 32 or 64. Probably the most effect that has on me, as other program's running. So you can kind of see my Taskbar down here now. I'm using this bit of footage to do the screen capture. You can see the little black dots, just means I've got things open. So you want to close down everything that's not essential to Premiere Pro. Everything that's not essential to Premiere Pro. For me, I need my Chrome open because I need-- that's where I've got my notes that I use to teach you guys... that I kind of refer to before I start my video. Screen Capture, this, nothing else open. Make sure Word's not open, you've got Spotify not open. Anything you can close down will make a drastic change to Premiere Pro. If you've got Photoshop open at the same time... Man, that really, they fight over the RAM, and it just goes badly. Now this is on a PC, on a Mac-- sorry, on a Mac. On a PC, is very similar, you'll notice you'll have a Taskbar kind of down here. Next to your Start button, and there'd be indications of what's open. So just make sure everything is closed. On a Mac, easy way to check what's open is... just hold the 'Command' key down and hit 'Tab'. It just shows you the programs that are open. You can click on them all and just close the ones you don't need down. Another thing you can do is kind of force quit stuff, on a Mac, I'll do PC in a sec. So hold down the 'Command' key, the 'Option' key... and hit 'Esc' key on your keyboard. It shows you the things that are running. You can click on them and... hit that one, 'Force Quit', just kind of make sure they're all closed. You should go individually and close them down but you can force them to do it. The other thing on a Mac is, up here in your Taskbar. This is my number one resource killer. Is Dropbox, you might not be using Dropbox... but when this thing is actually syncing and kind of doing this... and it's starting to upload files... man, does it steal resources. My fans come on my computer, Premiere Pro hates it. So I just make sure whenever I'm using Premiere Pro... I go into here and I quit Dropbox. So have a look, what else is running up here for you. That's my little screen recorder icon, but I got nothing else running. You might have a bunch of stuff running. Before we wrap up Mac issues... we'll do PC in a sec... is the Activity Monitor, that can be really useful. If Premiere Pro is not running really well... hit 'Command' and 'Spacebar' on your keyboard... and in here you can just type in 'Activity Monitor'. We'll just start typing it, and clicking on it. This will give me an indication of, at the moment what's using all my CPU. At the moment Activity Monitor is using it all. Camtasia is using a chunk, Premier Pro is not doing anything. Watch this, when I hit 'Spacebar' back here... it will jump to the top... because it's being used, and it will drop back down again... because it's not using my CPU. So you want to look at who is stealing all your resources. at the top here... there's all those random stuff that you can't really get rid of... but there might be stuff there, you're like, "Huh." Didn't realize Adobe Acrobat synchronizer was stealing everything... but it's not, just taking a tiny little bit. The other thing is your memory. CPU and memory are different... but in our, kind of speeding up our machine... something that is stealing all our memory, like this one at the top here... Premiere Pro is using lots of our RAM... so is Camtasia. Chrome's down here, it's using quite a bit. You can see all these things that I could close down. And how you close them down, you click on this and say, close down... and I just want to Quit it. Sometimes you need to Force Quit things. Just to tidy stuff up... you're like, "Actually, Creative Cloud, I thought I closed you." Thank you very much. I'm going to quit it, sometimes you need to Force Quit it... and sometimes it will re-back open again. Just close down the things that you think might not be necessary. Be careful though, don't close down everything. Just a really good handy way to look at... what's open and what's actually stealing all your resources. On a PC it's very similar. I don't have a PC here to show you... but if you go to your-- two things, you want your Task Manager... which is kind of like our Ctrl-Alt-Esc. It will show you what's actually running. So find Task Manager... I think you just do a search down the bottom here... and it's a little application you can open. There's another one called Resource Manager... which is more like this... which will actually show you where your resources are being delivered... and we close down those programs that aren't necessary. For me that is more than any other tweak that I can do on Premiere Pro... is just to close the stuff that is not needed, down. The last quick easy thing you can do is... something, well avoiding Thermal Throttling. Thermal Throttling means, can't say that word, throttling. Just means your computer will slow down the CPU when it gets too hot... or slow down your machine from working because it's just too hot. It's easily avoided, like if you are sitting, working in your bed... you're hot, it's hot, your blankets keep it warm... and it just runs really slow because it's got no way of kind of cooling itself. So on your desk... if you are one of those people who like to keep your laptop closed... and plug it into a separate monitor... open it up, a lot of the fans and stuff that are used to keep it cool are there. It's meant to be used open. So I know my MacBook Pro, if I try and close it... and work on my other monitor... it's like a big heat sink, and just kind of... sucks it all in and doesn't-- the fans don't work effectively. Another thing that can slow it down is working off battery. Especially when you're close to the end of your battery your computer will... not ask you but try and slow things down. Just so that the battery lasts longer... which is cool, that your battery lasts longer... but bad that Premiere Pro can lose performance. You can get fancy with on-desk fans to keep it cool. If you're finding the fans are on all the time, like... you can use fans that sit underneath your laptop. I've seen a few of those, I've never used them. Basically if you work in a freezer... that is the most efficient way of working with your little computer. Doesn't have to waste time, or battery, or resources keeping itself cool. You may die but it would work nice and fast. Next thing you can do is something called Rendering or Pre-rendering. We're going to do that in a separate video, next... because it's pretty cool, and deserves its own little video. All right, let's go do it. 40. What are the yellow red colors on timeline rendering in Premiere: Hi everyone, in this video I'm going to show you how to get Premiere Pro... rocketing along nice and fast... by making everything green, not yellow, not red, but green. Green is good, yellow is okay, red is bad. To make things all green we're going to have to look at something called Rendering. Okay, what is this Rendering business, I call it Pre-rendering all the time... because I feel like the final export is rendering... but it's not, in Premiere Pro they call this rendering where we, kind of... at the moment, it's something that's running really slowly... running really badly. What we can do is we can render it inside of Premiere Pro... just temporarily so that it runs nice and fast. Now I need to introduce you to the colors. You've seen them up the top here, and you're probably like... "He'll get to that eventually." We are, we're here, so green, green, yellow, red. Green means go, it means that it's actually... I've already done a Pre-render... I've done a Render and it means that it's ready to go... and Premiere Pro guarantees, if it's green it's going to play back up here... and hit 'Spacebar'. It's going to play this back without any problems, not a problem at all. Yellow means I'm not even going to pre-render but I can guess... that it's probably going to be fine. Yellow means don't worry about rendering it... it it'll play back fine, trust me. That's not always true, and I'll show you how to get around that. Red means you've got no chance... no chance of actually getting this thing to render, or play back nicely. Premiere Pro recognizes that you've applied an effect... like this noise here, and it's like, "Um, probably not going to happen." And for me at the moment-- let's go up to high quality, full quality. It's thinking about it. It's doing pretty good, it's a little bit jumpy. So those are the three colors. I'm going to show you how to change them. The easiest way really is just to hit 'return' key on your keyboard. I've said this in previous classes... people are not sure what I mean. That's the return key, that's the enter key. That's kind of the return and enter key. That's the one we want, with the little arrow on it, look down your keyboard. You might only have that... you might have one that looks like this, it has 'return' on it. Sometimes it says 'Enter' as well. That's the key I want you to hit on your keyboard... when you're in Premiere Pro, I'm going to do mine; ready? This thing appears, on the wrong window. What you'll notice is that, first of all my poor computer is... trying its hardest to render it, which is perfect, it takes a bit of time. So it's only a cure all if this works for you. So let's play this out and see how it goes. What it's doing is it's rendering right at the beginning of my Timeline... and working my way through everything. Now you might only have a couple of things on your Timeline, and it's going to-- you can see that one's gone green. Let's have a look at this one, this one's going to go green in a second... once it's finished rendering it. It's going to skip the yellow ones because it's like don't worry, be fine. Eventually this one will go green, I'll speed it up until it goes green. Hasn't gone green yet, I just want to acknowledge this thing. Never works on any computer ever. I'm not sure why they bother putting it on there. It's like 2 minutes, 2 hours, 50 seconds, 30 minutes. Back to the rendering. All right, we're back, it's green. So it's rendering some stuff, takes a long time... which was the noise grain on the ?? here. Everything else it's going through... and you can see it's already green here while I'm talking. Oh, it's already partially through this one... and it's going to work our way through the whole thing. I'm going to let it get to the end, I'll see you in a second. There you go, and it plays all the way through. So what it's done is, anything we applied effects to... and in our case we added the noise effect... it's gone through and pre-rendered it. What it means by that is, let's check out your hard drive. Now wherever you've saved your Premiere Pro file... at the beginning of this course you might have saved yours somewhere random... I've saved mine under Project 2, in the Project files... and there's the Premiere Pro file. You'll notice this thing has now appeared, it wasn't there a second ago. So Premiere Pro previews, and in here are literally... mp4s or mpegs that have actually been created... to replace this footage, so that plays back nicely. So if I open up this one... can you see, it's not a video with an effect on it anymore... it's literally the finished product. So that's what it's gone and done. It's basically gone to 'File', 'Export'... and exported the little individual bits... then put them back on the clip... and it's there so that when you hit 'Play' now... I can hit 'Play', and we'll play back at real time, I can look at it. I can do adjustments over here. I can go to this one and say... actually, don't like that, I'm going to turn the Look off. Actually it's not creative, I did it in the Color Wheel, so I'm going to turn that off. You'll notice I can go back, I can still hit 'Play'... this one plays, it doesn't like re-jig everything... it just keeps the bits that it knows it hasn't changed... and I can adjust these things. So it does make-- you might have to do it every now and again just like... every time you go to the toilet or go grab a cup of tea... click on 'return'... and let it render while you're out just so that when you come back... everything's kind of running a bit smoother and faster. That's called Rendering. Now these files can get a little bit big. So you can go through and actually just grab that whole folder... and delete it if you want. It's not essential to the course, it just means... that obviously it's going to play a little slower if you go and delete them. So if you are struggling for hard drive space... delete all the renders when you don't need them. One of the cool things about them though... is that you've spent all that time doing the rendering... and when I go to File, Export now, 'File', 'Export'... I go to 'Media'... what it's not going to have to do is go through and... add all the - let's say this one here, let's 'Cancel'... - this effect with the Noise Grain... it's not going to have to go back and do all that again, it's already done. So it means that when I go to 'File', 'Export'... it's going to go heaps faster because I've already got my render files done. Let's have a little go, let's stick it on to the 'Desktop'. Do as I say, not as I do, don't jam everything on the Desktop... but if I go to 'Export' now... yes please, I want to replace it. It will go super fast because it doesn't have to go through... and render out these bits. All right, that's super fast by the way. There is actually a more official place to delete them if you want to clear them. Under 'Sequence' you can go to this one that says 'Delete Render Files'... and that will go and delete them all... instead of you manually going and finding them. Now let's talk about what happens, it's green at the moment but watch this. I'm going to do something a bit smaller, which was red? That was red, what do we do to that one? Yeah. I'm going to turn my volume down. This one here had Noise, first of all I'm going to make it smaller. You can see, it's adjusted it. So it's gone red, or-- I'm going to undo that... if I go and change it, and I say... actually, the noise amount is only like 1% more... 31 instead of 30... it goes back to being red because it's like... "Oh, can't use that old render, gotta do it again." So render when you kind of got parts that... I guess, you're not going to be changing loads. It will just make your computer play back... the footage a whole lot faster in real time... but again now, because a lot of them are rendered... I was going to make this one teeny tiny. just to-- Where is it? Maybe not that tiny. A little bit bigger... because that's the only one that's red, if I hit 'return' on my keyboard now... oh, it's racing on the other screen, there it is, it's racing. Cool, huh? So it's only going to render that part of it. Now you're going to ask, "Can I render just this bit?" So let's say that we do go down here, and you're like... "Actually I make a change to this." So we've made, let's make a change to this one... and that one's all fine, I'm going to change this one a little bit. Just by dragging the end. It's going to go red again, is it not, it doesn't need to... because it's just a Lumetri Color effect. How do I change it? I'm going to go and make you, intensity. It's gone back to being yellow. This one here... this one here has some grain on it. It has something going on, let's change the color of it. It's gone red, but let's say I'm working on this, and I've trimmed it up. Goes red, I don't want to have to render all of this... that stuff... that stuff there, I just want this bit to play back in real time, please. All you need to do is select it, so have the clip selected... and then go up to 'Sequence', and you can see this one, says, 'Render Section'. So just the bit you have selected. You can select more than one thing at a time. It's going to render, here it goes, just this little part here... and I'll get it to zoom along. All right, it's done, you can see just that little bit of screen... and the stuff back here, that is still red is left all by its own. I hope that gave you a bit of a recap of what rendering is. Easiest way, go to the toilet, hit your 'Return' key, not your Enter key... and it will do this while you're away. You'll come back and everything will just be... nice and rendered, so it will play back nicely. And other than working in the freezer or buying a new laptop... which were ridiculous suggestions in retrospect in the last video... the easiest way to get Premiere Pro to start working fast again. Remember, green means guaranteed to go... yellow means probably going to work just fine, don't worry about it... and red means no chance of playing back at real time... and when I say real time it means like it will do when it's exported. It's going to be a little bit jumpy and jittery. It won't on Export, just previewing within Premiere Pro... and it's normally because of the effects that you've done in the Effects Panel. Normally nothing to do with Lumetri Color because it's just a subtle change. All right, my friends, let's get on to the next video. 41. Shortcuts to speed up editing in Premiere Pro: All right, this video is about speeding up your workflow... with a few extra shortcuts. I've got some that are appropriate for us now. We're going to learn a few more throughout the course. I'm not sure if I mentioned it before... but I'm going to put all the shortcuts and tips into one video... right at the end of the course, just so you've got one place. There'll also be a PDF that are in the exercise files for all the shortcuts... in one little place, but for now let's look at... the ones that are appropriate for us, right at this second. So the first one, and probably the most useful one... is going to be the back slash ' \ ', now back slash key is a tough one. It's the back slash, not the forward slash, that does something different. So we're looking for that key. It's all over the place on different keyboards around the world. Hunt it out on your keyboard... and what it does is if I'm zoomed in, on my Timeline... so I've got my little blue box around it, I've got it clicked, hit ' \ '... look at that, just zooms out the Timeline so I can see it all; super handy. Instead of trying to do this... or the old minus, minus, minus, too far, zoom in 1... zoom out 1, huh. Hit ' \ ' and it just kind of fits it all into the windows, can see everything. Watch this, if I delete all this and hit ' \ '... it fits all of this in with a bit of space to drag a new footage on. Super handy; I've undone it so there it is, ' \ ' again, zooms out. I still got room to stick stuff at the back here; awesome. You can toggle it as well, so watch this... if I'm zoomed in real close to this - I really like being this close... - I can hit my ' \ ', it comes out, I move my Playhead... click it again and it zooms into... whatever that zoom level was, that you were at. So you can kind of move around, zooming in and out of that exact same size... by just tapping it on and tapping it off. The other shortcut I want to give you, we've done before... I want to reiterate a few of them because I'm going to give you a big job... a big class project in the next one, and you'll need some of these. Remember, if you need to close these gaps, click once, hit 'Del'. Nice, that's an easy one. The other one is, holding 'Shift' when you're dragging the Playhead. Remember, it jumps between the beginning and the end. So I'm holding 'Shift' on my keyboard, dragging the 'Playhead' or the 'CTI'... and it will snap into the appropriate parts. Where it won't work is if you've got something that's on this. So you need to have all of those on as the basic default. It allows us to use the keyboard shortcut up and down as well. It's another really good one for the upcoming task. So I'm just using my down arrow just to jump to the next significant thing... either the beginning of the clip, end of the clip, some of the centers. Another thing you can do that is useful is, if you hold down the 'Shift' key... click on, say this one, you can hold 'Shift' and click on this. So I've got two selected so I can drag two of them around at a time. I can drag a box around them... but obviously it can only get the ones that are in line... but if you need to grab this one or maybe this one, but not that... you hold down the 'Shift' key and click them... then you can move just those parts. The next one, and probably the best one... not sure why I left this to be like the fourth on the list... but it is my favorite shortcut in all of Premiere Pro... and it is the Tilde key. It is, let me show it to you, it looks like this. Where is it? It is-- have I spelt that right, Tilde. It is the key that looks like that, the little wave on it. So you're looking for that little wave. It's everywhere on lots of different people's keyboards. On my current keyboard, my last Mac, was there... on my new Mac it's down over here for some reason. They like to move this thing around, actually it's down over here... but you'll notice that some keyboards... I know, I've had people from France complain that they don't have it at all. There are ways of figuring it out. So you might just have to look for your particular laptop's Tilde key. Once you've got it though, what does it do? It does this. Ready to tap it, so wherever your mouse is... watch this, if I hit the Tilde key above my Program Window... it makes it full screen, you're like, "Yeah, hope you do"... but watch this, hovering, don't have to make it bloat... just hovering above my Timeline... oh, I hit the 'Tilde' key, goes full screen. How cool is that? There's a chance that I'm excited because I'm a nerd... and you're not going to be that excited, but I think it's amazing.. like especially down here, look, the Thumbnails, look at Cam B. 'Tab', I can see them all, look at that, super helpful. Anything you want to hover above, the Lumetri Color Panel... anything that you want to go full screen, what I use it for is the Bin. So in here, my Project Window, I can just go full screen... start looking at things, cleaning things up... dragging them around, deleting them, hit the 'Tilde' key again... and the Timeline is probably the most obvious. We can start doing stuff in here, and start looking at it... you're like, "Actually, just want to move this around"... rather than trying to scrub back and forth in this teeny tiny window... hit the Tilde key. Now it's not so much where you've got it selected, it's where your mouse is. Remember, mouse hovering, full screen. Hovering, you just toggle it, so click it off to turn it off again. All right, those should get you going with your next project. There's one other thing I want to show you, I'll show you my keyboard. The trained spotters might have spotted my colored keyboard already. I'll show you that. This is it here, basically just a keyboard you can plug in... and it has all the shortcuts for Premiere Pro. Just got to get a close-up of it. There it is there. So we've been talking about setting our in and out points, it's I and O... and it's written here on it. Remember, we go from Selection to Razor. Now who is this good for? It's good for people who plan on doing lots of video editing. If you just got to do this once, every now and again... it's not worth buying the keyboard... it's going to be on your desk, kind of in the way... but if you are doing a bit of this, what I found really useful for it... was when my computer's like catching fire, and... spending time trying to load... I was just looking at my keyboard, I was like, "Look at that." There's that thing I use all the time, and I can go through and Match Frame... or Zoom Tool, or Track Select, or Snap. There's lots of things on here, we'll cover through the course... but it just really helped me kind of figure out some of these ones. You can see, you can jump to Panels, it's all very cool. These actually exist on your keyboard. Just, you know, if I hit the 'Y' key on my keyboard now... without the special keyboard... it's still going to go to the Slip Tool, it's just like a visual guide. So for me now though, that I've been using it for a long time... it's not as useful anymore... because I know all the shortcuts, I'm getting really good at it. I still have it on when I'm doing video editing. It makes me feel like I'm doing my video editing properly. I'll show you where it is, if you go to 'bringyourownlaptop.com/keyboard'... I'll put it in your Links file, in your Notes as well. Mark, it's Mark Brown... the guy that runs EditorsKeys... small company, they do some really cool keyboards. I do have an affiliate deal with them, I pay for my own keyboard... because, I don't know, I feel like it's better to work it out yourself... rather than get sent a free one or demand a free one... but I really like it. Have a look, so under Video Editing... there's After Effects, there's Premiere Pro. If you are more of a Graphic Designer, either Photoshop ones, Illustrator... now he assures me that this backlit one is the best one. I got the non backlit corded one... and I kind of regret it now, only because there's a cord. There's a wireless version, and he said this one here is the best. It's a little bit more expensive, and look how fancy it is, all backlit. The cool thing about these keyboards... is that they're color coded to be more like... so all the blue things do a very similar function... and same with like these pink ones across the middle here. These are the Stop, Play, Pause, Forward buttons. They do a similar kind of group of things. So if you're looking for editing, like doing cuts... and kind of rough cut on the Timeline, you can look at all the blue ones. There are ones that aren't just keyboard, so if you've got... skins, where the keyboard covers... there's not one yet available for my new MacBook Pro at the moment... so I have the keyboard... but it will come live in here, you can get skins to go at the top if you do have-- they've only got them for Macs unfortunately... oh no, Service Pros, I think they've got them for, as well. Mine's in Euros, US Dollar's not far off that. The keyboards are more expensive, around the 100 Euro mark. So they're great if you are new... and you're going to do a lot of video editing, perfect. They're also really good if you are experienced... but can never remember all the shortcuts... then you end up at a place like me, where you don't really need it anymore... and I put it out there because it makes me feel like I'm doing video editing properly. It's like a Graphic Designer with a Wacom tablet, that never uses it... or, I don't know, a Developer that... turns their screen portrait, because they get more coding going. It's kind of a look. Ask me how I know, I've got a Wacom that I use some other time... really, I get it because that's what Graphic Designers have... and I'm a Graphic Designer, but do I use it every single day? I should because I spent money on it. Sometimes these things... like if you want to look like a boss editor at your office... you get one of the keyboards or one of the skins... people walk passing go.... "Yep, that person knows what they're doing... look at them, with all the colored buttons." Anyway, check out EditorKeys, and you too can learn new shortcuts... while your computer is rendering or freaking out trying to render something. All right, that's it for these shortcuts, let's get on to our class project. 42. Class Project 04 - Pre Wedding: Hey everyone, it's class project time, an exciting one. I feel like we've got our skills to a certain point where... "Man, we can do quite a bit in Premiere Pro now." So this is a bigger project. What I want you to do is close down everything you've got. So close down the project, save it. We're going to start a new project, a new sequence. We're going to focus on the Pre-wedding, kind of like what we've been doing now... but this one with a lot more artistic license, this is up to you. I'm going to give you a brief. You can use all the stock that I've got in the exercise files. So where is it? All the footage that we've-- you've done-- you've had a little look through it so far. Now we've got to make it up to 2 1/2 minutes... or cut it down to 2 1/2 minutes, depending on how you look at it... but there's a lot of footage to go through. So no more than 2 1/2 minutes. I want you to use as much or as little as you want. In terms of, if you want the un-watermarked version... you can go to... bringyourownlaptop.com/editstock, if you want to. It doesn't matter, you can use the watermarked stuff if you like. I want you to-- just use the techniques we've kind of learned up until now. I'm going to show you where to get some inspiration in a second... but there will be things where you're like, "Oh, why haven't we done that yet?"... and "Why we haven't done that?" Keep those as lists and get excited by them... and we'll do some of them later in the course... but I guess when you are looking at inspiration just kind of think... "I want to do this," but we're only halfway through the course. So let's look at some of the inspiration. What I do, the easiest way is to type in 'wedding showreal' into YouTube. It's not, not simple, oh, not hard at least. Wedding Showreal and Showreal together actually give you different results. Showreal's generally what... say a professional wedding videographer will call it. That's what we're looking for. So what you do is click on a few of these... Queenstown, that's in the southern part of my country. This is a really cool one, you just watch a bit of them. I got mute on, ah, this is proper 4K... and you can just watch a few of them. If you're saying, "Hey, why can't we do the Flaming Text intro?"... or a little bit early Flaming Text... so you might just have to do a simple Fade In... and just kind of work your way through... and just have a listen, and look, and see what they've done. Queenstown Wedding, because this-- like, you might get a little bit, like-- "Why are we doing the... we don't have a helicopter... to drop the bride and groom off in this particular one." So have a little look. So the term Wedding Showreal, or another good one is... just Our Wedding, you end up with lots of... celebrity weddings, which might be perfect... but it's a good way to kind of get ideas of... like how you might stitch it together, tell a story. If you did already plan to go and buy the, their Wedding... there's more footage than I've got in our exercise files. You might find some other stuff in there. Also note that I picked this one because I really liked... the couple, and it's a little bit more realistic... in terms of the types of footage I get. Some of these other ones are higher production levels-- how do I be kind? They're just better filmed. They have, they've got better technology... the gimbals, they've got all sorts of cool stuff. So these two weddings, if you want to edit these later on... it's practicing, they tend to be a better end result... because the footage itself is just a little bit more polished. All right, so that's for inspiration. Again, choose music, so if you... you can pick a new music track if you want to. Russ cuts, sorry, rough cuts. The process I want you to do... I want you to do the editing in the Source Window. Remember, just doing our quick little in-and-out rough cuts. Then do your Color Correction, then do your Color Grading. That's the kind of general purpose flow... for when you're doing editing like this. I'd like you to have at least three transitions. So Cut, Cross Fade, Dip to White, Dip to Black, Page Peel... if you have to, Barn Doors. I won't be mad, well, disappointed... but I won't judge you on anything. I just want you to practice doing transitions, really. You're going to have to add text, doesn't have to be at the beginning... or the end, or the middle, it can be anywhere. Doesn't have to be just all thrown at the front there. You're going to add the name of the bride and the groom, and the date. I want you to-- I've left it not written in here... just so that you can go check the paper work. It gives you a chance to actually have a look through... where is it? under 'Copy', so this is the paper work from the actual job. Give you some ideas of how it's done. You can see their names are in here, and the dates. Also, it will give you a chance to look at the proper user licenses for EditStock. Just to explain that you get to use this, but what you can't use it for. Just have a little read through. The celebrant, you don't have to use it all. You might want to use a bit of it, you don't have to. This is like a bit of creativity here. The thing is, is that chunk of it where he says... "I now pronounce you man and wife." It's probably not appropriate for the pre-wedding. So you're going to have to do some edits. You might have lots of it in there... you might have little bits of it, up to you. The one big thing you need to do... before you send this off to us to have a look, and to share... is you need to add this End Credits. EditStock has allowed us to use all this stuff... as long as we add this thing at the end. And I'll show you how to do that now. So I've given you that particular footage, it's in your... where is? It's under your Project 2, and it's in footage called zEnd. I just put a 'z' at the end so it stacks down the bottom there. So you should already have it. Well, you're going to have to export it into a new project. And here is mine, so you can go 'File', 'Import', bring it in. All it needs to do is go at the end, when you're finished. Let's just see what it does, finishes... So it is the deal that we struck with EditStock. Just to say, "Hey, you can use this for your course... but just make sure that you acknowledge us at the end," and that's fine... because it's awesome stock footage. Thank You, Misha there for working with us. Last but not least, export your mp4, share it with us... upload it to somewhere, like we did earlier on. Get the URL and share it either on the Comments... Assignments, or Project section of this website... and also via social media. Love to see what you're doing. Make sure you use the hashtag Premiere Pro. All right, one last thing before we go. You can leave, your assignment is being outlined. This is a total little extra bonus bit at the end. I just want to show it to you, we'll watch it together. It's the real reason I picked this wedding, I love this couple so much... because it's something that I feel like I might... All right, you ready? Let's watch it together. It's a very unique wedding video, seen from the point of view of the groom... shot by a tiny little camera hidden in his eye glasses. Rigged up by the groom is a Hollywood technology consultant. He says it's just one more way to keep the focus on the bride... as the bride thought it would be. Their private keepsake, until it wound up going viral... and they're now sharing it with a quarter of a million people, and counting. I love it so much. Camera in his eyeglasses... and the best bit is he had a backup in his lapel... he had a double backup in the priest's pocket... in case any of the cameras failed. If you do end up downloading the footage from EditStock... it includes all of that and you can... you can add it to your edit as well. I hope you're excited to go off... and practice some of the tricks that you've learnt so far... and put together a little bit more substantial editing project. All right, enjoy the process and I will see you in the next video. Only once you've finished your homework; bye now. 43. Revisiting our talking head monolog to add more sizzle: Hi there, this next section is going to be kind of a new project. The new project is, taking that first project we did... right at the beginning of this course... and adding more kind of sparkles to it. I think I've called it Sizzle. So the first one was good, it was simple, it was the sausage. We're going to add the sizzle now, and make it look more professional. We're going to both, enhance audio and fix problematic audio problems. We're going to do things like animation and gradients. Just to kind of raise that first video that we made, is level up... to a lot more professional standard. So that's the group for this next section. So we're going to open up the old project and do a 'Save As'... and kind of build up from that one. You also might notice... laptop's gone, the screen blew up. You don't need to know that... but that's why it's missing there, if you are train spotting. Luckily the monitor still plugs in... and I can still continue filming... before I go in to get it fixed, but the screen goes black. It doesn't work anymore. Anyway, those are my troubles, you don't need to know them. What you need to know is how to add more sizzle, or sparkles. Let's get started. All right, first thing we need to do is close down any project that you have open. So 'File', 'Close Project'... and then we're going to open up our earlier project, our XD Intro. We're going to do a 'Save as'... so we've got a new copy and we're going to add our sizzle. If you are like, "Gulp, I don't have that original project," for whatever reason... it's either in bits or you just didn't do it; naughty. I've got a version for you to work from... that's exactly like mine. So go to 'File', 'Open', and in your 'Exercise Files', under 'Project 3'... go to 'Project Files'... and go to this one here. So it's our XD Intro, that's what we called the earlier one, Web 21... and we are on version 2. Now if it opens up and it says "Hey, you're missing footage"... I want you to see if you can connect it back up to the missing footage. If you're not sure how, go back and check the earlier video. It's called 'Working with lost missing offline files'... or videos, or something like that. Video 16, I think. It might move, so be around there... and connect it all up... but optimally what I'd like you to do is go back to your original project... and work from that. So it was under Exercise Files, Project 1 is where we did it. And it was, that's what we called it, we called it 'XD Intro Feb 21'... when it was just sitting in our hard drive... without any kind of nice file structure or bins. So let's open that and do a 'Save As'. It's better to work with your own projects just because... I want you to have problems. It's weird to say, but I want you to have to fix these things... because getting to the end of the projects, and it looking exactly like mine... and not having too many problems... it's obviously not the optimal way to learn. So let's do a 'File', 'Save As'. We'll keep this one for prosperity, posterity even. We're going to save this new version in our exercise files... and the Project 3 into our project files. And this one here is going to be called ' -v2 '. You're like, "Ah, don't save over the top of that one." Maybe you want to keep that one, call it v3. All right, let's click 'Save', and now you're kind of up to me. Yours might look a little different, that's fine. It won't really matter for this project. Now I promised you a shortcut. The shortcut is, on your keyboard, if you look down at it... you are looking for J, K, and L... three letters that are all next to each other. They do this, so I'm going to put my Playhead here... if I hit 'L', goes forward... and I hit 'K', stops. So 'L', forward, 'K' is pause. Kind of like space bar but the nice thing about it is 'J' goes backwards. Give it a try, especially over me talking, very funny. The other nice thing about those J, K, and L-- I have my fingers on them all the time when I'm working... because I'm going forward, I'm hitting 'K' and going backwards... just to find the right cuts, and breaks, and pauses. The other nice thing is that you can kind of double speed it. So you can tap 'L' key twice, one, two. You can you get to chipmunk me, I kind of... I speak really fast, I totally understand. If you hit 'L' twice I speak super duper fast, you can go... you can go three. You can keep mashing 'L' until it starts ripping through the Timeline. It's just really handy when you are trying to like move to a bit... and you don't want to... I don't know, is it weird that you don't want to drag the Playhead?... because it's weird, it's up here, it's kind of awkward to grab. This could just be me, but practice with using the L, K, and J tools... just for this next kind of project... and if at the end you are like, "Those were dumb"... then you can stop using them but if you find them useful carry on. All right, that's your shortcut. If you tie it in with your up and down, up, down, play, play a couple of times. Because sometimes I'm just trying to find where I say something in the dialogue... and I don't really know... by dragging it around you can just listen to me in chipmunk mode... which makes you-- you can still hear it, but it's moving fast, you get the idea. Get on with it, Dan. All right, we've got our new project, we've got J, K, L sorted. Let's jump into the next video. 44. Framing your video using scale & position in Premiere Pro: Hi everyone, in this video we're going to crop this video... and zoom in a little bit, and reframe it... because it's going to go from this to something more like this. Exact same shot, just cropped in. Gets rid of the microphone that I left in the video by accident. I'm going to show you some of the hard and easy ways... to use Position and Scale to achieve this, let's get going. First thing we're going to do is we need to acknowledge the fact that... I have my microphone in the shot by accident. Like I pretend it was for this class... but you can kind of see, that's the tippy-top of my shotgun microphone. You can see it moves when I move. I basically have changed position alternately through this course... because I am cheap and I want to change my camera angle... without having to change my actual camera angle. So I'm kind of making it feel like... I'm kind of using two different cameras by moving around. What I'm going to do is zoom in on this kind of alternate ones. So there, where I'm kind of like on the left hand side... then in the middle, I want to zoom in. And all of them, I need to get rid of the microphone. So let's do all of that. We'll start with cropping the microphone. Let's do this first one, you can kind of see it there. It's kind of on purpose, I make sure that I leave some room. When you're filming you get kind of-- whether it's photography or videography, you get-- you can chase the perfect composition where you have it framed nicely... but gives you no wiggle room afterwards. So my wiggle room is going to allow me to chop off this microphone... and move it around just a little bit. So to do it we click on the clip... and we're going to go to the 'Effects Controls'. If you can't find Effect Controls, go to 'Window', 'Effect Controls'. So clip selected, and what you're looking for is - I'm going to twiddle these up - I'm looking for the Motion. Motion has Position and Scale, those are the main ones. So what I'm probably going to need to do is just scale it up. Now when you're dealing with Scale and Position you can use your arrow... double click it down here and start playing around with it. I don't know why, they remain real high... then it's just easier dragging these things, I'll show you both. Fit is probably not going to work because I can't see the edges... because I want to scale it up a bit, so let's go down to 50%... and I can scale that up, and it's perfect. That is all fine when there's just one of them... when there's two of them... I try and double click stuff, ends up picking the wrong thing, the wrong clip. It's not right now, because you're watching... but it does happen, I just want to let you know that if you're finding it... frustrating a little, and you're from another bit of Adobe land... like Illustrator, InDesign, or Photoshop... you're like, "Why not just do it over here? You'll find out... because this is a little bit clumsy. So I have got in a habit of just doing it over here. What I mean by that is, can you see the scale... click, hold, hold, hold, drag it to the right, drag to the left. I find that it's just easy, especially when you've got more than one layer... you can see, I've scaled mine up a little bit... you can see, it's kind of cropped it off... and what I might do is lift it up a teeny tiny bit. You can, with your Selection Tool, make sure it's selected the clip. You can click on it, double click it, then just drag it up. Again, there's nothing wrong with that, I'm just going to use this... because it always ends up being easier. So just clicking and dragging slightly, so it moves up. So it's going to reframe this one... and even though I've done it really subtly... actually want it to be a bit more because I left room around the outside... for a bit of this. So I'm going to do that, drag it up. Just get down the bottom there, I feel like that's a bit of composition. Now scale it up by 107, and that's really bad. Well, not really bad, it's moderately bad. Scaling anything up means that it's potentially going to pixelate... or, you know, we're increasing the size of it... and eventually if you do it - let's go all the way. - you start to see all this kind of like goop, so if I play this now... it's going to be fine... but it's all blurry and yuck. Blurry and yuck, where's my face? Let's look for some proper blurry and yuck. That's the-- I can't even tell where I am at. Oh geez, I'll get the editor to speed this up. Okay, I won't. If you do get lost like this, I'm like... I should actually tell them... there's a reset button there, click that, whoo. Get it back to kind of, back to the top left... and same with the Scale, let's get it back. Now I'll scale up a little bit more meaningfully. So I want to get it here because I want to show you that eventually... you're going to see, it's going to look pretty bad. So what limits do you put on your scale? I find, between, like a hundred and-- I find that as long as it's not too high, like 150, it's too high, over scaling... and it depends on your output. If you're going out to the cinema then you can't scale at all. You might get away with teeny tiny bits... but if you're going out to YouTube videos like me... I'm okay with scaling a little bit more heavily. So I'm going to go up, like if-- I'd be-- No, once you get out to about 150, you've probably gone too far... and even then that's like, that's pretty generous with it. I'm finding 110, nobody will notice. So I'm going to scale it maybe 115, you can click on them and type them... then I'm going to drag this one to the right... and eventually you'll get used to which ones these are. If you, for the next two years go, "Oh, undo"... I mean this one... you'll be like me for the first two years of using Premiere Pro. Can't even remember which one is which. Only now through sheer frustration, habit... I'm not sure, I know which one to drag. So that's my composition, I got rid of the microphone... and I have kind of centered it how I wanted. Maybe want a little bit more this way. Should I get rule thirds going here? Kind of got my-- I'm going for actually halves, I'm like-- So that's that one done. Let's look at this other one where I do my fake, different camera. You can set up two cameras to get two different angles... that will work even better. I'm not lazy, I'm just-- I don't think it's worth the effort... setting up two cameras and trying to edit at the moment. I just moved my little stool around. Here I am, move my stool. And if I do a bit of this, did you notice in the intro that I just move stool? You probably didn't, of this particular course... because I'm going to show you why. I'm going to leave this error in here because you'll do it, you'd be like... "Did you just scale out to 200%... and it didn't change?" You can see why. You can see I still have that clip selected. Premiere Pro can be a little bit stubborn... it still thinks you're working on this-- I'm going to undo that, undo it again. Go back to make sure I haven't wrecked it. Now click on this clip. Now I'm going to bump it up quite a bit and break my rules on... like how much you can blow it up, I feel like that is good. It's hard seeing yourself caught in all these faces. So there, and there's cut to another-- does it look like another video angle? I hope it does, that's my trick anyway. So I've scaled it up a bit probably too much for lots of purists. So know that you might get in trouble... for scaling that up that much, but not for me. 110%, nobody's going to notice, 132, you might do. You're going to notice a lot more in this particular footage... because I've scaled it down... when I exported it, I put it as like low quality... mainly so that when you're downloading these course files... they weren't ginormous... because I think like this video here by itself is like 200 megabytes... and I've cut it down to like 8. So there's quite a bit of compression going on; still looks fine. All right, that's it... we've reframed it, we've played around with Scale and Position... and we've got rid of that mic that was in the top. Let's jump into the next video. 45. How to duplicate lumetri color onto all clips in Premiere Pro: Have you been sitting there thinking... "Man, I wish there was a way to copy Position and Scale, and Lumetri color... that I spent all that time doing onto all the other clips at once."? Well, you my friend, are in luck. Basically you select it, you hit 'Edit', 'Copy'... then you go to 'Paste Attributes' on all the rest of them. It's pretty much that easy. There's a couple little quirks with Premiere Pro... that I want to share with you in this video, so let's jump in. So we want to, let's say this... we'll do this one first because it's quite obvious. So the position and scaling of this one... because it started off looking like this, and we've got it this way... and because I mark on my floor where I put my little stool... so that I get into the same spot every time... and I just move in between clips. So this should be perfect for this one. So what we do is we select it, we go-- you can use shortcut. So you can go the long way, 'Edit', 'Copy', or 'Command C', or 'Ctrl V' on a PC. Then what we need to do is find our other buddy. Be above them, make sure the clip is selected... then go to 'Edit', and we'll go to 'Paste Attributes'. We can decide which attributes to paste. Yours is probably going to look different from mine... because I think it remembers the last thing you've done. So what we can do is, say, I want everything from the Motion tab. Can you see over here, Position and Scale are in Motion. If you've changed the opacity you could have that on... if they're the same it doesn't matter... because we haven't changed it, they're both at 100%. You could have it on or off, doesn't matter. Time Remapping, we haven't changed, that could be on or off. The one thing we might turn off is these ones... because we have played around with the audio for this first one... might be different for the second one. I know it's pretty much the same so it would be fine... but let's just turn on, whenever I'm using this... I just go through and I say, "Actually just the thing that I mean." These will probably be fine, but I'm never sure enough. So I just turn everything off that I don't need. One thing we might turn on is our Lumetri Color. Before, I got you to do it individually, right? We went through and set Auto in the Essential Graphics Panel. So this would be a great thing to do then. At the moment we don't need to add it because we did it earlier... but just know that you can do it once for the first one... do your color corrections... get everything cropped and framed right... then apply both Motion and the Lumetri Color to everything. Let's do it to this one and let's see what happens; perfect. The other thing we might do is... I want to show you a couple of little extra tricks, because that's basically it. Your extra tricks are, one is acknowledging that... "What happened over here? Everything's disappeared." I've got Essential Graphics but where's my Lumetri Color? Basically what happens is, your project... ours is called-- what is it called-- at the top here. Mine's got a funny name because I'm teaching... but it was called XD Intro Feb 2021. That file actually remembers your workspace... because different projects, you might be moving things around... to kind of suit that particular project... and it remembers that, which is kind of cool... but also, you're like, "Actually go back to the other one."... and luckily we've got the Unicorn one... to get back and it brings up-- hasn't changed your project at all. Nothing actually changes, just your workspace. I got my Dan one from-- I was using for a different project, not this one obviously. So you can see, you can move these things around. You can see I make my Timeline quite big, often. I'm trying not to-- we will do this pretty much later in the class... to make our Timeline more usable in here, but let's stay at our... earlier one, where we've got all these guys around. Other thing I want you to do is practice. Let's say that we want to actually clear them all and apply them all in one go. You can actually select them all. Let's say that you want to remove... everything you've done on these, in terms of... let's say Lumetri Color, or the Position. You just want to get them back to normal. you can go through individually and go, you, so let's go... have one selected, and go through, 'Effects Control'... click on 'Lumetri Color', hit 'Del'. And in here, Motion, you can hit 'Reset'. We've done reset on the Position and the Scale separately. If you click on this it will do them all. In one go all of these will reset. So that's one way. Another way-- I'm going to undo that so it's back in there. Here's our Lumetri Color, I'm going to grab all of these... and a nice easy way is to go to 'Edit'... and underneath Paste Attributes is 'Remove Attributes'. You can say, actually I want to remove all of the-- you might say, I'm going to leave the Motion... but just remove all the LumetrI Color. You might have a couple of effects applied to it... we've just got one, Lumetri Color... and you can turn just that one on, or just the other one on. You might have, remember Noise from earlier? So I'm going to remove all the Lumetri Color... because we did them all separately... and you might say, actually I want them to use the same as this. So we're going to go to 'Edit', 'Copy'. Let's select all of this, go to 'Edit'... 'Paste Attributes', I don't want the Motion... because I cropped this one quite specifically for this particular video... and I just want to apply all the effects, Lumetri Color, remember the audio... and it's now applied all of that color grading... not color grading, color correction, that's it, to them all. Now what we're going to do is finish this off by going... 'Copy', I'm just using 'Command C' on a Mac, 'Ctrl C' on a PC. I'm going to grab that one, he's the right one. This one here, I could go to 'Edit', 'Paste Attributes'. There's a sweet shortcut for it... and you can say, actually I want just the 'Motion' on this one. Same with this first one, we got this one nice and cropped, 'Command C'... I'm going to click on this one, and that one. I'm going to hold my 'Command' key down. I'm not-- click this one, hold the 'Shift' key down... and have both of these selected because I know they're in the same sort of zone. I just want to crop out the microphone and get it a little bit better. Now I can go to 'Edit', I can go to 'Paste Attributes'... I can say, just the 'Motion'. Do I want my Essential Sounds? No. Just one, I've already worked on that... and now that one and that one are all going to match. Cool, huh? Paste Attributes. I feel like I might have made that complicated. At the beginning you got, right? We just copied it and pasted on something else. You can do a little bit more by turning things on and off... selecting more than one to get it a bit more fancy. One last thing before we go is this one here, I think my gag is like... looking at my jumper, where is it? I need to look down at my jumper... so this one actually has to be a little bit different. They're not connected, when you paste attributes... there's nothing actually connecting them. So if I adjust one, it's not going to mess with the others. I'm probably going to have to zoom out a little bit. If you find that dragging this is a little bit tough... you've got to kind of really-- if you drag it just a teeny tiny bit... it doesn't move, you've got to give it a bit of a 'uh'. Then you can go back and forth. Wrong technical, Dan. I think it's just so that you don't accidentally bump it a little bit. You've got to really click it, hold it, and give it a bit of a pull... to get it to kind of unstick itself, so you don't accidentally do it. So I think I need this ilab thing in here. Make sure my head is through there. Let's use our shortcut, 'L', a few times. I think there's enough of it in there... maybe it needs to come out just a little bit more. Maybe 110, and a little bit higher, there you go. 'L', 'L', 'L', there we go, cool. All right, that is Copy and Paste Attributes in Premiere Pro. On to the next video. 46. Getting started in our Audio section of the Premiere Pro course: Hey everyone, it's me, back, I'm live, and look, you can't see my microphone. This little section, we're still working on that same project. So my XD Talking Head project... adding a little bit more excitement to that... but we we're going to fix up a bit of the audio from it... but also go on a bit of a tangent to cover a lot more audio... that's kind of related to this particular project... but I want to kind of jam it all together... so that you've got a nice little segment in the course to work with audio. If you haven't had audio problems in the past... you'll probably get at least... a couple of these in the future. So yeah, let's look at fixing audio, making audio better... audio stuff, let's jump in. To get started we're going to add a bit of background music... and learn a few shortcuts to help our process out... while we're working through audio. Now the first thing we're going to do is import some stuff. So let's go to 'File', let's go to 'Import'. We're going to import two complete bins. From our Exercise Files, Project 3... and we're going to bring in Audio and Footage. There's nothing in the Graphics folder, so we're not going to bring it in. We're going to bring in both those, there's quite a bit in Audio... that we're going to work through in this kind of section. There's a little bit of footage as well. So bring in both of those, click 'Import', hopefully you should get two bins in here. If that doesn't work for you for whatever reason... this one here is a problem, what is this one? Doesn't really tell me what it is. I can't remember what file format is not supported. Can't be important; click 'OK'. So I want to find an audio, let's find the... one that I want is Music. I'm going to use Cali Buzz, you can pick any of these... but just pick Cali Buzz for the moment. I'm going to click, hold, and drag it. I'm going to put it on my Track 2. Sometimes you can't see the front of this. So you might be zoomed in, I mean, dragging it in. So what you might try-- what's the sweet shortcut... that gets-- that kind of expands the Timeline? That's right, backslash, ' \ '... not forward slash, ' / ', forward slash is the tricky one. If I hit forward slash it sets in and out points around that. You've probably already done it, you probably done it right then. You're like, "I knew what it is," whoops. So forward slash, bad, I'm going to undo it... or you can right click it and 'Clear In and Out' points. So that's a sweet shortcut for you, 'X', sorry, forward slash. It's not what we want now, we want backslash, ' \ '. So now I can see everything... now makes it easy for me to add Cali Buzz. I'm going to do a couple of things... is, we're going to get it to the right volume. It's way too loud for my particular project. I'm going to switch-- I'm going to do a few things... let's tidy this project up so we can move on. Here it will fit, so it fits in here. I'm also going to extend this down a little bit, so I can see it. So you need to grab the gap, I'd like to be able to see the waveform. Other thing I want to do is I want to see the end of the track. We can still hit that backslash, ' \ '. Look at that, and it expands it out to include this thing. What I want to do is extend it probably just a little bit past this last part... because I want there to be a-- still too loud, I've ignored that. So I wanted to kind of just... maybe it is nice against the end here, I changed my mind... but let's lower the volume. So while it's moving I'm going to grab this line. If you can't see the line it means this is just too small. If you wondered how I slide that up... you can just grab this, and slide it up and down. I'm using my scroll wheel on my mouse... but make it bigger, so you can actually see this line. I just want to reiterate, you'll be like, "I already know this"... but if you don't, if it's too small, you can't grab that line... so you need to actually make it bigger. So that line appears, and while it's playing... I'm going to drag it down. Too loud. So kind of dragged it down. What you probably need to do is... you need to get a second opinion before you publish anything. So if you are thinking, "Wonder if that's too loud"... I think nine times out of ten your music's always too loud. That was always my experience, I'm getting better at it now... because I think, "Oh, that's good," and then go even lower... because I export it, I'm like... "I can't hear your voice over the music, music's too loud." So we've got that in, we've got the music at the right level, we've clipped the end. I was going to continue on with a few other things... but I think they deserve their own videos mainly so that you can find them... in the distant future, when you come back... and it's not all lumped into this particular video. All right, let's put them off, and I'll see you in a second. 47. Organizing our footage & super full screen panel shortcut Premiere: All right, we're in our own separate little fresh video. Let's talk about organizing our footage... and I'm going to share with you the super secret shortcut... because scrolling in here is a pain in the bum, because it's really small. You can start extending it and readjust your workspace. Shortcut I'm going to show you is going to be really helpful for... a zillion different things in Premiere Pro. And it's the Tilde key. The Tilde key is a hard one to describe, it's a little wavy, squiggly thing. It's this thing here. It's tied together often with this thing. I'm not even sure which one activates it... but these two are often grouped together on lots of keyboards. Like on my Macbook Pro, at the moment... on my PC keyboard, when I'm on a PC keyboard... my EditKeys keyboard is up here in the top left. On my old Mac, is in the top left... and on my new Mac, for some reason it's down here, next to the Z key. They've pushed the Shift key over. So just have a look at your keyboard, try and figure out where it is. If you have a keyboard that doesn't have it, I-- sometimes that key works... but you'll have to kind of try and work it out. Some other languages, different country's keyboards might not show it. You might have to Google, how to find it. Tilde's the word. Sometimes it's called the Grave key. I've never heard it called the Squiggle, I call it the Tilde. And I'm sure that's not pronounced right, but you get the idea. So this key, what does it do? It means wherever your mouse is hovering, watch this, mouse hovering, 'Tilde' key. No way, it made it full screen. How do you get it back? Hit 'Tilde' again. So you can see how awesome this is for sorting out our project files. If I hit 'Tilde' again, but look at this, is my favorite one, is... over the Timeline, hit 'Tilde'. Hey, look at that, it's full screen, and I can work on this... and I can use my other shortcut, ' \ ', look at that; I get like... it's obviously problematic if you need to see the video here... but say you are doing something with... just down here you want to kind of line this up. Remember, we were doing this, you're like, "Ah, can I line it up?" You can do it really easily when you can see it full screen. Tilde, the Grave key, or Squiggly. So it works for anything, same with Program Window, Tilde. You just have to have your mouse over it, doesn't have to have the blue line... just hovering above any panel. Effects Panel is going to become more and more useful later on... and it's going to be really good when we can bump it up to full screen. The ones that don't work very well, Lumetri Color. Doesn't really-- it's actually not very well lined up for this. If I want to do some basic correction, I click on this... and I go into here, it's all a bit disjointed... but maybe this in the future it will be better. Let's look under Basic Correction. I don't think this is more helpful. They might rearrange this later in the future. Just becomes probably too big and unusable. Awesome, that's the Tilde key. Let's have a look at finishing off what I wanted to start with... which was organizing this project. I'm going to show you another shortcut. So I'm going to go to here, we've got our footage... we've got our audio, and this isn't too bad, right? We've got a pretty simple looking project. I told you before, I very rarely start a project with all my bins... because sometimes it's just small and doesn't need them all... but later on when I am either frustrated by stuff everywhere... or I'm sending this file off to someone, and I'm trying to... at least pretend I've got the illusion of organization in my files... I'm going to go through and order them. What you can do is, let's say I need everything into the Footage folder... but it's all messy, there's all sort of mp4s everywhere... there's mp3s, there's JPEGs, it's a big mess. You need to do this, type in dot mp4, ' .mp4 '... to kind of match the extension at the end here. That's really cool because I can select just the mp4s... I can close this down, this little search... remember, you turned the searches off once you've stopped using them... and it goes back to where it was, but it's got all the right things selected. So if they're not in a lovely order, like this, they're all just mixed up. You've got them all selected, and you say, all you do is go in there. So you might go up here and say, actually I got audio everywhere. It's all mixed in, dot mp3, ' .mp3'. You select all the mp3s, then you come back out. By coming back out, you hit the little cross, ' x '. You can just dump it into the correct folder. That's a nice easy way to kind of... group everything up real quick. Tilde key, awesome. Oh, doesn't work if you've got typing in here... look at that, just typed the Tilde key. So it must be that apostrophe, reverse thing. So I got to delete it, and click out of it, then hit Tilde'. That's a problem, in all my years of Premiere Pro I've never actually done. So well, we did it together. Tilde on, Tilde on/off, Tilde, on/off. Cool, huh? And we learned a little search feature inside the Project Window. All right, our footage is in a nice kind of organization... we've learned some shortcuts. Let's jump into the next video. 48. Problems using headphones or speakers with Premiere Pro: Hey there, in this course I'm going to show you... the perks of using headphones when you are Audio Editing... and also some of the problems that happen... when you are trying to connect headphones, and they won't connect. The same for kind of external speakers as well. Let's jump in now and see what Premiere Pro has to say for itself. All right, using headphones is super important... when you're working with audio. Just listening to your-- through kind of computer speakers... you'll get most of the audio... but there'll be just lots of little things... that you can only pick up when you've got your headphones on. It can be any ones, that's fine. Over-ear ones or On-ear headphones, it doesn't really matter. It's all about just getting really close to the audio... so that you can start to hear all the weird stuff... like all the lip noises and the... I don't know, the sounds from inside your mouth, you don't want to hear them... but you want to make sure you get rid of them as well before you send... your kind of video out. Now what kind of headphones do you need? It doesn't matter. Headphones are-- in my personal opinion, have come to a point where actually... even cheap headphones are pretty good these days... but if you need justification to spend $300 on a set of really sweet headphones... you totally have my permission. I did it, it doesn't make my audio editing any better, but... I feel good, and they look good. Anyway, let's talk about the problems you can have... with headphones, when you plug them in. The first one is, when you plug them in they probably didn't work. The music's still probably coming out... through the actual speakers of your computer. You notice that if you-- anything else on your computer... if you plug your headphones on... it switches it to it automatically. Premiere Pro is a little bit more deliberate. It's not meant to kind of toggle between things plugged in. It wants to be very specific... where you get your audio from when you're editing. It doesn't change, so where do you do change it? So I've plugged in my headphones, and they definitely don't work... if I hit 'Play' now... it's playing through my computer speakers. So to make it go through my headphones... go to 'Premiere Pro', 'Preferences', and go to 'Audio Hardware'. If you're on a PC, go to 'Edit', and down here will be 'Preferences'... then go to 'Audio Hardware'. So you need to tell. You need to say... look, my input, not worried about at the moment, but my default output... is going to be my external headphones. It's going to say, "Hey, changing this mapping is serious business." It's not that serious, but... it's just warning you that it's going to stay like this forever. I'm going to say, "Yes, please," so it's going to go to my external headphones. You can see these other things that are plugged into my machine... but that's what I'm going to get it go to. Now if I click 'OK', and hit 'Play'... there you go, you can't hear it... but it's playing through my headphones now, and not my speakers. The trouble is, if I disconnect my headphones... just unplug them from my computer, now if I hit 'Play'... ah, invalid audio output... which is handy, because previous versions didn't even have that... it didn't say anything, it just said-- which it didn't play. That was terrible. Now I'm going to click this little icon here... just to have a look at it. It says this, no valid output. Can you see, it's very literal, it says... once you pick that I'm only going to try that... and I'm going to have big problems if you don't. So what you need to do is... if you unplug it and you want to go back, you have to go back in here. So you, not working, I'm going to go back through my MacBook Pro. Yes, please; click 'OK', and it's working again. Now you don't have to use speakers... you can use your computer speakers, that's fine. If you want to get even more hard core, you want to be super serious... go to your sweet keyboard, and you want to get some... they call them Studio Monitor speakers. You'll see them on Video Editor's desks... when often they're working by themselves because they're very loud... and they look like this; where are they? They're kind of like small set of speakers, very expensive, generally... but just really good sound quality... and they'll use those to test their audio... because you can get a lot bigger range than headphones can... but you've got to decide whether that works for you. If you're video editing while the kids are sleeping... Studio Monitor speakers are probably not going to work for you. I don't use Studio Monitor speakers... because I'm not an audiophile, like... I can totally see why people would... but I just use headphones. Now the other thing I want to share with you about Premiere Pro... is you can change hardware stuff in here... and occasionally other things will stop working. Like if I go and mess with this audio hardware, and I mix around with it... I've had problems with Skype and Zoom, and other things... not knowing where my microphone was, especially microphones. If I go and change it from my microphone to... that's the one that I'm using right now, one of these other ones... I find that they can have problems. So you just need to make sure you come back in here... and put it to whatever you want it to use. So Premiere Pro can take control of other programs as well. This might be my own hoodoo, but I feel like it does sometimes. Not even sure how or why, whether it's just a bug with mine. Anyway, those are headphones, just be very specific about them... going to audio hardware, pick them, I'm going to go back to my speakers... and where are they? I've unplugged them, I'll plug it back in and use those. All right, I'll see you in the next video. 49. Some audio can’t be fixed in Premiere Pro: Hi everyone, in this series we're going to talk about... fixing audio, making it amazing... but there are times we just can't fix it. I'll let this guy with the headphones in the freezing cold explain why. Some audio just can't be fixed... when there's like inconsistent background noise... unlike a fan or A-con, you can kind of get rid of that. When there's ups and downs, like car noise, and the microphone's not great... would be hard work. Do you know what's also really hard to fix? Really bad microphones. So this laptop is my PC, it's ancient Lenovo... it's got Dolby written on it, and JBL written on it. I'm not sure what they did here, it definitely wasn't the microphone. So if you are recording on terrible microphones... it's kind of un-fixable. You can make it slightly better... but as you can hear, you probably can't fix this one. The other problem is... if you were really far away from your microphone. My microphone is up there, I'm far away from it. The further you are away, the worse it is... and often with pretty much all microphones... the closer you are the better sound you're going to get. I've got a shotgun microphone... just out of screen here, as close as I can get it down... without it being in shot. Oh geez, breaking. Broke some stuff, don't just pull on the microphone. The closer you are the better it is. I'm going to have to clean that up now. I'm sorry, I had to do it. Anyway, let's talk about bad audio. I guess those, that section there is not really to-- I don't want you to rush off and prove to me that that audio can be fixed. It's more there just to demonstrate that some audio is going to be... that you're going to get handed, that you're going to record... it's going to be really bad, and there's not going to be a magic bullet... and there is lots of things that Premiere Pro can do... really well, and just fix magically. We're going to cover that in this course, but there are-- I just want to start with like... there are some that are just too far gone. Just as a weird Editor note... you'll notice there, when I cut to... from the beginning, kind of talking head stuff to the, in the street... was very like, when I was editing it I was like, there's a very dramatic cut. So I used audio transition, believe it or not... and I used Cross Dissolves, just because, you know, Page Peel. All right, let's go in and start fixing audio... rather than talking about broken stuff. All right, see you-- See you in the next video. 50. Lifting little bits of audio up & down using keyframes in Premiere: Hi everyone, in this video we're going to make these, these Audio Keyframes... because I speak really, quietly there for a section... but speak really loudly either side. So erasing the entire volume is not going to work. I need to raise just this little bit... so it kind of ramps up a little bit and then comes back down again. That is using Keyframes in your audio waveform. We're going to raise it up, we're also going to lower it down... where people are laughing through our wedding video. Let me show you how to do that now in Premiere Pro. To raise that bit up, I'm going to find it... and it's kind of towards the end, I kind of start really loud... and I always taper off, that's just... you can see most of my dialogue works that way. It's just a lot lower than this, you can see the peaks there. Now if you can't see the peaks very well... just remember you've got to drag this a bit taller, so you can see it... and what we're going to do as well is turn off the audio. Everything is getting pretty tight down here. So what was the shortcut to go full screen? You ready? That's right, the Tilde key or the Grave key. Probably always going to remember it as the Squiggle key. So I can in here be very, more deliberate. In here I'm going to zoom in a little bit. I'm going to mute that track so I can't hear it. Listen to it, and you can kind of see through the peaks... that it just tapers off down here. So what do we do? We need to be able to see this line. So make sure it's nice and big, by dragging this, too low, can't see it. Nice and big. What I want to do is, we're going to learn a shortcut. So you hold down the 'Command' key on a Mac, or the 'Ctrl' key on a PC... and click the line once. I want to do it where you want to start the transition into making it louder. We don't want to instantly make it louder, we want to click about there once. So right here on we want it to increase gradually. And how long do you want it to increase? Maybe, we're going to make it like a little ramp. So click just randomly about there. So I can show you what we're going to do. We're actually going to-- So we've got two lines, if we grab this, I'm not holding anything down... click, hold, and drag it up, you can see... I've kind of used those two dots to make a little ramp up. So I'll do it one more time, you can rewind, but I'll do it again. So I've undone a couple of times... 'Command' on a Mac, 'Ctrl' on a PC, click once... click again somewhere randomly. You can move them afterwards... you can drag this little blue dot anywhere you like. You don't have to drag the line either. Dragging the line just means it goes up and down, not left and right. If you drag this dot you can get it any which way you like. You might decide that it's more of a progressive increase. So this is where I'm just going to listen to it, I'm not going to-- I've just kind of raised it up a little bit across there because it's so low. The actual waveform doesn't change shape. So you've got to kind of listen to it through your headphones. I'm going to hit the 'Tilde' key again... and just watch this little thing jump up down. Remember, if you're missing the numbers... just drag it out a little bit so you can see it... because it does want to disappear when it gets really low. So I'm going to watch it. Cool. So I've raised that up. Another one I want to do is... I've listened to this previously and I'm like... this bit in here, there's a bit about beginners, let me listen. Not that bit. That's it there, the complete beginner's bit. Some reason I start really loud and then I kind of... whisper that bit. So zoom in again, I'm going to hit my 'Tilde' key so I can see it. This one we're going to make a little tabletop, this is a bit weird. So I'm going to do two this side... and when you get started just put them in, just two... just two either side so that you can grab the middle and raise it up. Can you see what I mean by the tabletop? It means there's a point where it raises up... and stays up for a little while but then comes back down... because this stuff is fine, for some reason I just whisper this bit. Now it's probably too high but I'm going to listen to it with my headphones. Yeah, so that sounds all right for me. I should probably check with the levels. Cool. So you can do that all the way along, be editing things... be kind of lifting this up and changing it. Got to remember that shortcut key. Remember, I've put all the shortcuts in an end video... and I've made a PDF, that should be in the exercise files... but holding down the 'Command' key on a Mac, 'Ctrl' key on a PC. One thing I want to show you before we go is... I've actually secretly opened up the Wedding project... to have open at the same time, two projects open... which is normally really difficult... especially when you're new, so don't do this... but I'm doing it just because I want to show you... earlier on when we did the Wedding... we did a special kind of way. We used the Razor Tool to cut out the sections. That is totally fine, you can still do that... but let's say that we didn't want to do that; I'm going to extend it out... as we could... instead of doing the cuts, is we could hold the 'Command' key down... make a little-- doesn't even need to be a tabletop. All it did is we hadn't had that cut there. So let's actually delete that and just extend it out again. There it is there. So I'm going to make a little tabletop... and just drag that down. So instead of cutting it out we've done that. It might be a little bit more, less abrupt... where you can kind of do it so it kind of trickles off. So there's a little bit of something going on... but without it kind of just jumping in... or just cutting on or off. There's no real right or wrong, you can snip it, it's easy. I often do this for a little bit of graduation, a little ramp... and I just drag it all the way to the bottom. So you can drag it up, you can drag it down. You might have a couple of peaks that are just too high... compared to everything else, it might be easier... just to lower a couple of these little tippy-toppy peaks... where you yelled into the microphone, and everything else is normal and fine. All right, so that is adding Keyframes in Premiere Pro, or at least an audio. Let's get into the next video. 51. Removing background noise like fans aircon fridge hum in Premiere: Hi everyone, we're going to try and remove some background noise. Have a little listen, I'm going to turn the repair on and off, that we're going to do. Let's have a listen. All right, to look at repair we're going to try and remove some background noise. You can probably hear it, maybe, I've got an electric fan plugged in. Can you see that, hopefully you can hear it anyway. There's a bit of a hissing in the background from a fan... and we can turn it on and off using Essential Sounds Repair. All right, let's jump in now and I'll show you how. To remove it, let's find-- I've got some footage in here... that has the bad audio in it... and for some reason I left it in the Audio, actual folder. It's got video on it, bad me. Let's leave it in there for the tutorial, so that you don't get lost under Audio. Something called Bad Audio Background. Let's find it, let's make a sequence from it. We won't dump it into our current sequence... so right click it, go to 'New Sequence from Clip'. Let's name this clip, let's call this one 'Audio Fixing'. We'll use this for a few of the next tutorials as well. Remember, to get this out of here click, hold, drag it to the left. Kind of comes out, close it up, there we are. So let's have a little listen together, we'll play it all the way through... because I do end up describing stuff, so let's have a listen. To look at repair we're going to try and remove some background noise. You can probably hear it, maybe, I've got an electric fan plugged in... and it's humming away in the background. It's consistent, which is useful... for getting rid of background noises, maybe fridges... air-con, fans, let's see if we can repair it now. So that is it, you can kind of hear. I've left the gap at the beginning here, of it... because it's very clear by itself, listen. You hear a humming, and I can see it humming, can you see down here? This is-- we'll call-- like what we're going to do is remove... like tidy up the noise flow. So kind of like the stuff down the bottom here, this background goop. Ours is coming from a fan that I purposely put on, like a little fan heater... but it works really good as well for like fridges, air-con. Works only really good for microphones as well. So if you've got a microphone that's got a background hiss... it might be that you're probably pushing it past its operating... you know, if you if you find you've got this, like 'sssss' in the background... it means your microphone's not happy... and it's not in the scope of this course to go through and fix your microphone... but check out things like raising the noise flow for microphones. Normally it's to do with your preamp, anyway it's a bit nerdy. Let's say we want to get rid of it. So to do it, have your clip selected... find your Essential Sounds... remember, if you can't find it, 'Window, 'Essential Sounds'... and we're going to, in our case it's Dialogue. I want to try and get rid of it from behind me. There's lots of things in here, I like to click these buttons... just to tidy everything up, clean them all up... and click on 'Repair', and you want this one here, it says 'Reduce Noise'... turn that on. It's set to 5 by default, and that's probably going to work. So back to the beginning, listen. To look at-- pretty good, huh? Now it's pretty amazing for those background noises... like I just literally grabbed the fan and try to break it... and it fixes that up nicely. Now it's really good with consistent sounds. When there's kind of cars in the background... and it's all up and down, and it doesn't-- it's not that good, it will tidy it up. Now we've used Reduce Noise... at default, kind of halfway strength. You can turn it up and down, but let's have a little listen. I'll show you how to preview it, because you're like, "Sounds the same." The way to do it is, see this little tick next to Repair... I'm going to hit 'Spacebar' to play... and I'm going to turn this on and off as it goes through. So you watch my tick, and just give a listen to what's going on. You might have to turn your volume up to hear it. So I will turn it off first. To look at-- you hear that? One more time. You can see it there, well you can see it actually in here, watch this. So the noise flow down the bottom here, with it off... can you see, it jumps up to about -36 decibels... whereas if I have it on, look what happens. It's a lot lower, it's still there. You got to decide whether it's noticeable enough for you. There will always be something jumping around down the bottom here. You want to try and clean it up as much as you can. The trouble is, if I crank the Reduce Noise up, it will go, watch this... but-- To look at repair we're going to try and remove some background noise. There's a weirdness that happens to your voice. You might decide that it's perfectly fine... but I notice it, probably hear it, maybe. I've got an electric fan. Will the audience notice that? You might because you've heard me so much in this course so far... but let's say I'm sending this out for a YouTube video... nobody's probably going to notice. They'll probably notice more, hey, troll you on YouTube... "There's a bad noise in the background"... but it's only tiny bit robotic, might be okay. Now we're using Reduce Noise, which works perfect for this example. Reduce Rumble can help as well. Like it says, if you hover above, it's kind of a low frequency noises. So you can play around with Reduce Rumble. Don't worry that-- like, hey, he said reduce noise works background... and you're only going to use this. You might have to use a teeny tiny bit of all of this stuff. So it really depends, everyone's situation's different. You might whack them all on and just see where you go. DeEss, Reverb, we're going to cover a couple of more of these... a couple more in the upcoming classes... but play around with them, drag them up and down. The cool thing about it is while you're doing it... you can raise and lower this... so you can kind of get a sense for it as you're going. Again, often headphones can be really useful... because if you're just listening through your computer speakers... they're really like... they sound quite good... and then somebody puts the headphones, and you're like, "Wow." It's not as good as you thought. All right, that is repairing background noises in videos, in Premiere Pro. Let's get on to the next video. 52. How to remove echo reverb from your video in Premiere Pro: Hi everyone, we're going to remove the echo, or the reverb. You can't call that echo, if you call that echo... you'll have a bunch of people saying, "It's not echo, it's reverb." Whatever you want to call it, it's the kind of bouncing noise. It sounds like you're recording in the toilet, let's have a little listen. I'll turn my Effects one on and off. "Hi everyone, I'm recording on a really good microphone... but I'm in a room full of hard surfaces." "Let's just say it's the kitchen, definitely not the toilet." There you go. Reverb's easy; 'Essential Sound', crank up the 'Reduce Reverb'. Be prepared though, it's not going to be absolutely 100% perfect... you can make it better... but you can't make it great. Let's jump in now, and show you how to do it in Premiere Pro. To remove the reverb we're going to use sequence, Fixing Audio. I'm going to zoom out. And the audio is in Audio. This one, it's called Reverb, just a plain old mp3. Drag it on, it's going to have no video, we're just going to keep it separate. Let's have a quick little listen together. "Hi everyone, I'm recording on a really good microphone... but I'm in a room full of hard surfaces." "Let's just say it's the kitchen, definitely not the toilet." My lame joke, seems funny at the time, you have to live with it. Could you hear it there? I'll play it one more time. "Recording on a really good microphone." Can you hear it, that reverb, that echo? To remove it, we're going to select on this, we're going to go to 'Dialogue'... and you're like, "I saw it before," there it is, there. So Reduce Reverb, let's click on it... and we're going to decide how high or low this goes. I'm not sure why zooming in helps. Makes me feel like I'm getting more in there. Let's have a listen. "Hi everyone, I'm recording on a really good microphone... but I'm in a room full of hard surfaces." A lot better. The trouble always with reverb is, that you can never ever get rid of it all. If you're thinking, let's keep cranking it up, let's have a listen to robot Dan. "Let's just say it's the kitchen, definitely not the toilet." "Recording on a really good microphone." Sounds like now. There's no reverb but it sounds like... I don't know, I'm recording from inside a bubble. Yeah, reverb you can medicate, but you can't remove. Oh, big words, Dan. That's it, just drag the sliders up. Now, you can do other things as well... you might have more than just one problem, I'm isolating these. You might have reverb and a fan going in the background. So you can play around with adding all of these... but it is pretty cool that it is now built into Premiere Pro. You just have to go out to things like, audition to do a lot of these things... but they just kind of brought them into Premiere Pro... using the same technology, just inside here now, which is awesome. The other thing you can do is... remember, hit 'Play', and just slide this up. So we'll start quite low. "Hi everyone, I'm recording on a really good microphone... but I'm in a room full of hard surfaces." "Let's just say it's the kitchen, definitely not the toilet." So I'm just listening. - "Recording on a really good microphone... but I'm in a room full of hard surfaces." I feel like, around here is where I cross over from it... being noticeably echo-ey to noticeably bubbly. You'll have to decide yourself for your situation, how much it's going to happen... but be prepared for tears because... this one here, I just literally went in... recorded audio in my, maybe kitchen. It's full of hard surfaces, obviously, it's the kitchen. I haven't found the perfect example, but there are worse examples. So if you are recording in a, let's say a big, you know, your garage. Is it worse? Probably. There's some machines in my kitchen. Just to kind of absorb a bit of sound, bit of angles going on... but a big square box, really bad. That's going to be it for fixing reverb in this video. I can move on to the next video now if you like. Hang around if you want to... I'm going to bore you with the details of how I fix reverb. I've kind of done battle with it... with the echo for a long time, and I'm just going to show you. I feel like I've won. So I started-- basically it's hard surfaces... you need to cover them with something soft. And I'll show you my progression from moving to Ireland... having a spare room... and that's what I did to it. I didn't have any blankets or anything yet, they were on a boat coming in. So I found this skanky white rug that was in the roof loft of this rental. That was one of the bed mattresses we got lent. That was my poor son's cot... and some pillows that I found... just found anything and threw into this room... and started recording. If you are recording into a microphone like this... instead of, like into a camera... away from where you're actually talking, so behind you. You'll notice in a lot of my videos-- let's have a little look. This one here, you'll notice that... "Hi everyone, in this series we're going to... Can you see that? That is a soft finishing. That is absorbing sound behind my screen. The screen's a bit of a pain, because it bounces the sound right back... but that's while I'm talking into right now... to try and absorb bit of the sound without it being too ugly in the screen. So my wife said, get out of the room... stop making it look terrible, like, great. So I moved down to another room... now my office, about then my office, and did the same thing. Turned that into a shanty town, you can see, let's have a look. Duvets literally gun stapled to the wall The curtain's closed because that absorbs sound. So I'm living in this dark room. I found the mat out of the lounge, stuck that in there. Had to put it back in the lounge every time everybody came home. And I made this weird thing. It's meant to be this, that was cheap. See this, it's meant to be a sound microphone shield. I had no luck with it. They look cool, you can buy them... maybe it was me, I did mine with Italian material. I spent a lot of time making it... mine will look like it, and didn't work at all. So it was mainly to do with the room. I found, with it on and off, there was a lot of change... but then, same one... but then, don't worry, I got my own office, outside of the house. Made it even more professional one, this is bit of a blurry one... but basically I moved into this room, it had hard wood floors. Everyone in Ireland has a hard wood floor... or fake hard wood. Everything echoes, so to do the recording, this was-- like this works really well. You need some blankets and some sheets... and I set my little desk up in there, and I had to close it down... and when it got hot, I sweated... but the sound audio came out real good... especially this one at the background here, you got to stop the noise bouncing around. There you go. So hard wood floors, I paid for this rental office... to have carpet put down, which made a big difference. Well, it was the start, and then... I made these things, you can't really tell from this view. That's the corner of the thing, there you go. So I made these, they're basically just beached house... because it's really absorbent... and they look cool, you get good prints down on them... and I put this sound insulation behind it. It's not sound insulation, it's wall insulation. Wall, not the fiber glass stuff, you don't want breathing that in... but the nice bits of wall behind there just really help it... and also setting them off the wall. I think it's really good to capture sound. Basically you're trying to trap sound... that's why they call these things sound traps. I tried to make mine look fancy... with some wooden frames and some beached house. I got the beached house from Society6, if you're looking for them. You see them in all my videos, that's why they are in lots of my videos... because they're there to absorb sound. Then I moved to a new office, back to shanty town. Bloody hard wood floors again. So this one here, I stayed for a little while. I worked out of this one, and that's what it looked like. It looked nice on this side of the screen, but on backside it looked like that... and unfortunately that's what gives you the best audio. That is my experiments in sound. So now I'm in my, actually bought a house... and I actually have an office, where I actually can... put carpet in, make it all nice, and stop the echoing... but if you are trying to capture audio, and you are at work... you might have to explain... "Can I use this spare room, and can I turn it into shanty town?"... with things hanging all over the place. You might do a little bit more professionally than me... but to get started, these things here... you've seen them, probably they're e-carting stuff... you can stick up the walls. They're not very good. If I had the choice between a bunch of these... kind of those panels that stick to the wall... I would take a... we call them duvets, Doonas, blanket, let's call it blanket. I'd rather gun staple a blanket to the wall... than a wall full of these. They don't look as nice, obviously... so you might have to do something a bit fancier... but these things are just like... they're more for packing, not for sound absorption. They do work, but not-- they're not the proper stuff anyway. Anybody still here? If you are, that's it. You've seen my offices, and the curse of the hard wood floor. Let's get into the next video. 53. Syncing aligning video & audio automatically in Premiere Pro: Hi everyone, in this video we're going to automatically sync audio. We've got some terrible audio, let's listen. "Hi there, let's talk about... but I've recorded on a separate microphone, some good audio. "Hi there, let's talk about... I'm going to show you how to automatically sync them together... so that they match up perfectly. All right, real quick, why do you get a video that's not synced with your audio? Often you'll have a camera that you're recording on, let's say DSLR, like I am... and it's got a terrible microphone... and you are then using a separate microphone to record the audio. So video from this guy, and audio from this. They're actually two separate files. The way for this needs to work... it will not sync up unless you've actually captured your audio... the bad audio on the video. So you're recording... just make sure that actually, microphone is recording on your camera... but it's going to be terrible... but that's what it uses to align the good stuff. Basically the higher end you go, you get fancier... you know, digital video cameras... They'll do the same thing, they might use this microphone... and you can get away with some of these shotgun microphones... but often the higher the production level... the more often you'll get camera stuff and microphone stuff recorded... separately onto different devices... and it will be your job to make sure they're lined up. Just make sure whoever's 'video'ing, even if it's really bad... record the audio that's coming in through the camera. Let's actually sync them, let's find the footage. It's under the Footage folder, I'm going to drop it down. So I'm back in my Project Window, so I've found footage... let's find, it's called Sync 1 Dreamweaver. Let's right click it, and say, 'Make Sequence from the Clip'. Double click this, and let's call it Sync 1 Sequence. Just so you remind yourself what it is. Let's click, hold, and drag it to that side there... just so it's not all getting bunched up in the Footage folder. So there's my Sync 1 Sequence, let's add the audio. So let's go to 'Audio', let's find it in here. It's called Sync 1 Dreamweaver, let's drag this out. Now one thing when you're dragging out audio from here... is that it won't go to the video layer... because there's no video with it, just audio. So let's have a little listen to this. "First up is, what we're making is, it's going to be a video background... So you can see, very terrible... because I've got hard surfaces, but also because it's from my camera. Also, yeah, so-- The audio is not going to be amazing, it's amazingly better... but over here-- The reason it's not amazing is because... actually I just have a microphone between my legs here. That's how I used to get my audio, work fine. You listen to it, looks okay. I've got a fancier microphone now, my shotgun microphone... but this worked great. So recorded this, so it needs both of these. One of the things that will happen though is if I select both of these... so I'm holding 'Shift', clicking them both, and I right click any of them... and I go, ah, synchronize. It's not working, why is it grayed out? It's because these two can't-- these two audio are on the same track. These two audio clips, same track... and it will try and smush them together, it doesn't like that. So you got to have one on one track, and one on the other... because basically it's going to line them up for us. So they're on their own tracks. I'm going to hold 'Shift', click this one... click that one, right click it, hit 'Synchronize'... and we're going to say-- I think it defaults to Clip Start. That will mean I'm going to try and line them up... based on where these clips both start... I can never turn my microphone on... at the same time as my camera, with any accuracy. So this one here is the automatic feature. So it doesn't-- just click on 'Audio'... it's not going to work if you've got your audio on track 3, 4, or 5. We've happened to have ours on track 1, which is perfect. Let's click 'OK'. Give it a sec, it lines it all up. I'm going to double click this to delete it. Bring it back over, and let's have a listen. "...thing that we're making, and the resources I've got." So they're both playing. You can either just mute this track... - "First up is, what we're making... - Way better. What we might do is just hide it, because that's all you really need, right? So you can skip on now. I'm going to show you a few little tricks, because I don't need this bad audio. I only recorded it so that I could sync up the good audio. So I'm going to, instead of muting it... I'm going to right click it, and say 'Unlink'. Click on this bottom bit, delete it. I'm going to drag this in, to the ends... because I recorded way more audio than video. Mainly just because I can... I turn my audio on first then turn my camera on... and vice versa when I turn it off, so there's a bit extra. I'm going to move this up to the next layer... select them both, right click it, and say 'Link'. Now it just means that when I move this track around... so just moving the video part around, it's going to all move together. Now again you can carry on, I'm just going to do a little bit of work to fix this up. I need to raise it up because it's too low, you can see it bouncing down here. So how do we fix that, do you remember? You do, because we've done it loads; click on it. 'Dialogue', 'Loudness', 'Auto Match'. Magic Premiere, love it. It's probably my best feature out of the new versions of Premiere Pro. "...like a big effect in the background." Cool. So is it at the right decibel levels? I do this as well. - I do my... - "Hi everyone." get started really loud and then tail off. Your talent might not be doing this, my talent is not very talented... and I need to do this a lot. So I kind of just... how far across? Yeah, that works. So it starts too loud and then I'm going to just raise it up. Might even raise it just a bit steeply there. To delete a keyframe, just click on it, hit delete on your keyframe... 'Del' on your keyboard even; let's listen. "Hi there, let's talk about the thing that we're making, and the resources I've got." "First up is, what we're making is... it's going to be a video background, with like text and images." "Basically a whole website over the... Probably get's just a little bit too loud... but that's what I tend to have to do for a lot of my stuff. It depends on the course, like... sometimes I don't bother. All right, do the last little bit of editing. So I do something there. I'm going to, 'Spacebar' there, 'cut'. Hit 'C' on my keyboard to get my... I can tell that I lose my direction because it's too short... and the rest of it looks... let's have a look. Yeah, lost my way. This is where I get started again. If you are hanging around, and you are watching... you get rewarded with a little shortcut. I'll cover it later in the course for the people that skipped on... but you get to this point and you're like... how do I get it kind of dragged, and how do I get it so he's not like... sleeping? You can get it close with this... but sometimes it's just-- it's a bit... trying to connect with stuff, and jump and snap. Get your Playhead close to where it wants to be... and just use your arrows on your keyboard. There's the-- we've used the up and down to kind of jump around... but use the left and right, watch this. I'm just tapping the right key, and moves one frame at a time. I'm going to start there with my eyes open. so just forward one frame, back one frame. Left and right keys. Click it. 'V' key to grab the Move Tool, delete, click again, delete. Do a lot of that. There are some fancier tools which we'll cover but that's a lot of what I do. "...in the background and the website over the top." "We'll also make the... There you go, that's me. Also note that I got better at-- can you see the-- my glasses? Just as a little tip if you are doing similar stuff to this... you keep the light way up high. So I had it quite low to reflect on my face... which was good, to light my face... but if you've got glasses you end up seeing the lights. That's not too bad, I've got this ring light... but if I just moved it up a bit higher and facing down... it still gives me a good light and it doesn't reflect in the glasses. Great for like podcasts that I do... if I've got a light in front of me, just keep it real high... means I can continue wearing my glasses without there being a big reflection in it. Anyway, thanks for hanging around, guys. Let's look at the next video. 54. How to manually sync align video & audio in Premiere Pro: Hi everyone, in this video I'm going to show you... how to manually line up audio with video... in case the automatic feature doesn't work. I'll show you a really cool nudge shortcut as well... if you do hang around and watch it. It's like a little bonus there at the end. All right, let's manually line up video in audio, in Premiere Pro. So you've got to match up your audio manually. Just know, if you're jumping to this video without watching the whole course... there is an automatic way using Sync Footage... but let's say we do have to do it manually. Let's find our footage, it's called Sync 2. Let's right click it and make a sequence from it. Let's give it a name, Sync 2 Sequence. Let's just drag it out, back into our kind of bin. So we've got our footage in there, here it is over here. Let's find the audio, do the same thing. Sync 2, just drag it out into the audio track. Now of course I could have this on its own track... right click them both and go to 'Synchronize', and that would work... but let's say we can't, because we have, either Premiere Pro just won't do it... or you just won't do it because otherwise you'd do it auto... but there are times you do have to do it manually. So what we're going to do is... I'm going to kind of move them both to the center... put them underneath each other. Basically we're just going to match the waveforms. What I might do is make both of these a bit taller... and what I might do is use my super spidey shortcut that makes this panel really big. Who remembers what it is? That's right, it's the Squiggly key, well, the Tilde... or the Grave key on your keyboard... make it full screen, and it's going to allow us to line it up. Now where does it go? That's why automatic's useful... because you're like, "Does it line up with this one?" Kind of does... but it's not it, so I'm going to do the fun game of... is it this one, or is it that one? Is it that one? I don't think it is... mainly because this bit doesn't copy across. I repeat myself quite a few times on this one, which makes it difficult for you... you're like, "There's a tough one." It is, is it that one? Must be this one. I should know, I made this course. I got these really a while ago. It takes me a long time to prep, so I forget what I did. So they're kind of lined up, let's have a little listen. - "Hi, my name is... - Not quite. So what you end up doing is spending a lot of time zooming in... and just dragging a little bit that way... try and get it close. "Hi, my name is Dan." Not great, so I'm going to show you a little trick for nudging our footage. It was useful for not just obviously matching sound... but all sorts of things, is with-- I'm going to nudge this one so I've got it selected... I'm going to hold down a key on my keyboard. On a Mac it's 'Command', so hold that down... on a PC it's 'Ctrl', and just use your left and right arrows. You can see, I can nudge it along. Get it close. "Hi, my name is Dan." There is still a tiny bit of echo, so I can move it back and forth... but really I don't need them, I don't need this. So I'm going to right click it, and I'm going to say 'Unlink'... and I'm going to bin that one. I'm going to drag this one up. Tidy it up, snappy doodle, snap. Let's have a little look. Where's it all gone, what's the shortcut to bring it all in? You remember? backslash, ' \ ', there we go. I might just tidy it up at the beginning here and delete that stuff. And hopefully, let's have a look at the-- we're just looking for the synchronization. "Hi, my name is Dan, and I love animating... Close enough. Now in this case there is a little reverb - "I love animating infographics." - because again, got my microphone between my legs. Kind of early production days. So what I want to do now is... let's first of all do a couple things, let's get the dialogue auto matched. So that raises it up a little bit. Also let's do a little bit of Reduce Reverb. Probably needs to be pretty low, let's have a listen. "Hi, my name is Dan, and I love animating infographics... and bringing potentially boring data to life... using After Effects." I got my tongue out, kind of listening. It's a little bit of art knowing how much reverb to do, but that works for me. Why am I doing the weird ducking thing? Just want to show you. "My name is Dan, and I love animating infographics." Look at that. "Bringing potentially boring data to life... using After Effects." That's why I've got the weirdness in here because I kind of... did some fun stuff with some animated graphics. Those infographics were done in After Effects. If you are keen on doing kind of animated infographics check out that course. What was it actually called? Animated Infographics & Data Visualization Introduction. Yeah, that's the course anyway. So let's talk about other ways you can line them up. Now we've lined it up using matching the waveforms... what if you don't have the waveforms? What a lot of people do is clap. What do I mean by clap? I mean this, let's have a look. So there is an official clapper, that's what it's called, there you go. Clapboard. So you do that, and make the little snappy noise... so that on both the-- they'll be recording on both the camera... and separately through another microphone. They'll probably use the automatic feature to line them up... but if you don't you can use the-- like, where both of these touch together... you can use that and line it up with the spike. That will appear on here, so you can visually line it up with the audio. Just so you know, yeah, clapboards. They're just used to-- obviously this is the name of the film. Actually got changed to Jacuzzi, this is a New Zealand short film. We call them Spas. You can call them Jacuzzis, depending on where you are. A1 Roll, this will be a folder that get sent to me. There'll be a bunch of rolls, which would just be folders or bins. Maybe an A1, A2, A3, so I can find it. I know that it's Scene 1, it's Take 1... I know who the director is, I know who the cameraman is. What else? The date, and these lines here. Often can be used for color correction... so you know that, that in the scene, is meant to be pure white... and that's meant to be pure black. So you can adjust accordingly. Sometimes that will be color blocks on there as well... so you can kind of match the colors. Now if you don't have a clapper board what you can do is, this one, ready? "I was hoping that turns on or off something." I love her, Miss Donut, uh, Madame Donut. Watch, there's another scene. "I was hoping that turns on or off something." She got asked to clap... because they don't have a clapper board... and nobody really needs a clapper board unless you're-- well for this particular production they just clapped. It means they can sync camera A, which is a nice tight shot... to this one kind of like, this mid shot... where they're filming the exact same person at the exact same time... but just different zoom levels... and it allows them to kind of match it up later... if they don't use the automatic feature, which they should. They can match it up manually by using the little clap. Now they clap at the beginning because they're professionals - "I was hoping that... - but I clap at the end of it, quite often because I forget. So if I need to line something up and I need the clap... often I'll forget and get either the talent to do it at the end... or I'll do it at the end myself because I always forget to do at the beginning. It doesn't matter, it's easy to line up, you see the little spike in the old audio. Let's have a look at her spike. I'm just going to drag it straight into my Source Window. It's a little trick for here. It's cool, you can drag video straight into the Source Monitor. Random shortcut. It doesn't come into your Project Window, just the easy way of previewing it. If we look at the audio, can you see, at the beginning here if I zoom in... should hopefully see... right there at the beginning there's a nice sharp spike... and you can line it up with the other video, you have the spike. There you go. All right, that's manually lining things up... and way too information about-- and way too much information about clapping. On to the next video. 55. Customizing our workspace more in Premiere Pro: Hey everyone, we're going to go from this look for our workspace... where everything's kind of laid out this way... to this, my more happy space... where things have all moved around, and I got this nice big Timeline going on. Also show you a sweet shortcut to minimize all of these guys... so they're nice and tiny so we can add lots of tracks. Let's jump in now and I'll show you how to do it. All right, this is like a little interlude. It's a little bit frustrating sometimes working on your spaces and... it's hard to work on things, so we're going to tidy things up. I'll show you a few little shortcuts and tips. So I want XD Intro Sequence open. I'm going to close down Sync 1 and 2. Is it weird that the cross is on the left hand side? Let me know in the comments, I feel like... is it just me? Should be over here. So I've got that one open, make sure your Project Window... I'm going to add some music in the next track... and I just can't really see where the music goes, it's all-- We're going to make this better, like you saw at the beginning. So first thing I want to do is I want to be able to close these down. I made them really big before, which was really helpful... but now I want to close them down, I'm going to show you that shortcut. I can just go to this little wrench icon on your Timeline... and go to this one that says 'Minimize All Tracks'. Just makes them teeny tiny. It's really good when you're working on really complex projects... and if you want to go the other way you can say 'Expand'... rather than dragging them all out... because you are-- it's not expanding them fully... because they can go massive... even bigger... but it's just a nice kind of middle ground... but let's minimize them for the moment, minimize all tracks. The other thing I want to do is move my Timeline over here. So Project Window, I always keep it up here... and what does it look like? It's weird when you move these things. So you actually have to click the word... either the effects or project, whatever you're dragging... click it, drag it, you have a couple of options. You could stick it right in the middle, which is what we want. You could stick it above our current Source Window. This is what we're dealing with, the source... if I went above it, watch this. Can you see, it's above, there's my Source Window squished down. I don't want that. What I want to do is grab it and drag it in the middle. These little icons are pretty handy, they never used to be here. Drag them in the middle. So I want the Effects Control, my Source Window... I am happy that all of these are together... but because I'm really weird, is I like this being that way. Let's have a look at this one. I like to just drag the tabs along... my Project Window goes first... my Source Window goes next, then my Effects. It's up to you what you do, but we've got that. Now the Effects Panel down here... I'm going to drag that up here as well, and it's going to be in the middle... but it's going to be the last in the group... and it leaves room for this. Ah, look at my big Timeline, look how cool you are. Can this go any smaller? Yep. Can that go any smaller? Yep. Your Toolbar over here, look at this. Just squeeze them all up, get the most out of your... teeny tiny screen or in my case, my big gigantic screen. So I'm going to go... ah, that's my new home base. So my Unicorn's going to be updated... you might have it, you might have more than one. I'm going to save it at the top, go to 'Workspaces'... and in here I'm going to go to-- don't click that, click this one, 'Save Changes to this Workspace'... if you want a new one... call it Unicorn 2 or some other mythical creature. I'm going to save this one... so that if I end up doing editing, which is the default... I can go back to-- oh geez, where is it? I can't even find it, it's not along the top. I've wrecked this one, so I'm going to go to 'Workspaces'... they're hiding in here as well, there's Unicorn. So this is in all truth, my most generic... this is the one I use the most. If I'm doing specific stuff I might move things around... but this is nine times out of ten what my workspace looks like. All right, interlude over, let's jump into the next video. 56. Shortening extending or looping background music in Premiere Pro : Hi everyone, in this video we are going to extend our background music. At the moment our track ends about here, we need it to go a bit further. So we're going to extend it out, now if you're thinking... "He didn't just hack that one off, then start it again with a fade, did he?" Oh yes, I did; I'm not proud of it, but it works. So first up we've got audio track already, it's been muted earlier on. - "Hi there..." - Cali Buzz. So we're going to click on that one and delete it. Next thing I want to do is find the audio that's going in. It's the Audio folder, or the Audio bin. Let's find this one called Little Wolf, it's one of the Wistia tracks. Click, hold, and drag it, drag it down to my track number, what is it, A2. So this is what it sounds like. - "Hi there, my name is... - Way too loud. It's very cool, and I love the image. "...as well as that I'll set assignments... You might not love it, but that's okay. What we first want to do is - I'm going to drag this a little bit bigger so I can see it. I want to lower it, get it to be, to match my audio. So I'm going to probably start off being low, and just drag it as it plays. "You and me are going to learn how to become a User eXperience Designer... using the software Adobe XD." "Together we'll use this UI/UX software to create... So just dragging that line up and down to get it where I feel right. Remember, it's always louder than you think it is... but that's what I've decided. Now I need two copies of this, so we can blend them. Copying and pasting is a bit weird, we cover this. So if I go copy and I paste it... it will just put it there, you're like, "Why did you go in there?" Copying and pasting is weird. Probably the easiest way to get around it is to select it. So I'm to going to copy it. That's 'Command C' on a Mac, 'Ctrl C' on a PC. Just move your Playhead down to the end here and hit 'Paste'. At least it just doesn't cover anything. You can just drag it on afterwards where you need it to be. That's the cheat way, let's do it properly, officially. To get used to it, the official way is to say, I'm going to copy you... then I'm going to turn that one off, that one off. I want to go to the Audio Track 3. "...where I want to go." It's going to land wherever your Playhead is, but if I hit 'Paste' now... can you see, you forced it to go to there. Do I ever do that? I don't. I'll show you the exact way I do it. So a little shortcut is, if you select it... and if you start dragging, and then look down at your keyboard... I want you to hold down the 'Option' key if you're on a Mac... or the 'Alt' key if you're on a PC. It will just drag out another copy as you're dragging... just drag it down to the A3. I'm going to line-- I'm going to make it a little bit bigger again so I can see it. I want to drag this roughly to the end... because I want it to kind of... "...upside down, so I wear it lots." I want to kind of end, maybe the little beeps and bops... where it fades out. Cool. So now this is where the hackery comes in. So I'm going to put my Playhead in about here... zoom in, it zooms in to wherever your Playhead is. I'm probably going to go full screen. Remember what the keyboard shortcut to full screen is? Tilde. I'm going to go real big on these... because I need to do some real big adjustments. What we're looking for is the peaks and troughs. We're looking to match them up. It's not particularly scientific. Let's have a listen to them now. - "...way through step by step." - Can you see, they're way off. I'm looking for a group of them that are quite similar. Even though I'm probably going to only overlap this bit... I'm going to keep zooming in... and I'm just looking, see this tower here... I'm going to move it along. You'll notice, dragging, it's a bit of a pain, especially when in the zoom. Oh, nailed it. Remember the shortcut for just nudging it? So have it selected, hold down 'Command' key on a Mac, 'Ctrl' key on a PC... and just use your left and right arrows, you have to have a clip selected. Just try and get it in there close enough, and have a listen. "You don't even need to know what those terms mean." So because there's a consistent rhythm through it... it's going to be really hard with-- say it was just vocals... but because this is computer generated there's a really clear beats per minute... that you can kind of match up, that's what I've done. You're going to have to spend a bit more time probably messing around with yours... because I've done this hack loads, I'd like to match those little peaks up. Now what we want to do is, probably tuck this in about there. I don't want to match this end bit because it's quite distinctive... the little beeps and boops, so I want to go about there. And how much overlap? We'll just practice. So I'm going to dip this one out as this one comes in. We could use Audio Transitions... that works fine, let's do both of them because we want to practice. Really hard to see... but let's go to my 'Effects', which are now up here... and we go to 'Audio Transitions', I'm going to click everything but that. Let's dump in that one there... at the end of the clip... that one there at the end of the clip, I'm going to extend them out... so that one's fading that way. This one is fading this way, let's have a little listen. Let's see if we can match it. "...UI or UX, you don't even need to know what those terms mean yet." "We're going to start right at the beginning... and work our way through step-by-step." I can notice it but what I do is I-- this is weird. I drag mine back to random. I'm closing my eyes right now, hit 'Space', then I try and listen for it... because if you're visually watching it... it's really easy to notice the beats change, or get a little bit squirly... but I find-- that's my trick anyway. Drag it back here randomly, I'm closing my eyes. Hit 'Space', and then I have no idea when it's really coming. Random. Anyway, so you can do that, I'll show you the other way... of cross fading it, just to practice, let's get both practices going. You can hold down the shortcut key to add a little keyframe on here. Remember what it was? You do, because we've done it a few times now. It's 'Command' on a Mac, 'Ctrl' on a PC. I'm going to click one at that end, one at that end. Do the same here, click once, click once, drag it down. We're doing the exact same thing. "...UI or UX, you don't even need to know what those terms mean yet." "Going to start right at the beginning and work our way through stepwise." Not very scientific, I apologize to Dan Mills who produced that track... but that's how-- a nice quick and easy way to kind of extend your music. We learned a few little shortcuts though... remember, holding 'Alt' while you're dragging it... or 'Option' on a Mac will duplicate it. We've kind of reiterated that nudge one, that's quite handy, that you'll forget. Hold down 'Command' on a Mac, 'Ctrl' on a PC... have a clip selected and just use your left and right arrows, tap it along. On to the next video. 57. Technical audio problems wave not appearing on Premiere timeline: Hey everyone, this video we're going to... talk about some more of the technical problems that happens with audio. So up until now we've just had like bad audio... it's been recorded fine, just not the best. From now on, in the next sections... the next few videos we're going to talk about... just really kind of technical problems that can happen with audio. The first one, I guess an easy enough one. Is let's say that I add this footage to this sequence. What you'll notice is that there's no waveform. You can see down here, in the bottom right hand corner... it is slowly but surely... generating peak file for my really big video. Now what's happening there? Now, my computer's pretty fast... so I found the biggest mp4 I could find to make that happen. Most of the time I just drag it in, and it just flashes through. I have had all the computers where... I spent ages doing it, and if you don't notice down there... you'd think, "It's broken, what's wrong?" And you spent ages trying to fix it, then one day-- a minute later it starts working, and you're like, "Huh, that's weird." Basically, Premiere Pro sometimes when it's dealing with... it's called an audio codec... It's a bit nerdy, but it's the way that the... audio file is being kind of created. Sometimes Premiere Pro needs to rebuild it, needs to say... "I don't like it, the way that you've given it to me." I'm going to make this kind of like... little separate file to work with... because it's easier, quicker, and plays back nicely. And you will notice it down the bottom, right there, going up and down. Okay, it never goes down, just up. The other thing is, sometimes the waveform just doesn't appear. Just, it's blank, it plays, you can, like play it and hear it... but it will not actually be visible. This is like a glitch, happens every now and again. If you re-import it, it comes back... close Premiere Pro and open it again it comes back. So don't stress if there is no visible waveform. It will render just fine, just might-- it's just a glitch. So let's get into some more technical problems that you can run into in audio. 58. Stereo sound in Premiere Pro explained: All right, so let's talk about Stereo sound. Stereo just means that there are left and right speakers. So when you put headphones on... some music comes out the left, and some comes out the right. You'll notice here, in the tracks that we've been using... you can see here, my microphone, this particular one... records the same on both channels. So even though it's a stereo track you can see L and R, left and right. If you can't see those you have to kind of just make it bigger so you can see them. So left channel and the right channel, both of this, music and this... are just using the same thing, so nothing really happening here. That's why you have two of them. You will get given stuff that is on these two, will be different. So have a little look at one. So I'm going to look in my 'Project' file, let's find, under 'Audio'... let's have a look at the one called 'Sound 1'. Just double click it, we won't add it. You can see it here, my Source Window, and you can see... there's two tracks, left and right... but there's different things happening... at the beginning here it's on both sides... so both sides... but it will toggle between the two. So I'm going to start at the beginning here, hit 'Play'. Both tracks, you can't really hear this because you're listening... "...moving images." I can hear it on my headphones. So it's gone on my left track now, it's kind of really weird. It's on one side only, and then it's going to change to this right hand side. Beautiful. Cuts to either side. Really weird, you can see it down here, bouncing on just one side. Cool, so that is Stereo. You will get stuff that might-- We're going to talk about what to do with it if it's only on one channel... but just get the idea, Stereo sound means there is two separate channels. One on the left, one on the right. Most of the time there with microphones, they're both on both sides. Thank you to MasterStudy for this track. I borrowed it from his YouTube track. So check him out, MasterStudy'... he's got lots of cool stuff for testing speakers. There's a link in the links file as well, called Testing Speakers. Now there will be times where you get given... stuff that is separate on different tracks but still usable... is when you're using something like this... this is a stereo microphone for a video camera. Another stereo one. This one that I used, the NTG4+ is not stereo. It records it in and sticks it on to stereo tracks... but basically just duplicates it on to, there it is there... on to the exact same track, left and right. The nemesis of stereo is mono. Most things recorded in stereo, most, you will get some mono stuff as well. We'll cover that in this course as well. The reason we're going to talk about stereo and mono... is if you output the wrong one with just one channel. I was listening to a YouTube video the other day... and I plugged my headphones in... and I just put one of my earbuds in, do you do that? I listened to it, and then all of a sudden it disappeared, I was like, "Yeah." Mouse moving, and I mess around ages trying to... turn the volume up and down, and mute, and restart the computer.... turns out he had exported stuff to YouTube... with it all onto one side of the track. So it was only on kind of like the left and I had the right ear in. So you need to make sure that goes out on to both tracks... or at least know what you're doing when you're exporting stuff. Couldn't for the life of me find that one... but know that it can happen. Another thing before we go is I just wanted to show you this file... because it has these two tracks here. So one is in stereo, one is in mono. This just means when I recorded this particular screencast... it was from a microphone that only recorded mono. So there's no two channels, left and right are the same thing. There is no actual left and right, just mono... whereas this is recorded on a different microphone that has stereo recording... records under both channels... and in this case this particular mic... just records the same thing on to left and right. What does it mean for you? It will depend, if you have a final output that needs stereo... as in you're doing a film or a short documentary... or something that's going out to anything other than the Internet... you probably want stereo, not always. What we're going to do, is in a later video... I'll show you how to kind of smoosh it all together... so you get everything on to one channel... so it's the same on both ears... but for all intensive purposes... for the moment these two work just the same. So that's your crash course in stereo audio, and mono as well. Let's get into the next video. 59. How does Dolby 5.1 in premiere Pro work: Hi everyone, this video we're going to quickly talk about Dolby. Mainly because we are in the whole, learning about stereo versus mono. There are actually more channels that you can use. Let's have a quick little look at it. For me the word Dolby Surround Sound was just this kind of mystery... until I opened up in Premiere Pro, and I was like, "Hmm, that's what it is." It's really clear to see. So in your Project Window, find 'Audio'... and in here there's one in here called 'Sound 2.' What I want you to do is-- yours might be ordered-- mine is ordered by Frame Rate... it happens all the time. So I click 'Name', just get in the habit of reordering. What we'll do is we'll double click it... and we'll hit 'Play' to have a look at this Dolby 5.1 experience. Now in this case-- I'm going to talk over the top of it and ruin it. You have a listen to your version, it's both video and audio... and to get the real true sound you'll have to put it on a surround sound... home theater style system, or try headphones, it's still pretty cool... but let's have a little look at another way of viewing this. So instead of looking at the video, which is pretty cool... is to actually have a look at the audio, you're like, "Oh, look at this." That's why it's 5.1 You've got 1, 2, 3, 4, 5, 6, and you're like, "That's 6 not 5.1" Basically they call-- all of these channels you got your left and your right... which is what we've got in stereo, but you've also got center. It's that center speaker that you stick underneath the TV, typically... then you've got left surround and right surround. So just two speakers that generally... go behind you to the left, and behind you to the right... and then this one here, low frequency effect, this is the bass. That's why it's .1, I don't know why it's .1... but it's the sub woofer that you plug into it. So that's why they call it 5.1 You can have 3.1, you can have 7.1 7.1 gives you roof speakers. I think, Dolby call it Atmos, I think. It just fires the speakers off the roof. I think they actually just project sound up there... but anyway, if you do see Dolby 5.1 on stuff now, you'd be like... "I know what that means." It's a bunch of channels all together. If you listen through just your headphones still sounds pretty cool... but obviously doesn't have the right amount of speakers to get the full experience. Now the other thing to note when you are using files like this... watch this, if I go back to my video version... and I want to say, add it to this particular sequence... I'm going to hit my ' \ ', zoom out a little bit so I can add it over here. So you want to add the whole thing, you're like, "Uh, what happened?" You're like, "What's going on?" I can see it, but where's the audio? It's down here, watch. Got its own layer. So it's got its own track because it is special, it is 5.1. So if you are dealing with stuff that you've got... and it's ending up on it's weird track... it might be 3.1, 7.1, just a handy thing to know that... you can't have all these separate tracks mixed in with the stereo. Just doesn't like it. So if there are things splitting off... and doing their own thing on their own layers... is because this guy doesn't want to go there. In the next couple of videos I'll show you how to convert things like this... multi track into kind of stereo or mono. Yeah, that really helped explain it to me when I was like... kind of half understood it... but now, seeing it in here kind of makes it really clear, at least to me it did. You might be thinking, "Why the hang are we talking about 5.1?" Mainly because you have stuff ending up on weird tracks... just have a little look in here. This one here says, "I am 5.1" Let's move on to the next video. Actually, before you go have a look at that video. If you have got surround sound, even with just headphones... just watch it all the way through, it's pretty spectacular. It's amazing what you can do as a sound artist. I don't know the term for it but that is pretty beautiful stuff. Mixed in with some pretty beautiful graphics. All right, next video. 60. Can only hear sound audio from one side in Premiere Pro: Hi everyone, in this video we're going to look at... how to fix when you've got audio coming out of just one speaker. You can see it here, coming out the left, but not the right. We're going to convert it into mono, so it comes out both, left and right. Let's do it now together. Let's move on, let's delete the Dolby thing... which is like a little preview. What we'll do is we'll go back to our... 'Project Window', let's be in our 'Audio Fixing' sequence... just because it's... self throw away testing sequence. What I want you to do... under 'Audio', is I want you to find 'Sound 3'... one side only. It's just audio, so we're going to drag it to our audio track. It can go on any of these. You'll notice, if I make it a bit bigger... that is only on one track, weird. Listen to this one, it depends on how you're listening to it. Headphone's on, and it's clearly coming through one speaker, which is weird... or on your laptop, it's probably just... let's have a little listen, it's probably only coming out one side. So to fix it, it's pretty easy. Best to do it up here, in your Project Window, just right click it... go to 'Modify', go to 'Audio Channels'... and say, I would like this clip to be mono. You got to decide, over here, which is the good channel. I can kind of see it down here. You can see, my good one's on the left. Yours might be right, you can test it down here. Test the left, hit 'Play'. All right, this is... yep, right... nothing on that one, so it's definitely left. That's what you need to do, click 'OK'. It's going to warn you that you're going to miss some stuff. Now this one down here, and the Timeline hasn't updated... so we're going to drag back out. You can see now, just one big mono track. This is just the sound pull... that's coming out both the ears, which is cool. That is how you get sound coming out both of your speakers. Converting it to mono in Premiere Pro. I will see you in the next video. 61. Separating stereo into two separate mono audio files in Premiere: Hi there, in this video we're going to talk about what happens... when you get given one mp3 file... that's this one here, Sound 4... but actually it's a bit weird. It's got my part of the interview on the left channel, and my interviewee... Tayla Coman on the right channel, they've been smooshed together. Happens a lot with podcasts. I'm going to show you how to split them up so you can use them separately. I won't make you sit through the podcast... because it's basically just there to help us make this file. You can listen to it on your own if you so wish... but let's show you how to separate them up. To separate these two out, let's drag the original onto my Timeline, just to see. One mp3, two different tracks being used. To separate them is have it selected, go up to 'Clip'... go down to 'Audio Options', and go to 'Breakout to Mono'. It just separates this stereo that had two separate tracks... into two mono tracks, left and right. I'm going to name mine just because-- I'm going to click it... just because... Man, where am I going? Click it once, don't double click it. I'm going to call this one 'Podcast Dan', because that was my side. I think I was the left, and this is 'Podcast Tayla'. I'm going to delete that one, now I've got two separate tracks... that I can do two separate things with. Remember in the last video where we did the fancy-- was it this one, One Side Only, we went, right click, 'Modify'... or 'Audio Channels', and we kind of separated them. We did this, this, this to mono, remember that? You could do the exact same thing here. You could get it down to one, by instead of smooshing them together... is separating them out and just deleting the one you don't need. You might decide that this side is gone. We end up in a similar position. Now why do we get these? Happens a lot for me when we're recording on either of these two things. Basically you can plug two microphones into one recorder. This recorder is clever enough to go, instead of that, separating... well, instead of having two separate files that you're going to line up later on... is it will actually just make one mp3 or wav file, or whatever its format is... and it will put one kind of source from the microphone... one interviewee on one side, and one on the other... and later on you can separate it. That's what we just did... otherwise you got to have two microphones, and yeah, no fun. I use this one as well, so that's kind of a recorder, this one here is... it will pull in-- that's what I use for my camera. I can pull in two different microphones. It puts one microphone on one channel and one on the other... and runs-- I run it straight out into my camera. So it actually matches up with my video straight away. Anyway, getting a bit nerdy. Oh, one last thing before we go, is we split stereo... this one here into two monos, you can do the same thing with... remember our Dolby 5.1, you can right click it and do the same thing. Don't right click it, go to 'Clip', go to 'Audio Options', and 'Breakout to Mono'. You'll see you get all the different options, six in total. Weird, anyway I'm going to undo that... and I'll see you in the next video. 62. What is the difference between Vibrance vs Saturation in Premiere: Hey there, in this video we're going to describe the difference... between vibrancy, ooh, nice, and saturation, oh, not so nice... and I can feel a vignette in our future. Yes, I can. To get started, in your 'Footage' folder... let's make, we're going to use 'Color 1 PP Pre Launch'. So right click that and make a sequence from it. We'll just use this to do our practicing. With it selected, let's do a bit of basic editing quickly to get it up to speed. Just the practice, 'Dialogue', 'Auto Match'. Make sure the audio comes up, nice. Let's go to Central Graphics... no, let's go to Lumetri Color, which you can almost see there... and do your basic corrections. I'm just going to go to 'Auto' because I'm lazy. I should go through and start adjusting this a little bit more... because it's a little bit dark. Actually can't help myself, I'm going to speed this up. All right, I'm back, what do I feel? Yeah. Definitely better. So what we're looking for is, never using saturation, saturation, bad. I got sun burnt. So even if you just do a little bit I'm just getting a little bit sun burned. So what you'll find is-- turn it back to 100... and the one you're looking for is under Creative. I'm going to close down Basic Correction, and open up 'Creative'. Just don't use Saturation, this one here, use Vibrance. Vibrance is really good at protecting skin tones. It also does cool things where, watch this, Saturation, watch the screen here... it's quite rich in terms of color. Same with my skin, if I crank it right up... this gets quite overdone, my skin obviously gets overdone, just kind of... goes too far, it grabs every single color that exists, and lifts it up... whereas vibrance is different, what it does... you probably still don't want at 100%... but what it does is it tries to find colors that are pretty low. You'll notice that the colors in here don't change very much... whereas colors that are quite light... or don't have a lot of saturation in them get affected... but the ones that are already rich get left alone. Does that make sense? So it kind of lifts up the ones that are a bit weak... but leaves the strong ones, and it's just a-- just gives you a bit of effect in 99% of the cases. There are times, with saturation you just want to yank up... because it's-- generally it's maybe non live footage. Might be digitally created... maybe through some sort of 3D software or After Effects... saturation could be fine... but also vibrance, except as skin tones... you can see I can-- let's turn Creative on and off. I've really brightened up, you can see the dulls in the blue... is a really good example; on/off. It's really brightened those up... but it hasn't overcooked the purples and pinks in here... and it's left my skin alone, which is useful. So that's the difference between vibrance and saturation. I've explained it a couple of times with saturation... let's all colors up equally... and vibrancy leaves the already saturated ones... and tries to lift up the little weak ones... to try and make them pop a little bit more. I should have said that at the beginning, there you go... I've said it like three or four times now. Hopefully one of those stuck. Vibrance good, saturation bad. And one thing for old times sake... clip selected, and just one more vignette, I promise, just one more. And if you ain't here, I'd do this. I'll just do it here because you're watching, just a little one, just one more time. That's it, also any of you acknowledge that the quality of this one is pretty low. Mainly because I made it for Instagram... so I kept the quality quite small, so uploaded fast. So it's not the best example, but yeah, there you go. Goodbye me, have a shave. I'll see you in the next video. 63. Changing color over time to black & white in Premiere Pro: Hi, everyone. We are going to get our video to dip from colorful to black and white and lower the exposure over time, and it's going to allow us to learn the fun world of keyframes. Keyframes are awesome. They're going to allow us to do simple things like this in more advanced motion graphics. Be excited. Let's get into the video. First up, let's close down a few of these sequences that we're not using. I want to find the XD Intro 1, it should be home-based here in your project panel. Cool. What we want to do is, first of all be able to see down here. I'm going to scroll this down so I can see. Actually I minimized this earlier on, didn't I? I don't know. It feels too bad, too small, make it a little bit bigger, and for this audio, we're going to scroll him up. I'm going to hit the "Backslash" key to get it all in screen and ready to roll. What I want to do is there's a bit at the end here, which I've actually realized that I'm missing a big chunk in here, like this is what we had cut it in. I want this little bit where I start talking about. [MUSIC] I hope you're ready to upgrade yourself than a Adobe XD [inaudible] user experience designer. I'll see you in class. That pause, where I do the awkward pause at the end, I want to dip to black at the beginning and fade out, that's what I want. I'm going to get rid of the dip to black. It was a cheap trick and real cool and easy to do. We're going to do the hard way. We have a lot more control. We're going to introduce you to something called keyframes. What I want to do is have the clip selected about where I want it to start now going black and white, so after I start talking, I'll see you in class, right there. I want to have it selected. I'm going to find my effects controls and we're not going to use the Lumetri, I'm going to tidy it up just to make it look pretty and we're going to be dealing with two things. We're going to be dealing with actually everything in Lumetri. If you don't have Lumetri applied, let's say you're doing it out of the scope of this particular course, let's say I find a bit of footage and I edit, you'll notice that I don't have Lumetri as an effects control option. What you need to do is do one simple change across here and it will apply. It could be anything. You can go up the intensity by 1.1 percent and it will apply that filter. Then we can start doing this. I'm going to undo that. There we go. We're back to where I want it to be, and I've got my Lumetri effect applied. What I want to do is twirl it down, and we want to find both. There's two things I want to do. I want to do the exposure and the saturation. Where are they? Going to have a look. You can work it out over here as well. You can see the saturation and in basic correction is exposure, there's another saturation in here, so we'll probably do them in here basic correction. There's basic correction and the tone. You can see they match up, basic correction, tone. We're going to set a keyframe. What do you do? You get your play-head where you want it to be. You have your clip selected and you can hit this little stopwatch. Basically, it's going to start recording now what you're doing. At the moment, I don't want it to do anything. I want it to stay where it is for the exposure, and then by the time it gets over to here, where I start talking again, I want to play with the exposure. You can do it over here, it doesn't matter, or this little slider. Drag it left to right. I'm going to use this one because I want to get down and dark to feel like we're in behind the scenes zone. That is the look I was going for. You'll notice that it's added these two little diamonds. The first one we added ourselves by clicking the little stopwatch, that's our first little diamond, and the second little one gets automatically added to wherever our play-head was because we done that adjustment to exposure. What we've got now is I move it back, hit ''Space Bar.'' I'll see you in class. [MUSIC] There it goes [inaudible]. What I might do as well is mute the audio because it's not helping us in this class, and it's probably going on mute. Mute scrolling down using the scroll wheel on my mouse, to get rid of all that. That's what I'm looking for, starts there and fades along. Keyframes are awesome. We can do it obviously in the middle of a clip, whereas that dip to black only works on the ins. We could slice it and do some cool stuff, but keyframes are going to be really important for the rest of this course, so let's learn how to use them. Where the big things are, is that you can see there's a little CTI play head up and this. This is the extent of my clip in here, and inside of my clip I've got two little keyframes. I can drag this back and forth and it's the same as dragging it back and forth over here. If you're like, man, this feels really confusing over here, it is. The fix control is one of the tougher things to learn. If you double in this, you're going to every time open up a fix controls and go, [NOISE] [LAUGHTER] and it's not you, it's Premier Pro. To make it a little bit easier to use, I'm going to share a couple of little tips. When you're dragging the CTI, like it is down here. If you hold Shift, it will snap to the keyframes. If I want to make an adjustment, say to this last bit and I'm like it's not dark enough, it is near impossible. Watch this. I can't drag it over the top. It's really hard to get it over the top of the keyframe. If you think you've got it, you're like, yeah, that's it, and make an adjustment, look what happens over here. You see it in there. I go to another keyframe. There's actually three of them in there so I'm going to undo that. Actually let's not undo it, let's have a little look. I'm going to put it back. Now, you quite often will need to zoom in on here. Now, how does the zoom work? If I have my timeline selected and hit ''Plus,'' it zooms in down here. If I have my fix control, that little blue line around the outside and hit ''Plus,'' it zooms in up here. That's why they have this little blue box. Knowing it first, but it's actually quite useful now, we don't have to learn a separate shortcut for zooming in, and you can see, here's all my little shortcuts. These are all my little keyframes. There's my first one, there's is my random third one. I don't want him, so I just click him, hit ''Delete'' and he's gone. Now, if I want to adjust this, I say hold ''Shift'' on my keyboard, drag my little CTI along the top here and it's snapped. Now, if I make an adjustment, I make it a little bit darker even, I'm actually just affecting that one keyframe. Same thing with this one. If I drag it up and adjust this either over here, I'm adjusting that keyframe. We've done that for one of the attributes, I want to do it for saturation as well, so we need to find it. Where is saturation? Here he is. I want to start it at the same time, so I'm going to make sure holding "Shift", I snap my little CTI, my play-head to that keyframe. I stop my little stopwatch. You say, where are we? Here it is, that saturation. I get my first little keyframe, drag it to wherever you want it to be. I'm going to line mine up. You don't have to. I'm going to line mine up just so they're doing the same thing at the same time. I can manually put in a keyframe if you so wish. That's the official way of doing it, and then do an adjustment, but because it's looking, it'll let the keyframe automatically. Let's go to saturation, drag it down. I want it to be nice and black and white, here you go, got a keyframe. Play it back, not talking, but it dips. Does that dip too long? Let's say it does. Let's say it's to far. It takes too long. What you could do is you could reset everything, to reset everything, click on the stopwatch and watch these keyframes. I'm going to say, would you like to lead them? You say yes. It's gone. It's gone back to the default while whatever last one it was slit, so I have to set that back to zero now, and they're all gone. I could do that. I'm going to undo, put my keyframes back. Let's say I want to change the timing of them. Basically, it's how far apart they are. If I want to make them longer, I make them further apart. Let's have a look. Can you see the time? It just takes longer time. Obviously, if you want to make them together, you drag them closer together. Now, I didn't ignore the fact that I selected both of them by just clicking and dragging a box around them. You can click one, hold "Shift" and click the next one. Doesn't matter which one, I just drag both of them. Now, I'm going to drag them real tight together just to show you. It was a nice quick transition to this new look. Obviously, you can set keyframes for any thing in here, basically anything. We're going to cover quite a bit of it in this course, but positions scale, anchor points, anything in Lumetri color, lots of cool stuff in here you can play around with. It's got to stop watch. It means it can have a keyframe, which means you can adjust it over time. One thing before we go is that the effects controls panel is always too small. I'm going to drag my now, and you're like, look at that space. That's probably better for me. Then we go to Window workspaces. I'm going to update my unicorn, I'm going to save changes to this workspace. Thank you very much. Also you can grab this side and say actually, I don't need all that. I've done that first. Now go to workspaces and save workspace. Nice. We've got a bit more room. What would be a cool trick? Because we can zoom in and out. What would be a cool trick to get this to go even bigger? Imagine if we could go full screen. Remember our shortcut, L tilde/grave/squiggle. Often it can be really nice tiding up keyframes in here when you're in this big nice view. The button again, go nice and small, and that's it. Let's get onto the next video. 64. Custom Lower thirds using the Essential Graphics panel: Hi everyone, in this video we're going to take our amazing new keyframing skills... and create this text, sliding box comes in. Realizes a little bit, did it pretty get the Discovery Channel... that investigations, crimes, murder thing? Think it was all shot in the 80s... and they all had lower thirds clunky like this. We'll make it prettier in another video afterwards... but for now let's make this clunky goodness. First up let's remove the bad one. So-- what bad one, the original one we made. So up here, this fades in... I can't remember, did I set any extra homework? Let's just make sure you've got rid of all of your original ones. Actually let's just have a look at how it's constructed. I've got it selected here in my Timeline. I might make it just a bit bigger, I don't know why, because it's better, taller... and we cheated, we didn't cheat actually... we got it to cross fade in - I'm going to zoom in. - we use the Cross Fade to fade it in, and Cross Fade to fade it out. I'd do it again that way if this is all what we're doing... but we can start using things like, can you see over here, there's opacity. If you twirl down opacity... there is a keyframe, you can start messing around with that. So we're going to delete those because we don't want them. In terms of the actual title itself what we did was... you'll notice over here it's a bit weird, with the Essential Graphics Panel. If you can't see it go to 'Window', then go to 'Essential Graphics'. You're like, "Hmm, how do I change the type... how do I do stuff, there's nothing over here." You actually have to click on the actual line itself... and it will all kind of spring back to life. What we did is we picked the font... and down the bottom here we added a background graphic... sorry, a background color to it. You saw at the beginning there... we're going to actually start animating it differently. All the text to animate separately from the background... and in this case we can't because they're all kind of fused together. So let's actually just delete that whole title here, and let's add a new one. So there's our little Type Bar over here. What's this panel, I can't remember what's over here, does anybody remember? I got two Project Panels open, cool, huh? Goodbye, 'Close Panel', thank you very much. We're going to grab the 'Type Tool'... and we are working our Intra Sequence, kind of about here. We're going to click once over here... and I'm going to type it in my name. So we're going to use Daniel Walter Scott again... but what we're going to do is going to do some changes. We're going to turn off the 'Background'... I'm going to turn off the 'Shadow', we'll leave the shadow on... and I'll show a few things when you are doing lower thirds. Often it's probably best to right align it... so that when we type in the next person's one... it's pushing from that side, so pushing over here... because I'm going to have mine in the bottom right. To move it around use your 'Move Tool', move it around. What we want to do as well... kind of want to add a few little bonus extras, is avoid this thing. That's the Center of Rotation... or the Anchor Point, we don't want to move that around... because it doesn't really move anything. It's used for this, when I rotate it around... so just leave it where I got it. Just avoid grabbing that thing... wherever it might be, sometimes it's in the middle, bottom left... trying to drag it around. So got mine here... and I want to, whenever I'm doing lower thirds... I want to make sure I'm working on, like the biggest... mine's quite a long name, or quite a long name... if you add my middle name, it is... but what I often do is I'll come in here and look for a condensed... so I'm looking for fonts, and I'm just typing the word 'condensed'. I'm just looking for a font that will work, it is condensed as well. You don't have to pick-- you probably won't have the same fonts as me... just a little tip to go, okay, condense fonts. Cool thing about it is that it can be visually, like same, like legible... but a lot shorter, it's not poking out so far across the video. So now we're going to animate it over time. What we're going to do is start it somewhere. So I kind of want it ending there... but I'm going to kind of wreck that by going... I want you, got my Selection Tool... and I'm going to drag mine off screen a little bit. Now dragging it off screen's a little bit tough... because I can't see the edge, because I'm on Fit. You can either zoom out a little bit, or lots, and drag it off screen. Remember, don't drag the target, drag it off screen there... or you can use, I don't know why I do this, you might not like it... but I often will use this, under here, the text... there is one under here... so I twirl that up just to make it a little easier to see, is position. I find I can just drag it off screen that way. We've done that before, up to you, I drag mine off. Basically it's helpful to see anyway... because this is where we're going to animate it. So if you didn't do this make sure you've got your text selected up here. I'm going to start mine a little earlier. Got it selected in my Timeline... over here, in my Effects Control... I want to find the text, I want to twirl it down... I want to find - twirl up - 'Source Text'. Find 'Transform', and start the stopwatch. I actually want to start my stopwatch at the beginning... because there's no point starting it further down because I still can't see it. So what's the shortcut to jump to the beginning of this? You have two at your disposal. The one you can-- there's two you can use... hold 'Shift' and drag along, and it will snap... or you can use the up arrow, why didn't the up arrow work? It's because this is not highlighted. It's ignoring that layer when I'm using my up and down, now all get in there. Remember, I just have them all on. There we go, be at the beginning... and I want to set the timer going for position. Get a little diamond there, it's kind of half cut off, that's okay. Then after some time-- In terms of timing you'll have to, you'll get better at it... I like to hit 'Spacebar'... then stop it just where I feel like it should come up... and then just raise it up. You always drag it the wrong way, drag it the right way. And up here... that's what I'm going to do, so I got two keyframes. One when it's down the bottom and one when it's up the top. So back a bit, hit 'Spacebar'. Hey, we'll get animating text. Hooray for keyframes. Let's do the same thing for the box... but I want the box to come in from the right. So what do we do? Let's kind of get to grips... with the Essential Graphics Panel a little more. Let's have it selected, let's go over here, let's add a new shape. You could do it in a separate box... we're going to add it to it because it's really cool. We're going to say, I want a rectangle. Mine's already the right color, because-- Is that the default color? It's probably not, it's something I've picked. So I'm going to click on the little box... drag the Hue slider to find the color that you want. I'm going to pick... that color. I'm going to use the edges of it... just to kind of get it there. It's hard to know where it should go... so we're going to play around with the Layer Order. So shape 1, I'm going to call this one Background Box. You just click on it once and then type it. I'm going to put him underneath. Now I can adjust it, check it, kind of how I want . All right. And I want the opacity down a little bit on this fella... just so I can see through it to the background... for no good reason. So what I want to do is animate it... the kind of same sort of times this is happening. So, over at the beginning, remember the up arrow... get locked into the end there. Where am I going to start it? I'm going to find it over here, in my Effects Control... I'm going to twirl up the text... twirl down Background Box, and I'm going to try and find Position. So I'm going to start it over this way. I'm just dragging it, I just click, hold, and drag it to the right... it's called scrubbing. Just needs to be off screen. And then... I'm going to get it to come in at the same timing as this, maybe I do. If you do want to get it to the right spot... remember, you can drag this, the CTI over here, hold 'Shift'... and it will snap to any other keyframes... that are within this Essential Graphics thing. You can see them, there are circles there, why are they circles now? It's because you can't see them. They're only circles until you undo it, and then the diamonds. It's just kind of showing you that... somewhere in this little group is a diamond. To express that we're going to show you a circle. So at the beginning here, it's off screen... and what I need to do to actually kind of mark that as off screen... is actually, my 'Shape Layer'... I'm going to twirl up 'Appearance', we have to set the keyframe going. Forgot to do at the beginning, it's not going to matter now. You have to do it at the beginning to kind of say that I want... at this point in time I want it to be off screen, and then holding 'Shift'... at this point of time, I want it to be on screen. I'm going to drag to the left, you're going to drag it the wrong way... then the right way. It's a little bit mechanical, let's have a look. It's kind of like <i>News at 5:00</i> from 1990. So it's animated... we need to look at doing some easing, and maybe some timing. There's no reason why this doesn't have to be either longer. Let's have a look. Whoa, is that good?... or shorter? Is that good? Neither of them are good. You can select both of them and say, actually I want it to be sharp... but I want it to-- I want the starting one... to start later on, so it does nothing until it gets to here. Zooms out, look. A little bit 1990s still. We're going to make it prettier, I promise, but that for the moment... is us getting a little bit more advanced into Essential Graphics Panel... because we're actually adding animation and keyframes to them. That is it for this video, let's jump into the next one. 65. How to apply easing to keyframes in Premiere Pro: Hi everyone, we are going to change it from clunky to smooth... using Easing in Premiere Pro. Look, clunky, smoother. Really clunky animation, nice graceful smooth animation. That is Easing or Temporal Interpolation in Premiere Pro. If you're sitting there thinking, "They look the same, Dan"... they look similar, but have one more look, look, clunky... not clunky, oh, smooth. Whether you're convinced or not... let's jump in anyway and work out what Easing is. First up we need to find some keyframes to add some easing to. I've got some keyframes applied to my little lower thirds here... where they slide in. We'll do the text first, and the box second. So with it selected, up here in my Effects Control... we need to find the keyframes. Not these ones, because that's for my background box, we'll do him in a second. So I'm going to close it down. Remember, little circles mean somewhere inside of here, very deep... is a couple of diamonds, and that's what we're looking for. So inside 'Text', down to 'Position', a couple of diamonds. We'll do the first one. So we'll get this first one done. You don't actually have to have your CTI there... just have to click on it, make it go blue... then right click it, it's teeny tiny, I'm aware. Right click it, and you're looking for this one called Temporal Interpolation... which is a super nerdy way of saying Easing... which is a slightly less nerdy way of saying sliding in nicely. So we want this one, then you're going to play the fun game of... is it Ease In or is it Ease Out? You'll get it wrong half the time... after about six months of playing around with this... you'll be pretty confident with it, it is, you're like, "Which one is it?" There's a lot of try it, and undo, try the other one. Now I know that this one here is going to be easing out of this keyframe. We can't ease into it because there's no side of that. Nothing's happening there, so it's easing out of this keyframe. So I'm going to right click it... I'm going to go 'Temporal Interpolation', I'm going to 'Ease Out' of it... and it changes to, like a little diamond. You can't, oh, sorry, hourglass, you can't really see half of it... there it is there, I'm going to undo that. So that gives you a kind of a visual indicator... that you've done some Easing or Temporal Interpolation. Why do I call it Easing, and nobody else does? It's just because it's very common in lots of other programs... and they call it Easing, so I still do it too. If you Google, like, how to do easing... you'll end up here with Temporal Interpolation. Nobody calls it that, just Premiere Pro. So let's have a look at what it's doing. Let's get our Playhead back to the beginning... and watch this over here, 'Spacebar'. Nothing really happened... because it's happening-- it's going slowly... as it's coming up the screen, you can't really see it. The one that will be a bit more obvious is the second one here... so just click on it. You don't have to have your CTI on it, right click it. Now in this case, is it Ease In or Ease Out? Easing out is this side, easing out of it, nothing's happening there. We want this side of it because there's lots of action on this side. If there's action on both sides you'll have to do it twice... you'll go, you, Ease In, and then add Ease Out. So we're going to ease into this one. Let's have a little look. 'Spacebar'. Can you see, it just comes in with a little bit more grace. It's called easing. It's hard because the big colored box storms its way in. So let's fix that one with some Easing. Same sort of thing, we need to close all this down, find our Shape layer... find our diamonds, and this first one here... we're going to right click it, and you're going to go... Oh, brain melts, which one is it? It's Ease Out... because there's nothing happening over here... there's nothing to ease in for... but using out of this keyframe it's doing lots. Right click, 'Temporal Interpolation', we're going to get this to 'Ease Out'... and if you get it wrong just add Ease In as well. It's going to do the exact same job... because there's nothing happening the other side, doesn't really matter. So if you like just clicking it and going, "Don't care"... just do it twice, because you don't want to learn. That will work too... but just do it officially just to get us going. So this one here is Temporal Interpolation. This is easing out of that keyframe and then into this one. Here we go, now hopefully, let's have a look. Can you see, it's just got a bit more-- I like the word grace... it comes in with a little bit more pizzazz, that's a terrible word... but you get the idea, right? It's just not as clunky. Now often when you get to here you can play around with the timing... and the timing is just how far apart these are. So you might decide to go in faster, let's see what happens, watch. Move it back, 'Space bar'. Move it out. So once you play around with the easing your timing will be off, they'll get to-- they'll get to the right point and end of the right point... but their timing in between it is a lot different. There's a bit of graduation going in. Basically think of it as-- it gets kind of like a bit of slowness. I always think of it as putting glue on it. So it's going really fast in the middle but it gets a bit 'glue'ey here... and it gets a bit 'glue'ey leaving. So it takes a little while, get some inertia... and then gets all slowed down. All right, that is Easing, my friends, or Temporal Interpolation... giving your motion graphics some grace. And that's it, we're not going to do huge amount... of motion graphics in this class, we're going to do a bit... but that is the term that they are using, we've got graphics, they are in motion. It's pretty simple, but you can now put your hand up and say... "Yep, now it's some motion graphics." All right, enough easing, I will see you in the very next video. 66. Changing the scale size of rectangle or text in Premiere Pro: Hi everyone, in this video we're going to change our little background box. So instead of just coming in from the side we're going to get it to scale in. Ooh, we're going to get to move a little bit as well. That's some easing for a bit of practice... let's do that now. I know, I know, we just spent ages... getting it to slide in from the right, look all easing... but I want to show you both how to kind of modify your own work... and also how to maybe... when you've got other people's work that you need to adjust. So we're going to dig back in and kind of clear stuff out. The quickest, easiest way, is select the clip... over here in your Essential Graphics Panel... click on 'Background Box', and just hit 'Del' on your keyboard. You can start again by drawing in your rectangle. That's too easy, I want to show you a harder way... a different way, so with it selected... make sure, over here in our Shape Layer, so what we want to find... I'm going to find our keyframes, you might have to dig in and find it... is you need to delete these two keyframes and start again. So we delete them, often it will end up, like it's... there's no animation anymore, it's just over on the side there. You can do it differently, as in... if I have my Playhead on this side and actually just turn the keyframes off... toggle the animation... it's going to say, I'm going to delete your keyframes... you're like, "That's okay." It doesn't really matter, you could drag it back in afterwards... but at least the keyframes are gone. What we want to do is we want to animate the scale, like you saw at the beginning. So at the beginning here... we're going to start our little stopwatch... and what we're going to do is, I don't want to just scale like... top and bottom, you saw it just kind of came in from the right. So I'm going to twirl that down, and I'm going to use... I'm going to untick 'Uniform Scale'... so that I can play around with the scale for vertical... undo, and horizontal, separately. This is going to allow me to show you something useful... is the Anchor Point, we looked at it before... when I was clicking on this and I said don't move it. Now is the chance to move it so I can grab it and it just, it's-- Basically if I do it from here, watch, it's going to scale out of that corner. Let's do that way. No, that one there. Can you see it's kind of using that as its home base. So I'm going to undo, undo. Where do you want it to go from? I'm just going to go from about there. Got to be reasonably precise. You can hold down while you're dragging it... holding down the 'Command' key on a Mac... 'Ctrl' key on a PC, it will snap to all the edges, which is handy. So I'm going to get mine to go from this middle here. I want to start it at horizontal. Horizontal, vertical? always forget which one. So we're going to go '0' here. Actually no, we're not, it doesn't really matter actually. You can start the stopwatch now, and then make your adjustment down to 0... or you could have done it the other way around... as long as this gets started before you make your second keyframe. So what have we got? I'm confusing everybody, so I'm at the beginning here... I've switched tools somehow magically. I'm going to start my little stop watch. I've moved my Anchor Point. If you can't find Anchor Point... 'Selection Tool', give it a click, drag it around. I'm going to start it at 0, so it's nice and small... and then after some time... I'm not sure exactly how long yet, it's going to go up to its 100%. Let's have a little look. There you go, that's how to scale things, you can do text. Doesn't matter that we're doing the shape... and we're going to add a bit of easing, get a bit of practice... and to make it look prettier. For this first one here, can you guess, is it ease in or ease out? Can you remember? So right click it, this one here is a little different... because, I don't know, we're inside of Horizontal Scale... it cuts down what you can do with it. So I definitely want it-- you don't have to go to Temporal Interpolation. We can just go, do you remember what it is? Ease Out. Did you get it? I think you probably got it wrong. Don't worry, everyone does. Ease in to this one, out of this one, going along, and they move with the glue. It's easing into this one to glue it up. Nice. How fast we want it to go, drag it back and forth. Play around with yours to get your timing. Now if that's all you came for you can skip along. We're going to double down a few actual things. We're going to do some Position as well to get it kind of be exciting. So right at the beginning here... it's a little hard because you can't see it. So I'm going to move just like one keyframe in... just dragging a little bit in... and I'm going to mess around with the Position. So I'm going to start it there... and I want it to be a little bit this way. So it's going to both come in from the side... and then by the time it's got to this last bit... remember, holding 'Shift' to snap to that keyframe... so when it's kind of finished... I would like it to be completely lined up. About there, all right, let's give it a go. Oh, it's moving across as well, needs a bit of easing going on. So these two guys here, I'm going to do it backwards, freak everyone out. So easing into this one... do you remember what this one is? Ease out, there you go. Don't have to be the same time, this one can still be moving. So play around with it, get a feel for it. Try and get yours looking a little nicer than mine. Yeah, maybe that's cool. Sound effects. All right buddies, that is going to be it for this one. Slides in, animates in, text comes in, it's all very pretty. On to the next video. 67. Class Project 05 - Animating Text: Hey there, this video is a class project, you're like, "Hooray." What I want you to do is add this text here towards the end of your clip. Let's have a little listen. "... XD, and become a User eXperience Designer." So around that sort of timing of the 06 video... I want you to add Signup text, and I want you to slide it in from the bottom... and I want it to be eased. So just maybe, save a version 2 of your Premiere Pro file. So just do a 'File', 'Save as', especially if you're finding this pretty tough. If you're like, "Man, easing and keyframes is driving me mental"... go in and do a 'File' 'Save As', 'v2'... just in case you break it. That's the text that needs to come in. You're going to animate it from either the bottom or the right hand side. I don't mind where it comes from... just some sort of position animation, make sure there's easing. The optional for the people that are pretty keen... you're like, "I'm getting the hang of this"... I want you to animate the background separately... because in this one here I have it coming in together... but remember, earlier on... in terms of the colors I've totally got mixed up my colors, but anyway... different fonts, different colors, I'll leave that choice up to you. For this one though, because it's kind of a small one... I don't want you to export an mp4. Just take a screenshot, remember, in here is, get it, so it's up... and hit this, like a little camera button. You can save a JPEG and then submit that as your homework. Either on the assignments page, the project section, or in the comments. Tag us there on social media as well. Nice easy one... maybe, it could be really frustrating, a bit of practice with animating text. What I'll do is I'll do it together in the next video. This is probably a little bit early in your animation keyframing career... to go off and doing assignments... but I feel like, you'll probably run into questions, if you do this one... that we'll answer in the next couple of videos. So it might be a little bit tough... but it will give you some really good questions to ask. All right, go on, do your homework, and I'll see you in the next video. 68. Class Project 05 - Animating Text - Completed: All right, how did it go? If you found it a little bit frustrating... that's totally fine at this stage. I'm hopefully going to, if you did have some problems... I'll show you what happened, if you didn't have any problems... and you're going pretty good, probably watch this video anyway. Just, yeah, can be handy sometimes. I'm going to get my Keyframe or at least my Playhead where I want it to start. I grab my 'Type Tool', I'm going to start with that. I'm going to click over here. I'm going to type in 'Sign up', I'm using a slightly bolder font. I'm going to grab my move tool, 'Selection Tool'. Get it to where I want, avoiding the Anchor Point. I want it to be about there... and I'm going to do-- I'm not going to add the background, you might have done this... and added the background color, that's fine. I'm going to do mine separately, just to be fancy... and I want to have it off screen. Now with your Selection Tool... you can actually drag it pretty close off the screen, there you go. You can zoom out a little bit... or you can use the position, and this is where... some of you might have had the problem, is that there are a bunch of positions... vector motion has position. The text, look at this - close down the Source Text... - has a position as well, there's another position under Motion... you're like, "Oh, my goodness." It's because, remember we're going to have text and a rectangle in here... which we want to animate the position separately. So you actually-- we're going to work on the position of this. If you didn't plan on that it wouldn't matter which one you do. Basically if you use either one of these... say this one here, this is going to move the, animate the position... of both the text and the box, all together. It's kind of like an overall wrapper. Thinking of bad 2pac jokes there, but let's just stick to the plan. Let's add our rectangle... or add our animation actually, I haven't actually animated it yet. So starting at the beginning, holding 'Shift', so it snaps... I'm going to start it off screen... and I'm going to set my keyframes for position... then after some time I just hit 'Spacebar'. Hit 'Spacebar' again, that feels like a good timing, is probably a bit long. Then I'm going to animate it up. I can't really see it so I'm just going to use this one, 'Position'... there he is there, get him up to about there. Enough room so I can put a box around it. So two key frames, one at the bottom, one at the top. Bit slow, don't spend too long on timing until you got your easing done. Now you don't have to animate this easing on this first one really... because it's off screen. You don't actually see a lot of the fun that goes on... you can do it though, just because. Let's go to 'Temporal Interpolation'... 'Ease Out'. This one here, 'Temporal Interpolation', 'Ease In'... or you do the right one, test it, hit undo, do the other one, or do both. So we've got some easing. That sounds nice, it doesn't sound nice, it looks nice. All right, let's add the rectangle. I'm worried my voice has gone a bit weird. It's not you, it's me, I'm not sure what's wrong with it... gone a bit croaky this afternoon. So to add our rectangle we are going to hit the little 'New Layer' button. Make sure it's got-- you've got your clip selected. Let's go to 'New Layer', let's go to 'Rectangle'... Shape 01's fine for me. I'm going to move it, not dragging the Anchor Point... I'm going to change the position so it's underneath... and I'm going to get it so it's kind of like this. You can pick the same color, pick a different color, it's up to you.. I'm going to pick the same color... and going to animate mine differently. So I'm going to use not the position of this... or the position of motion-- vector motion. I'll just show you what it means... because watch this, if I change the position... they both go along for the ride, you're like, "It's not what I want." So that might have been a troublesome bit. So under 'Shape', I want to find 'Position'. I'm going to get to the beginning here... holding 'Shift' to snap, start the Keyframes. It doesn't really matter if you start the keyframes and then move it. Where do we come in? We went from the bottom, so I'm going to go from the side. It doesn't matter if you turn it on first, or move it first... it doesn't really matter. The second one though, I'm going to hold 'Shift' so it snaps to the same point... and I'm going to move it back in. Which one? That one there. There we go. That feels about good. Let's add our easing. So there we are there, don't really need that one so I'm going to ignore it. We're going to ease into that keyframe. Ooh, nice. Let's check our homework... I think I nailed it, what have we got, Sign Up text. Animate left, right, easing... optional animated background, share my photo. Not going to share it with myself... but I might turn the opacity down just a tiny bit on the old shape one. Where is it, opacity, just down a little bit so I can see through it. Not sure why? Looks cool, that's why. That is your class project done. If it's gone horribly wrong, what you can do... probably easiest is just to grab this whole thing, delete it, and start again. Trying to patch up keyframes that are all a bit weird. It can be tough, it can be just easy to start again, be very deliberate. If you are still finding it hard, and you're like... "Man, that explanation didn't really help me that much"... don't worry, we're going to do... a bunch more keyframing and animation throughout the course. So hopefully you'll become a little bit more natural. On to the next video. 69. Fade in overtime using opacity keyframes in Premiere Pro: Hi everyone, in this video we're going to get our text - watch it here... - to fade in using Opacity Keyframes rather than Cross Dissolve... that we put in the beginning and end, like we did earlier... because we want to animate them separately. I want the shape layer to actually change opacity differently from the text layer. So we're going to use Keyframes, plus we'll get it to fade out at the end... which we haven't done much of that in the class so far. So let's jump right in. We're going to do the opacity to this first, where my name pops up. What we want to do is we could just use our Effects Panel... and use the Video Transitions, Dissolve, Cross Dissolve... and that works, but there's a problem with it. The first problem is, I can't drag it on properly. The second problem is that it does opacity for both... the box and the text at the exact same time... so I've got very little control.. That might work for you in this case... but that's not what I want to do right now. So what I want to do is, I want the text... because it comes all the way from the bottom, all the way out there... what I want to do is actually physically start the position a lot lower. So I'm going to go to the beginning here... and I'm going to do some adjustments first... before I do my opacity... and what are we going to do? 'Effects Control', click on this, I'm at the beginning. I'm going to find not the shape but the text. You're getting a hang of kind of this Effects Control a little bit, maybe not. Let's find 'Transform', there's 'Position'. So I'm at the right keyframe... so I'm holding 'Shift' to make sure it snaps to it, there it is... and I want to move the actual initial start; wrong one. There it is there. I want it to kind of start about there, and then move up. I find it's just a nicer effect... kind of just moving up, and you can see the easing a lot better as well... but I want it to be completely transparent here. So there's opacity through all of this, there's opacity there... there's Opacity, Vector Motion... we're on the one specifically for the text... and we're going to start the little keyframe here. I'm going to turn it down to 0... and move it along a chunk, how long? That long, and turn it up to 100. I'm just typing it in, hitting 'Enter' on my keyboard, let's give it a test. It's probably a little bit too fast, so I'm going to zoom out. Now one thing is that the position takes a while to get up there. So do I want the easing to match it? There's a lot of playing. I probably want all of this to be just a bit tighter, a bit quicker. Here you go. So now it just doesn't appear out of nowhere... well it doesn't appear all the way off the side, it appears out of nowhere. Let's do the same for the Shape Layer. So the Shape Layer's here, I'm going to find this one, get to the beginning. I want the first frame to be completely transparent. So where is he, Opacity 'on', down to '0'... and I want it after a couple of frames, to be up at 100, Actually I didn't think I-- I didn't have it all the way up to 100... something like 83%, remember we lowered the background... just a tiny bit when we were designing it. So if I move it up to 100 now, watch, I drag it... it goes completely opaque, I want it to be... just a smidgy bit transparent. Just gives everything a little bit more polish as it comes in. Now why aren't I easing this opacity? It's because I can never tell the difference. It actually happens, like... if you can go to this and right click it... and say I want this to ease into this one... but I've done tests, I just can't visually see it, so I don't bother doing it. You can if you like. Now the last thing I want to do with opacity is the Fade Out... and this is where it can be a little bit weird. Basically-- so we're going to build another tabletop like we did for the sound. Did we actually do it in this project, remember this tabletop? Down here, for the sound, remember, it came up... and then held for a while... so it raised my volume and then came back down again. We're going to do something similar, less visually... with the opacity, but keep that in mind. So I'm going to go to here, click on my clip, zoom in a little bit. And what I want to do is-- so it comes up... you can see my keyframes there. Moves along, and there's the end of it. So what I want to do is-- What people tend to do is this, they get to the end, and then... they get-- weird thing, if you get right to the end it disappears... so we're going to go just back 1, if you're thinking... "Why isn't that the one?" you have to go back 1 from the end... just to be able to see it, don't ask me why. The ends of clips-- ends of everything, you need to go back just one little step. What I want to do is-- people do this, they go... "Okay, opacity down to 0 now, perfect, it's working." So you do this, and you play it, you're like... something weird happens over time, look, slowly disappears. So basically what you've done is, can you see, starts at 0, gets up to 83... then you see, it gets back to 0 between here and here, so it starts 83... 82, 81, 80, just kind of slowly, slowly, slowly going down. So I'm going to undo that keyframe. Whenever you do something like this it's that tabletop again... that needs to be two at the front, and two at the end. So here, what we want to say is... kind of just before the end here, what I want to do is... enter another keyframe to hold it at 83 from this one, to 83 here. So how do I add a keyframe? You can just drag it up and down, and back down to 83. You can see, you get one auto generated... but remember, earlier I showed you - I'm going to undo that... - you can just click on this thing, that's the official way to add a keyframe. So, 0%, 83, and it stays 83 the whole way along... because I've set it to be 83 here as well, so it's kind of agreeing to me. Now down here I say, between this and this last frame... I'm going to set you to 0, a little tabletop. So it kind of goes-- do you get what I mean by the tabletop, maybe not. It starts at 0, comes up to 83, hovers along and then comes at the end. Let's do the same one with position, where do we go. So with our position-- we're fading it out there... but let's say we do it with the position as well. So my position comes in, comes up... and I want it to hold there for the entire time. Doesn't matter how long, and I'm going to say... between here and here, stay there for this last little bit... and we get you to disappear, maybe move off screen. So that's where I can go like this; which way did it come in? He came in from the side. I'm going to say, move off to the bottom. So he's staying where he should be there... and this last one I'm going to say, you get on there, please. So he came, position, from the side across... holds for a while, is my little table top, then between here and here, drops off... as it fades out. Probably drops off a little too fast, or too early, right... so let's move this over... just so I can see it. Cool. Let's practice doing it with the text as well. So with it selected let's twirl up all the shape, grab the Text Layer... and in here I want to say... you can see here, it kind of moves up from the bottom... and we'll get-- what should we do? We'll do opacity because we'll practice that. So it comes up, stays at 100%, and all the way to here... we're going to get it to stay at 100%. So 100%, 100%, another little bit. We're going to say, fade down to 0, so just fades out. It's all doing something a little different here, what's the effect? It's okay, it's all right, a bit fast when it leaves... and that's my fault, didn't add any easing, so I'm going to go to my Shape Layer here. Go here, my two keyframes for my position... you can see, they are... they're actually set as keyframe-- easing looking ones... but does it have ease in, or ease out, who knows. So what I want to do is just force it, I'm going to right click you... selected it so it goes blue... right click it, and I'm going to definitely say, you ease out of this one... and then this one's going to ease in. Ease in, all right, let's see this ending bit. Not magic, but... just needs a bit more time, I think. Here you go, nice. All right, that is changing the opacity using keyframes in Premiere Pro. I'll see you in the next video. 70. Class Project 06 - Opacity Change: Hey there, little micro class project. I want you to do this, so you sign up... it kind of fades in, and at the end here - let me play it... - it fades out at the end as well. So practice what we did in the last video. So get it to fade all in... hard to tell with that one, it's clear when it fades out. The difference between this one, is you'll see in your notes... that we're not going to do it per text and the shape... because we'd have to do it separately, they both have their own positions. We're going to do it globally using this one here, under video. 'Video', 'Opacity', do the animation on then... because then it's kind of fade out for both of these at the same time. We're going to use the difference between the two... and for this one there is no homework submission. Do not need to assign-- do any sort of assignments. It's just a little micro project. I'll know if you don't do it, I'll sense it in the force if you don't do it. So make sure you do your practice... and make sure you're using this one... using the Effects Control, which is this panel here... and we're using Video and Opacity. All right, I will see you in the next video 71. Class Project 06 - Opacity Change - Completed: All right, it's a reasonably easy one, there was a little bit of... a squirly thing in there, to kind of test your reflexes... and your adaptability, hopefully you got it going. So I asked you, you could do it per text and per shape. There's the opacity there... but in this case I wanted to do it for the video and opacity. Decided, have to do it twice, so I'm going to twirl this down... and I'm going to get to the beginning here. This is the weird one, you're like, "It's already gone, did I turn that on?" How do they get on, that is one of the weird questions in Premiere Pro. There is a huge big dialog. If you go to uservoice.com, if you look online... and look for "Why is this on?" you will see a lot of like... serious Premiere Pro nerds complaining about it. Sounding, "Just turn it off, why is it on, nothing else is on." So it's one of those kind of weird things where... yeah, just is, you have to turn it on. So we've got it set to 0, and then it's going to come in for a little bit. I'm going to drag it up, just type it in. How long, that far, maybe further apart. We're going to get to fade out as well. So I'm talking, talking, talking, get to the end here. So just before the end, remember, set a keyframe... leave it at 100, get to the end. Gone to the end, and then set 0. That should do it, let's give it a preview. I'm just going to scrub it. I'm going to use our shortcut, so we're going to use 'L'... and we're going to go double L, triple L, just to speed it up. There we go. Yes, you could use Cross Dissolve in that case... but we're practicing using keyframes, and I wanted to get you to share the... random, did I turn this on... why is this already on again, Opacity Slider. All right, on to the next video, well done by the way. 72. Complexities of the Essential Graphics Panel in Premiere Pro: Hi there, this video we're going to talk about some of the weirdness... that goes on, I won't say weirdness... the complexities of the Essential Graphics Panel. It's awesome but it's also, has some things we just need to recap... and a couple other things we need to address. So let's look at this first bit of animation here. First thing I want to show you is, we've talked about it a few times... is we've got two different motions. We've got motion, motion, motion in all of these. It can be handy-- say I want to move this over and left... but I've got lots of animation going on. So if I try and move the position of this it's going to add a keyframe... you're like, "I just wanted to go up because it's too close to the side." That's where this one comes in handy, this motion. We're not going to actually animate it, we're just going to actually move it... and you'll notice that there's this box, you're like, "Where did that come from?" Because it really wants to be our fixed size, our HD size. Doesn't make any difference. Just be shifting the whole video over to the left... and it addresses that as this whole big square. So I want to get that distanced nicely. There's a nice way of tidying things up... rather than having to go and individually move keyframes. One of the things that happens as well, is if I scroll in down here or zoom in... I want to extend this, so I'm going to extend it out. What you'll notice is, my animation still all happens back here. So it was there, I extended it out. Why didn't it come out? What you can do is you can click on it, you can open up all of these. Let's find them all, I think I can see them all, here you go there... and I'm going to drag a box around them all, set everything? I think so. I'm just going to extend it to the end, now that is the end... of your animation, which is the last keyframe? This one here. It's going to drag them all out, so they all snap to that end there. So now they should all have a go, and their animation should do it. Now the opposite is also true. If I drag this in, gets a little bit more complicated, if I drag it all in... my keyframes are gone, forever, so before you move it in... you need to go through, select them all. I'm going to go to my full screen, hit my 'Tilde' key... grab all those guys and girls, I'm going to drag it way past... kind of, you know, ridiculously far in... because I can always extend it pretty easily. Now I can extend this in to where I feel like it should be, timing wise. That's too early. I want to kind of last till about maybe there. Now let's go 'Tilde', grab all these guys again... and just drag them to the edge here. I want that last one kind of just inside. It's nice, some of the weirdness. This next one's more of an animation trick. I'm going to just do it way off the end here... scrub it along with my mouse. I'm going to add a rectangle. So instead of using the Type Tool, that's how we've been starting so far... is I'm going to-- Playhead about there, got nothing selected... I'm going to go to my Essential Graphics... I'm going to be under 'Edit', I can add just a rectangle straight up by itself. So I want to just do some animation because I want to show you some stuff. So we're going to start it down the bottom here. Let's get it to start off screen... but that never, you never kind of do that, right? You kind of get it to where you want it to be. Let's say I want it right there. Then you go, "All right, now I'm going to start it off screen." So you set your position, we'll do it for the shape... twirl this down to make it look nice, we set our position... and then you're like, "Actually, I'm going to do this off"... and then you kind of bring it back. So what you can do is, before you hit the little timer... is actually-- this is what I do... so I get into position, because you've lined it all up... all the text is all matched up with logos and stuff... and you come forward a little bit... then start it, so that's set in time there... then you come backwards... and then you drag it off. While you're dragging it you can hold down 'Shift'... you have to drag-- shift first. Let me check. Testing things as you're watching... yeah, you start dragging it first, then hold 'Shift'... and it will lock it in to that kind of like left and right. You can see, it's not going up and down, so I'm dragging it over here. I was holding 'Shift'. Did that get a bit inception for you? So you kind of made a keyframe out here to say... this is where I want you to end up... then you double back and move it off screen. I find that's a better way, well the way I work. A little interesting thing is, let's say that I want to animate it off... but back to the exact same position, back to exactly where I got it... rather than just dragging it off randomly... I want it to be exactly where that one is. So what you can do is you can copy and paste keyframes. So this one here doesn't need to be copied and pasted... but it can be, copy, paste. So all I did was select it, made it blue. I use my shortcut but you can use a long way... copy and then paste. Paste, and it just copies and pastes that one. I could do the same for this, grab him, copy him, move him along... and go paste, and it puts it back exactly where that one is. Now this doesn't save you much time... when we're doing this simple position animation... but you could imagine, if you're trying to do stuff... where it's moving all around the screen, and doing all sorts of fancy stuff... or even repeating, I can grab this whole chunk... copy them all, move it along and paste it. So I've got this kind of like seesaw effect where it goes along... about back in again... about, back in again, it's kind of cool. Then to add the key framing here I'm not going to go through and go-- I'd probably do it for the first one because I copied and pasted it. It would have been good but let's say I haven't done it... right click, 'Interpolation', 'Ease In', and I'm going to ease it out We kind of stick in probably too much on top of it... but it ends up-- they all look pretty nice doing it that way, watch. Aah, nice. The other thing I want to recap is, that to add text to this... you have to select it and use this little option to add things, add an Ellipse. You can add text, you just have select on it to add to this group. Now if you are finding it difficult because it's just like... "Oh man, there's a shape, and this text, and these three shapes"... when you're new, actually forever, doesn't have to be now... I'm just giving you the best way to do it... but you might just find at the beginning... that actually trying to combine all these... and doing animation across them all is just doing hidden. So what you can do is click off and have the Type Tool... click typing, you can see, it ended up on this other layer here... make sure they're all blue. Now I'm going to do my text and this is going to be... I'm not sure what I'm doing... but I got rid of the text... and what I'm going to do - I'm going to overlap... I'm going to do the same things I was doing earlier in this course... but I want it to be on its own layer because it just makes things easier... at least simpler up in here in our Effects Control, because it is confusing. It's a weird little box that eventually it used to... but if you're a dabbler you're probably never used to it. It's a weird old box, it's useful, and I'm going to... do last little thing and then leave. I think I've run out of useful tips. I'm just going to animate this, but you can skip on if you want to. We'll practice our animation skills, but you can go now if you want. So I'm going to set my scale there, double back to make it small. So it gets bigger; boom. Anchor Point's in the wrong spot. Let's have a go. Needs to be faster. Add some easing to it. Ease In, I'm totally cheating, Ease Out, just add them both. If you are from After Effects, Flash, or Animate... the easing there is a bit more controllable... this one's a little bit simple. What I'm going to do is actually get it to go bigger than what I wanted to. You can drag it up. It's going to go, boom. Then quickly come back down to maybe 80%... then move it along, and go to 110%. This is probably going to look pretty bad. You can kind of see what I'm doing... it's kind of like, wobble, go back and forth, between. Maybe 90%, and then 100. The timing really needs to be worked on... but let's have a little look at this concoction; boom. So if you didn't quite grasp that... basically I went from small to bigger than when I needed it. Then I went back past, lower, back down to 80%. I want it to be 100, right, so I say, 0 to 128, down to 80. Back up past where I need it. It's not, you know, bigger than 100, lower than 100. Finally at 100, and I get this kind of like... boom; genius. This is off the cuff teaching at its greatest. So those are some of the complexities covered for the Essential Graphics Panel. Just so you know, if you are brand new to Premiere Pro... it is way better than the last thing we used to do. We used to have to use this thing called the Title... they've even hidden the title. Was this big extra window that appeared up, and it was pretty horrible... and had some pretty horrible defaults... and everything was hard inside of it. So this is way better, gives you a lot more control... but comes with a little bit of complexity as well. All right, that's it, let's get into the next video. 73. How to add a gradient in Premiere Pro: Hi everyone, we're going to learn how to grab gradients... and then apply them in Premiere Pro. See the background there, sweet gradient. Let's jump in and I'll show you how to add them. Hi everyone, to apply a gradient we need to select something. In our case we're going to use this rectangle behind our little lower thirds. So I'm going to select on the clip... then I click on the actual rectangle itself that we applied. If you haven't got one existing what you can do is... you can have nothing selected, go over to here, 'Essential Graphics'... go to this little turned up page here, and say, let's insert an 'Ellipse'. You can start from here. We're going to start with this existing one. Just have a random circle halfway through our clip. So let's have it selected up here, down here under 'Fill'... and it's this little drop down here, 'Solid', you need to have a Linear... which is left to right, or Radial, which is a circular gradient. Let's go with Linear Gradient for the moment, let's click 'OK'. You have to click 'OK' for it to apply. Now it's going to apply-- For some reason mine applies pretty randomly... but you've got these two little dots, these little dumbbell bar things. So one side is one color, and the other side is the other... and you can just move them around... to get the angle you want, you might want them up and down. Go that way. Let's go and change the colors, so let's click on this 'Fill' again. Now to change the colors, is these two little swatches here. So if I click this first one... and drag the circle around, I can pick within the hue here. To change the hue color, is this little, see these little chevrons here... drag it up, drag it down, let's say I'm going to go for an orange color... and I'm going to drag it down here. Click on this other side. Doesn't update live, which is annoying but... hey ho, I'm going to get down to another orange... and just pick like a darker version of it... and click 'OK' and I've got hideous orange. Now I've lowered my opacity, earlier on, I'm going to turn it up. You can drag these around. Let's have a real quick look at Radial. Does what you imagined. It's like a circle in the middle, can you see it... well, where is he? There he is there. So this dots the middle, and this is the extent of how far it comes outside. A little circle, big circle. I find it's quite-- yeah, it's not going to-- it's up to you. Another couple of things I want to show you is how to get colors... or color inspiration, and then get it into Premiere Pro. So there's a couple of places I go to. Grabient is one that I use loads. It's still around, which is good, might disappear in the future... just this random site that gives you nice gradients. So let's say you do like this kind of color grouping. You just click on these dots here, you're after these Hexadecimal numbers. So just, there's generally just six of them. You can have three, but all I do is... can you see I want to add it to this first little swatch here. Click in here, delete what's in there, and paste that, and that's that color. Let's click on this other side, come back here, click on the pink. Grab that, we don't need the hash because it's kind of in there by default. I've clicked on that house, paste it in. I've got that proper gradient... but let's say you don't want-- there's not an official site... you just kind of discover it either on Grabient, or, sorry... either on Behance or Dribbble, there's a couple of good places. I just typed in gradient here... you don't really need to type it in, it's popular enough to like be... kind of through a lot of the art work here, and same with Dribbble. You might discover one, and go, "I like this, what's going on here?" So let's show you how to kind of steal it for Premiere Pro. Probably the easiest way is, let me find something I want. Let's-- actually, I'm right there. Let's say you really like this kind of contrast... between this green and this purple here. So what you need to do is you need to open up Premiere Pro... kind of shuffle it over, you can grab the sides and just drag it or move it. Whatever you need to do to be able to see behind it... and do some sort of, like magic where you can see both of them. You might have to drag this this way, this this way... then click on your 'Fill'... and if you move that other way, see the eyedropper here... you can say, this first little color, well... I'm going to click on it, and then click on this. It's a bit random, kind of randomly clicked... and it goes across, get the blue. Let's click on the pink side here... 'Eyedropper', I'm going to grab the purple... and it brings it over. Does this work on PC? I'm not sure. Jump out-- give it a go. Let me know in the comments if it doesn't work. If it doesn't work, another way to do it, another way that I use... is-- where are we? Is I got this little plug-in for Chrome... it's called Colorzilla, if you go to the Extensions Manager... either using-- I'm using Chrome... you might be using Internet Explorer... actually they don't call it that anymore, do they? Edge, I think it is, and you could find a plug-in... and it just does the similar sort of thing, wander around, pick a color... and it tells me up there what my Hexadecimal number is. Anyway that is how to do gradients in Premiere Pro. I'm now going to go change it from Radial to Linear... and mess about with it to try and-- It always looks better on somebody else's work. To get rid of the lines, here we go; what do I think? Yeah, I think that... but we learn how to do gradients. Let's jump into the next video. 74. Checking video properties size dimensions in Premiere Pro: Hello there, it's time to get very technical. No more exciting Page Peels, we're going to be talking about things like... 4K, 8K, UHD, HD, Frame Rates. Sounds nerdy but it is stuff that you need to know... to become a professional Video Editor. We'll start with a nice simple one. We'll look at how to find out the properties of the videos... that we can discuss some of the terms. Let's jump on in. To find out basic information about your footage... the easiest probably way is, in your Project Window... hover above anything, just hover for a little bit... and it tells you, this one here is an mp4, it is a movie... it is 920 x 1080, and it tells me the Frame Rate... which is 25 frames/second, and gives me the sound Hertz. So basic information like that to find out a little bit more rather than... this magical waving, hovering thing. You can actually just slide this bar along... and you'll see that my first one is Frame Rate... but if you come along you'll see things like how long it is. Where's the one that I want? Here's the main one... The size of the video, you can see this one is... what was it, 1080 High, this one here is double the size. This is 2160. Another way you can find information... is just hover down here, gives you some other information about it. so don't hover above the line... if you've got the line, if you don't, don't worry... but hover above the name here, and it will tell you... this one here gives me the duration, which is quite useful sometimes. You can get a bit more scientific about finding out footage information... or a bit more detail... is let's select anything in my Project Window... and go up to 'File', and go to 'Get Properties For'. I'm just going to use 'Selection'. So I've got this selected in my Project Window. You can have things selected in your Timeline, it doesn't matter... whatever you have selected you can say, this one here... tell me information about the selection... and it gives you a little bit more deeper information... Duration, Frame Rate, Size, Size of the file... where it's actually located. So that is useful, you might use, that I've never ever used before... but I know it's in here... is you can get properties for a file that's not currently in your project. You might have a really good use case for this. You can just say, it's not in my file... but I want to know what this is before I bring it in... this mp3, let's click 'Open'. Don't want to import it, you just want to have a look at this... and it tells the information about the file... that's not actually in your Premiere Pro project. It's an mp3, it's using stereo, if this hurts... you might find that useful. So now we know how to find all the information... about the size and frame rates... let's talk about what those size and frame rates actually mean to us. 75. What is HD vs 4k in Premiere Pro: Hi everyone, it is time to talk about the difference between HD and 4K. I apologize in advance, this is going to be nerdy and confusing until the end... and hopefully it will be a revelation. So when we are shooting things we shoot things on our cameras. More often than not, at the moment... we are shooting in something called HD, High Definition. Now the cool thing about all of these terms... is that there are different words for the same thing. Some people call it HD, technically it's still... it's meant to be called Full HD, FHD... but most people just call it HD. What they mean is, it's the height by the width. So it is a width of 1920 pixels by 1080 high. Just pixels wide. You've heard the term 1080p, maybe. They just mean the width, sorry, the height. Nobody-- often people don't refer to the width of it. They won't refer to it as 1920, they'd probably say... hey I'm shooting 'ten eighty'. If you want to impress people you got to call it 'ten eighty'. One thousand and eighty, people will know you're new, so say 'ten eighty.' So that's what's really common. Now the next jump up is a huge jump in terms of quality. The term that gets used is 4K. 4K gets used all the time, wrongly. Think of it more as a generic term at the moment. When somebody says I've got a 4K television... they probably mean they've got a UHD TV. I know, I know, but we need to know about these technical details... because if you're asked to make a video that's 4K... you need to be very clear, like does it need to be 4K, or do you mean UHD. The only difference is, one is slightly wider. So this one here, 3840 is the normal high resolution. 4K generally, with this extra wide bit... normally gets used for cinema, not always... but normally when somebody says 4K they mean this one called UHD. That's why you see lots of things, see this television here, this little ad... "I'm a 4K television," but really, underneath they whisper... "I'm actually Ultra HD." So you can go in looking at TVs now and go... "Oh yeah, it's 4K," and know that they probably mean Ultra HD... and they probably mean this size, not that size. ST, Standard Definition, that's what televisions were when I was growing up... and then we got HD, which was super fancy... and then that got left behind by UHD or 4K... and depending on where you're watching this... 8K is something that comes out, you can get 6K which is halfway between these two here, and the resolution just gets really big. So that's some of the terms. Pop quiz, UHD is slightly smaller than 4K... but when people talk about 4K they generally mean... Ultra High Definition, UHD. Let's talk about some of the other things you need to be concerned about. Next thing we're going to talk about is, should I be recording in 4K... and editing in 4K, and then sending out my files in 4K. Now I'm going to use the word 4K in its general terms, I mean UHD... because nobody calls it that, so I'm just going to call it 4K from now, is that okay? Just to confuse things, get you ready for the real world. So should I be shooting everything in 4k? Yes and no. I flip and flop at the moment... if you're watching this in the future, 4K might be the standard... and 8K might be the decision where they go up to... but at the moment 4K has pros and cons. If you are going out to cinema you're going to be asked to do proper 4K... and if you're going to do television or doing commercials... they're probably going to want 4K. So you're going to need to be able to shoot from cameras shooting 4K. Lots of cameras at the moment don't, just don't go up that high. It's becoming more and more common. My camera that I shoot from in my studio here, my Rebel7... does not shoot 4K, it's too old, not fancy enough... and it's not even really a video camera... it's more of a DSLR that I used to shoot video on, very common to do. So I could say, actually I can't shoot 4K because I physically can't. Cellphones though, most of them at the moment can shoot 4K. Great, so you're gathering in the data... that's your decision to make at the beginning. It is the end product, does it have to be 4K... because then there's no decision to be made. The decision you might have to make is... I'm doing this for say social media... maybe YouTube, Facebook, or for our website... should I be shooting in 4K and editing in 4K? Pros and cons; cons are that the size, can you see the size, that's HD... it is double, not even double the size, it's four times the size. Can you see, see this green box here, it fits not just twice the size... it's twice as wide, but actually is another high. So you can kind of see, I can fit how many of these, one, two, three, four. I could put four full HDs inside of my UHD... and that is super stressful on your computer. If you're finding this course hard... I've shot everything in this course... I've got all the video ready for you in full HD... because it's quite common now, and because the file size is quite small... and because Premiere Pro won't have a seizure and die. Full HD might make it. So you've got to decide whether you have the hardware capabilities... and if you're prepared to do it... and everything's going to run a bit slower... and everything's going to be a bit harder. At the end of that, is the end result worth it? So we've discussed, sometimes 4K or UHD have to be done... because it's the technical requirement for the project you're working on... but let's say we're going out to, say YouTube... you run a YouTube channel, and it's going out here. So I'm looking at-- you can follow this one... it's an 8K <i>New Zealand Ascending</i>. They've got some-- these guys here, Timestorm films... got some really cool high quality 8K footage. Now when I started this up it defaulted to HD. You can kind of see this little cog down here... because it knows my internet connection has no business going up to these higher ones. So it said, because there's no generic terms, that's the general term for HD... is 1080p, that's the height, you can have a smaller, 720, or 1440. Now these are HD just because YouTube doesn't know what else to call them. So you go from this one, jumping up to 4K, which is the height... 2160, and then all the way up to 8K, 4320, is massive. Now me as a user, I'm only going to see this... because that's why my computer and my internet connection decided. If you're watching-- even if I-- so let's say I go up to at 4K... and have a watch, it's going to run a bit slower, burn through my data... but it's going to look slightly better. It's going to look pretty good on my screen. Now the cool thing about this is that I'd have-- it's beautiful work, with beautiful scenery that actually deserves a bit of 4K. Dan's how-to videos, with me talking, I'm not sure deserve 4K... and all the extra hassle that comes along with processing it. You have a watch of this video and have a little look through. The thing is, if I go up to 8K... it's not going to look any different from 4K... because I'm watching it on a screen that's in front of me right now... that's a 4K monitor. It can't show 8K, so even though this is awesome... my 4K monitor can't show it. So I would never work in 8K myself at the moment, ever... because the standard kind of monitors out there that are going out... you know, laptop screens... are no bigger than 4K, so great, that's my ceiling... and I've also decided, as a personal thing that... it's not worth the hassle to go to 4K at the moment... for buying a new camera... for the editing to be four times as hard... the computer to be four times as slow... to get a slightly better, well, you know... I say slightly better picture of myself talking in front of you. So make that decision for yourself whether you want to be working 4K. The other thing to note is that if you're going out... and most of your stuff's going to be viewed through a cell phone... even the newest iPhone at the moment... at the moment is 2.7K, so it's somewhere between HD and here. Can't actually show 4K. So doesn't really matter if they want-- if they can click the button that says show me 4K... they're only getting half of that... because cellphone screens are just not complex enough. So that's the argument between HD and 4K. Let's look at some 4K footage just as an example. In your footage folder you should already have it, it's called Clouds UHD. We're looking for the one, it's called Anwaroptin, that one there. You kind of see there, look, there is HD versus UHD... and you can see there, the size. Remember, you can just hover above it... and it should tell you it's 2160, and it is... four times the size as the one just above it here, the HD. So nothing changes, you can right click it, and say... 'Make Sequence from Clip', and it's going to match it. We're going to rename this one. So where is our sequence? There it is there. I'm going to call this one 'Mountains 4K UHD'... just to get used to the two terms. Cool, we've got our footage in here. Now let's play it back. I'm going to go full screen-- full playback... and it's playing just fine on my screen. You might find yours is a little tough, so I'll lower it down. Now I talk about editing in-- you know, 4K is quite tough... you can use things like proxies to make things run a bit faster. It's out of the scope of the Essentials course... we'll cover it in the Advanced Course... but it's still going to make rendering, and importing, and creation of proxies... a lot harder to work with, with 4K. I'm not sure why I'm ahead on 4K so much... because I want to show you... you'd probably be watching this video in 4k... and you're like, "Hey, his Essential course is in 4K"... it's mainly so that I record on the screen at 4K... so that you can zoom in and out of all this kind of like, watch this. Jason, the editor will zoom to my mouse over here. Ah, look how nice it looks, so zoomed in, same way down here. You can see that it zooms in really nicely. The nice thing about what I do when I record 4K... is that it's not live action, it's not my talking head stuff... is just the screen capture, which is actually quite low in terms of... it's just, there's not a lot of colors, not a lot of movement. So the file sizes are smaller... so that the computer runs reasonably fast when it's editing it. Now this is a bit of a waffly rant kind of video... because it is a bit of a waffly... my opinionated topic to talk about, because in the future... in a few years from now, nobody's ever going to be talking about... should we be doing HD or 4K, it's just going to be super simple... but at the moment it is a bit of a... 'Should I, shouldn't I,' pros and cons kind of talk to have. All right, last little parting shot, is when you are downloading footage... say from free stock footage, or any stock footage... let's say, can you see this one here, it says HD. So I know what kind of size it is... it's going to be, the height of it is going to be 1080... and this 4K one is, we're not sure. I've told you that 4K sometimes means 4K and sometimes means UHD... let's have a little look. So in this one here we can go for free download. You can see, we've got standard definition. The smaller one, we've got this one here, which is 1080... which is our normal Full HD. There's an in-between size here, and then this one. 2160 is the height, and 3840 makes it UHD... not 4K, does that make sense? Let's have a little look back at this one. You can see, they're the same height, 2160... and this one here, UHD is, that's slightly smaller, 3840. So that's it, we're going to do some practical application of it now. So next time you walk into... like a department store, and they're selling TVs... you can get all nerdy in there with the guy trying to sell it to you... about 4K, UHD, and 1080, and FHD, and... or you're going to forget this straight after this video... because you're like, "I do not care about any of that, Dan"... and I wouldn't blame. Let's get into the next video where I'll be a bit more concise... and we'll do some practical applications. 76. Mixing 4k video with HD video in Premiere Pro: Hey there, this video is all about mixing 4K video with HD video. We'll discuss how to scale the small stuff up, and the big stuff down. Before we get started let's close this project... it's getting a little confusing... trying to throw everything into that same project. We're going to make our own new project. So go to 'File', 'New', we'll go to this 'New Project' button... and we're going to call this one 'Tech Info', I'm going to call it 'v1'... because I can't think of a better name. I'm going to stick mine on my desktop, it's just like a throwaway project... just to kind of show us, you know, to practice a few things. Click 'Choose', click 'OK'. Let's import a couple of files... so just double clicked in the 'Project Window'. We're going to bring in 'Clouds HD' and 'UHD', click 'Import'. Next up, let's create a sequence. We're just going to create a little turned up page here. I'm going to create a kind of a sequence on our own. So we're going to use... just a really common HD size, is under 'Digital SLR'... and we'll use this one here, the 1080, which is the height, and 25 frames/second. We'll talk about frames/second in a sec. We'll call this one, let's call this one 'Mountains'. This one's going to be the HD version. So what happens when I've got this HD size, it's 1080 high... but I want to put in the UHD, or the 4K footage. I drag it onto the Timeline, you get this warning... 'The clip does not match the sequence settings." What do you want to do? You get to decide... "I want to just keep the settings as I've got it," keep it HD... because that's what I want it to be... or you can say, "Actually, yeah I didn't realize they didn't match... I want you to upgrade, and change my sequence... to match this new bit of footage going on to it. It will transform it from being HD to UHD, to match the footage. So you get to decide what you want to do here. If you don't get this warning dialog box... it's kind of hard to get it to come up sometimes... find it a little bit-- sometimes it appears and sometimes it doesn't. Let's say, 'Keep Existing Settings'... and if you can't find that little warning dialog box, and you want it... it's under 'Premiere Pro', 'Preferences'... and in your-- on a PC it's slightly different, it's under 'Edit'... and down the bottom here, 'Preferences', then go to this one called 'Timeline'. It used to be in General, just check if they've moved it back... but at the moment it's under 'Timeline'... and it's this one here, it says, 'Show Clip Mismatch Warning dialog'. You can turn that back on. So it came in and you're like, "Okay,' great, it skipped HD... and it's put my really big footage on here... and it plays back okay, I've lowered my quality a little bit... but it's just really massive. So let's go to a view of like 25, if I click on my footage... you'll see that-- actually just double click it in the screen... you can see it's actually a lot bigger than that size. So you want to shrink it down, you got two ways of doing it. Let's zoom in on our footage here. The two ways are in the same place... you right click your footage and you have... Scaled Frame Size and Set to Frame Size, they do a very similar job... but basically-- I'll explain the difference... but you want to do Set to Frame Size all the time, pretty much.. Think you're all Set, we're set... This is best as I could do... but Set is good, Scale is bad. Basically if I do Scale, or I do Set, they look like they're doing the same job. Scaling down actually lowers the quality of the footage. So if you ever have to like lift it up again later on... it will actually be quite pixelized. So this is kind of like scaling it down... but also pulling the resolution out of it. If we look at the Effects Controls... under 'Motion', you can see the Scale-- So I'll undo it, so I right click, and if I do 'Scale, Scale is bad because... it's left the scale at 100, and just kind of like ripped out a lot of the quality. So now if I try and scale that up to like 110-- 200%... it's actually pixelizing it... and kind of like making it not as good as it was. So if I do the same one, but I use-- we're all Set with Frame Size... here we go, it's scaled at 50%... and I can come back up, and it's still got all that good quality in there. So you're all set with Set to kind of resize it down. Let's go back up to 50, there we go. It works the same way the other way around. So let's go to our Project Window and let's do a 4K version. To make a 4K version, if you want to make one by itself... without using the footage to get started... you can go into 'New 'Sequence', and there's not a lot-- I feel like Adobe, probably, in the future... are going to have a nice HD or 4K kind of drop-down. At the moment, probably the easiest one is under your red camera. They've got a 4K little sequence here... a bunch of different kinds of 4K... but let's click on this one here, 25 frames/sec. You can see, this is the wrong one. So it's the-- it's too too wide for us, we want fake 4K, which is HD 4K. Even a different word for it, it's the same thing. Let's have a look at this one. You can see here, it's the proper width, 3840. So let's click 'OK' in that one. You can give it a name here before we go out. So this one's going to be 'Mountains', this one is going to be '4K'. If we add our HD footage - we're going to drag it and add it... - it's going to say, "What would you like to do?" I'm going to say, "I want it to keep 4K, please... just keep the existing settings"... and what I'd like to do is, the same thing, right click it, and blow it up. Remember, you're all Set with Frame Size... and that's going to be the best way of doing it. It doesn't really matter as much when you're scaling it up. Know that it's going to kind of be 4K. We've scaled it up, but obviously the quality is not there. It's going to try and stretch it bigger, so if you're combining two... so let's say we've got this actual 4K footage, that fits in there nicely... playback is a little slow because it's so big. So I'm going to lower my quality down, but this one here... is actual 4K, and this one here is just blown up to 4K. So you, yeah, you match the two... you got to decide whether you want to bring... the lower quality stuff up, to match 4K... or do you want to lower the 4K stuff down... to be the exact same as the HD stuff All right, that's enough of that 'nerd'ery. 4K, UHD, HD, matching it... it's going to be it for the moment. Let's get on to the next video. 77. What is frame rate fps frames per second in Premiere Pro: Hi everyone, this video we're going to talk about... Frame Rate, or Frames/second, or FPS. You can see it here, because in footage imported into Premiere Pro... this one says it's 25 FPS, Frames/second. It's referred to as the Frame Rate. The easiest way to understand Frame Rate is to look at our flick book. So this flick book here is obviously a lots of single drawings. Let's have a quick little look. This one here is a really cool tutorial... animation, how to make a flip book... but basically drawing every, like every frame... remember, our frame is just a singular point in time, a little snapshot... and he draws every single one of them... but if you run them together, let's have a little look. Where are they? Watch, if you run them all together, all those frames... it starts looking like real motion, let's go back to-- there you go. Cool, huh? So that's probably a Frame Rate of about 5, or 6, or 7. 7 Frames/second, us as clever humans... we can see every frame, we can see the jumpiness of it all. We can see that it's a non-- here we go... there's a bit jumpy, but if you go-- if you run that a bit faster... the humans aren't so smart, we can get to about 25 Frames/second... and we all feel like it's live action, like happening right in front of us. So let's have a look in Premiere Pro. So I know that if I pause it here, I'm not moving... and if I go one frame ahead... I'm going to click down here, and use my keyboard shortcut left and right... just go forward one, look at that. That's another one, another one, another one... another, another, another. So if I speed this up I'm smashing away at the old keyboard... eventually if I can hit that 25 times in a second it looks like this. So that's the Frame Rate, collection of stills, run fast enough... that us clever humans can't tell the difference between... a collection of images and actual live, right in front of us happening right now. So how do they go, it's a hard thing to understand. I guess, probably the-- let's talk about the different standards. The standard at the moment is probably 25 Frames/second. Anything digital is normally either given to us at 25, or expected to be 25. Now the cool thing about it though is... you can be at this level of Premiere Pro production... doesn't really matter what you get or what you export... things like social media and websites will accept any sort of frame rate. Where you have to be concerned is if you are shooting to... like production schedule or at least some specifications that says... "I want from you 4K at 24 Frames/second"... then you have to be a bit more specific. Lots of cameras, you can go into the settings and pick the Frame Rate. All kind of digital video cameras, DSLRs, cell phone cameras... all have some sort of option often to increase it, increase the Frame Rate. We'll talk about that in a second. All right, we're in and gathered some stuff with strange Frame Rates. Now this one here is 30.06... this was, this, me walking with my headphones. So this, why is that one a weird Frame Rate? Cell phones often have what's called a variable Frame Rate. It changes over time to get... basically get the smallest file size it can. So you've got this weird size, this was shot for our 'Wedding'... this one shot at a really strange Frame Rate. So what is it? 29.976, another really random one... but what ends up happening is all of this stuff, if you've got, you know... you can't reshoot this at a different Frame Rate. It would be lovely if we told everyone, shoot everything at 25 frames... because there is a tiny, if I drag this onto my 25 Frames/second Timeline... let's go to the 'Mountain HD', I add this one here... it's not quite the same, it's the same size but the Frame Rate... is going to be adjusted to be this 25... and there's going to be, I don't know, you have to be a pretty purist... and it has to be some pretty amazing footage to start with... to notice the difference... but there is a difference. Thumping 23 on a 25 will convert that 23 into a 25... but I just want to, I guess, I don't want to get you scared, at this level... before you get into more advanced stuff, it doesn't really matter. You can export it, drag all this onto the same Timeline... and when it exports it will export as 25 Frames/second... because that's what we told this HD sequence here to be 25 Frames/second. Where things get a little bit more useful for you... when you are getting started at this level... is something that's like 60 Frames/second, or 50 Frames/second. You can shoot really high Frame Rates, and you can do some really cool Slow-Mo... but we'll do that later in the course. This is just like an introduction to Frames/second... because we're in this kind of like... technical understanding section of the course. That's why when you make a new sequence... there's all these options in here to say-- let's have a look at... let's look at NTC, let's look at Standard one, this one is 29.97... this is what TV in America used to look like. Doesn't work the same way anymore... because it's digital and satellite... and this is what it did in my part of the world, we used PAL... which was 25 Frames/second. Cinema, if you go to the movies, they use 24, you're like... "Why are we still using 24 there?" I don't know. There's all these rules that are kind of often legacy rules... somebody picked 24 for cinema... somebody else has picked 25 on a digital camera... and we've all got this kind of mixed up Frame Rate now. There's a little bit more consistency now... 25 becoming more or less the standard... but 29.97, and 24 is around, but again... using 25 is a good all around standard... unless you've been asked specifically otherwise. I hope that helped understand what Frames/second is... and we'll use it to our advantage later on when we do Slow-Mo. All right, that's it, let's get into the next video. 78. Difference between Media Encoder VS Premiere Pro: Hi everyone. In this video, we are going to look at the difference between Adobe Media Encoder and Adobe Premiere Pro for exporting. Now this is a fully updated video just because they've changed the export option. We looked at it before remember. They've changed it to look like this. I've updated this video. Let's get back into editing. There's two main reasons you would use Media Encoder for making your, say MP4s or your MOVs, your final output, your renders, your exports. There's two main reasons. One is that Premiere Pro can remain open and usable. The other one is that I can't remember. You could do more than one sequence. [LAUGHTER] Dan Chicks notes. Let's look at the first version is just like before click on a sequence. Let me use my shortcut command in to export. It's going to switch to that tab here. If I hit Render now or export, it's going to spend some time doing it. The thing is, let's actually do it. Where's it going? It's going to replace hit Export. Premiere Pro now can't be used, stuck. You hit it a little boop. Until you're finished, which is fine, something short who cares. Becomes a real big pain when you have to export it says two hours. [LAUGHTER] I can't use Premiere Pro for two hours. You can, you just need to send it to Media Encoder to do the work for you. Let's do the same thing again. Let's certain sequence command in. What we're going to do is same thing. Pick your location, your presets, you can do all of that here. It doesn't matter. You can still do it here in Premiere Pro, but then say send to Media Encoder. Media Encoder will open up. If you've never used it before, it might ask for some permissions, but this thing will open up. He's got one job to encode media. What happens is, I'm going to jump back to Premiere Pro. When we hit that button, it's sent this sequence over to Media Encoder. There it is there. There's the project that I'm working on. It's called XD intro sequence. The cool thing about it is it's pulled through all that information. Remember H.264 I debited. I can change it here. I can say actually I want one of these ones. I want to change it to V or I want to use something else and where it's going. But what happens is if I hit play now, you can see it'll start chugging away. But watch if I jump back into Premiere Pro, I can still use it. Still be working on my project or working on a different project. This is not going to take too long. It's going pretty fast. But you can imagine if you've got a big long sequence to export. Media Encoder can continue doing it's exporting while you continue working in Premiere Pro. That's why it's handy. That's the decision I make normally when I'm deciding if I go to Media Encoder or Premiere Pro, because if it's short, I just do it in Premiere Pro. If it's long, I do it in Adobe Media Encoder. I said there were two perks for using Media Encoder. We understand the first one. The second one is I can actually send more than one sequence and queue them up so that it's can work through a bunch of different sequences. I've got this first one that I'm working on, and I can see in this one. Command M or Control M on a PC, pick all my savings and I'm going to say actually sent to the Media Encoder. But I also want to open up this other sequence that I've got. Command M or Control M on a PC and go same thing, send to Media Encoder. You can keep sending them. You can select all of them. Right-click and say Send to Media Encoder, Export Media or Command M works. You might have like my video courses that the Premiere Pro course that you're watching now has like more than 100 different sequences in it, all the different videos. When we get to the final rendering, or Jason or tailor their editors do, they select all of them and say Send to Media Encoder. In Media Encoder, look, there's my two different sequences. Now I hit Play and watch. It'll chug through them one after the other. If I hit Play, they'll go to the right place. Watch, it's doing this first one. Look at him. I'll do the second one when he's finished. That's the other perk of Adobe Media Encoder. You can just queue loads of them up. If there's 100 different sequences to be rendered, then you might do this while you sleep or out to lunch or whatever it is, but it's just handy to do more than one. You can pause it. If you finding your machines running really sluggish and you're like, I just wanted to finish this one thing in Photoshop or something else, you can actually pause it [LAUGHTER] and get your work done in machine to be a little less stretched out by rendering and then you can play it again. Pause play. Actually let's finish it off. There's one last bonus thing that I use Media Encoder for a lot. I guess want to throw it in here because man, I did it the long, painful way for a long time. Let's say that I've got, let's find something. Let's find those renders. These are the renders that I just exported. Why do I have a bunch of different ones? Is because what happens is I exported it a few different times because I messed up this video a couple of times. This is like the fourth attempt at this video. There's my original one and the three other goals that I had. Version number 4, these videos often take a couple of takes for me to get my ideas in some like logical order. Let's get rid of these ones. They're not meant to be there. This is my final output. Nice. Let's say that I've got these. I've got them from somebody else or a clients come to me and said, I can't use MP4, I need an MOV. Or can you just give me the audio from this track? What you can do with Media Encoder, just open it up, it's on your machine. Go find it. I'm going to clear these off. I'm going to click on it, I hit minus. Click it, I have minus, I have done so again. Because they've already done, just cleared those off. They stay there so that you can see that they got done. But I don't want those anymore. What I'm going to use it for is I can actually say. This is a weird use case, just so you know. You might be like, why would I use that? I use it all the time, so I'm throwing it in. I need an MP4 that needs to be an MOV. I could bring this into Premiere Pro, create a sequence and then export it as an MOV, just a different file format or an AVI or MP3. But you can do is and say you drag over here, are now a QuickTime or let's say we just want the audio from it. MP3. I could say I want to duplicate you. I've got an MP3 from the same original format. I want an MP3 and I want an H.264, but I want not a high bit rate. I want a really small one. Medium. It's a way of going around Premiere Pro. Premiere Pro wasn't used at all in this experience. I just dumped the roof video that I want to change. I will say make an MP3 and make another MP4, but with a lower bit rate. The naming wise, I'm going to name it better. This one here, just by clicking it, and maybe this one is medium resolution. Save and hit Play. There you go, Premiere Pro and not used at all, just using it as a Media Encoder. If you've done it the long way, I used to use Hambrick and all other weird bits of footage. I just upload them to websites and say, can you extract the MP3 from this? I don't know if you're laughing or shaking your head because you're like, man, I do that too. Then you're welcome. Media Encoder does this just on its own that's it's job. The sad thing for me was that I did it for years before I realized Media Encoder had been on my computer for years because just comes with the credit suite. Anyway, let's have a little look what output before we move on. There we go. There's my MP3. There's my medium quality when can see it's just a lot smaller. There's my original one 195, this one here, a lot smaller. Hi there Hello. This one just an MP3. Hi there, my name is Daniel. I hit Spacebar to preview these things on a Mac. I don't know what it does on a PC. Actually, it might open up iTunes or some other crazy software for MP3s, but you get the idea. That's Media Encoder, super handy. It allows you to render while Premiere Pro is still active and you can still use it. It also allows you to do multiple sequences at once. You can use it just to drag things in, not using Premiere Pro at all, just to convert the format or encode the media. Thank you Media Encoder. That is it. That is all, onto the next video. 79. How to create small video mp4 size videos in Premiere Pro: Hey everyone. This video, we are going to make our video really small. Lower the quality so that the file size is nice and small for either e-mailing or, I'm not sure, you've got a reason in your head for making the video small because otherwise sometimes it can get really, really big. We're going to export this XD Intro Sequence. See, they have it selected down here on my timeline or have it selected in my project window. Then go to File Export and go to Media. Now you can make changes here or you can hit 'Q' which sends it to Media Encoder and do the changes in here by clicking on this thing that says "Match Source Click the little blue words. Get back to that same window. It's up to you. The first thing I'm going to do, though, is clear all this up. I'm going to select you, you, and you. Hit "Delete" on my keyboard. Yes, get rid of it just to tidy things up. Those are all ones we were working on. First thing we're going to do is we're going to export a high bitrate one and we're going to make a smaller version to compare it. You can do more than one at a time, which is one of the other perks for Media Encoder, is you can say, I've got this sequence selected, I'm going to hit "Duplicate." We get two of them. In the second one where it says Match Source high bitrate, I'm going to say Match Source Medium bitrate just to see what the difference is. Where are you going to put these? I'm going to put mine on my desktop just because I want to show you easily. Actually, no, they should go into my exercise files and into Project 3 under Windows. They're going to go in here. Now, mine's got the same name as an existing one I did earlier on. What do I do with that one? I'm going to replace it. What you'll notice in here is that the second one is called _1. You'll end up with lots of these because it really, by default, doesn't want to override an existing file, so it's going to call it _1 You can change it and call this one another name, but just know that for a long time you'll have _1, _1, _1. I was like, yeah, premiere Pro and Media Encoder doesn't want to go over the top. You'll end up with underscore and a number. I'm going to be a bit fancy with mine. I'm going to put mine on my desktop. I actually now in the right folder where we talking hits azoles footage, not in there. We're going to put it in our Windows but I'm going to call this one medium. I'm going to make one more and we're going to get really low. I'm going to duplicate it again. I'm going to give this one a name. I'm going to call this one low. Will show you all three. You could just do medium and bitrate and that will give you quite a small file. Let's go super small, and the way you guys super small video footage, there's a lot of stuff you can change in here but in terms of lowering the file size and keeping the quality is if you want to go to this tab that says video, and you want to scroll down, and you want to say, you are looking for this one, it's called bitrate settings. Hi everyone. I just wanted to jump in here because there's been an update to Premiere Pro. You've seen it through the course already. But I want to do it one last time just to make it super clear, is up until now in this video, everything's going to work the same new version, old version. We go into Media Encoder and I said go down to video, or is it Video tab, scroll down to bitrate. Where is it? Bitrate there it is there. See bitrate settings, VBR1 pass. That is the same if you're not using Media Encoder, but inside of Premiere Pro, can I show it? It's the same. They're just jiggled around a bit. Down here, File Export Media, same thing, but you can get to that same part. It's too little up by going into video. Remember we've got video bitrate. Now it's under video. You might have to click Show More and go down to bitrate. Here it is there. They just changed it around. I'm not going to keep interrupting for the rest of the course. if I'm showing you something in this video, this bit and I'm like go to audio. You watch this up here or there. It's all there. Just different layout. Is that cool? All right, We're cool. I'm cool, You're cool. Premiere Pro's cool. They just changed it around a little bit. Hope that's all right. Yeah, that is it. On to the next video. Note, continue with this video even. If you're a graphic designer maybe, or a video or a web designer when you save a JPEG, JPEG ask you what quality you want it to be in your like 60 percent or I want it to be three. This is essentially what we're doing, but for video. Normally we're at about 10 for the high-quality and medium has about three. But you can go down to one. You can put it on variable bitrate of one pass and put it down to one and that's as low as it'll go. Now in terms of lowering the audio, never touch this, you can but it does nothing to the file size really just sounds weird, sound like a transformer. We've used a preset of high, a preset of medium, and this custom and we just made, and all we did was we started with medium and lowered it down from 3-1 Let's hit "Play" and see how it goes. Again, this is the cool thing about using Media Encoder is it's going to encode them all whilst you're off making a cup of tea. Awesome. That was rendering and I was thinking that it took about a minute or so. But I think it near men, If you wanted that to go faster, you can close down Premiere Pro or anything else you've got open so that Media Encoder can get as much available RAM as it can to start rendering it. Let's have a look at the file sizes. Here's my renders. There's the big one, there's the medium one, there's the low one. Here's big, was 133. It was shot at HD resolution. The medium was still HD, so as low, but the quality was lowered. You can see the big jump, so 133 is as good as it was going to get. Then 42 megabytes for the medium, and then quite low, 15 for the low one. Let's have a quick little cycle through the quality. There's HD, that's medium, and there's low. The low is pretty bad, especially when things are moving. Yeah, there's the translation between file sizes. I want to quickly show you something just because my natural instinct like can we make it physically smaller? Because it's still 1080. Let's duplicate this one. Click on Custom. I want to show you this as well because of Match Source. When we pick these customs, there's a lot of them that same Match Source. What does that mean? It means it's going to match the source with our sequence. We told it to be 1080 high, 25 frames per second so it's trying to match it. We can override it by unclicking this. Now we get this custom and we can say actually I want it to be standard definition, which is 720. But if we lower the size and even play around with the frame rate, pick something lower, it doesn't do much to the file size once we're already down at this like low setting where we down here. This one here the variable bitrate, one. The estimated file size is actually bigger than what we had, was 15 or something. But you get a physically smaller video, but you don't get a smaller file size. That small little videos out of Premiere Pro via Media Encoder, onto the next video. 80. Scale down 4k to HD when exporting to Media Encoder & Premiere: Hey there, I've got some 4K footage that I want to export... as just a little old HD, a smaller size... and I want to do it while I'm exporting it... rather than trying to resize it all here in Premiere Pro. I do this, often I've got some places that I share videos with... that don't currently accept 4K... so even though I'll edit in 4K... I need to actually scale it down for them... and instead of like duplicating the sequence and trying to... scale it all down, I can just do it when I export; let me show you how. If you haven't already, in our footage, we've got... this one called Clouds UHD, let's make a sequence from it... because it is, it's size is, let me scroll across... it should be UHD, or 4K. So I need to export it. So I'm going to do the same thing... I'm going to have it selected down here in my Timeline... or have the sequence selected up here in the Project Window... then use my shortcut, 'Command M' on a Mac, 'Ctrl M' on a PC. I'm going to say, you, my friend are going to go get queued... and a good place to start is... under here it should be-- it depends on the last thing you said... but Match Source - High Bitrate is a nice good place to get started... and then let's click on the word 'Match Source'. At the moment it's going to come out... under 'Video Settings', you can see it's going to match the source, which is 4K. Actually I want to untick that... and actually just make it HD, which is 1080. Click enter and it changes the width and the height because this is linked. So I've gone from UHD or 4K, down to HD. I didn't have to mess with my Premiere Pro file... just kind of do it all on the export. Now while we're here I'll throw a little bit of bonus extra stuff in... because the-- it started off at Maximum Bitrate... I lie, High Bitrate, and basically it's just to do with this part here. So the Bitrate setting is set to 10. What you might do is, just to get the best quality out of this... you can set it to a variable Bitrate, 2 pass. All it just means is... well, we lowered it down maybe to get it quite small. If you put it on this setting... Variable Bitrate, 2 pass, it's going to take longer... and what it will do is it will look through the footage... and the stuff that is moving fast... will use this higher Bitrate, 12, you can go higher than this. This would be a really typical kind of good quality video. You can crank it right up to a zillion, but 12 is good... and what it's going to do is going to say... when it's moving fast it's going to use 12... and when things are moving slowly we're going to lower it down to 10... because there's not much changing between the frames.. So the Bitrate doesn't need to kind of change in a depth so fast. You could lower this down to, I don't know, 8. You can play around with this depending on your video. The other one in here, just so you know, Constant Bitrate. You can just say, don't mess around with the variables... just stick it at 8, don't change it... whereas a Variable Bitrate will give it kind of a high low... but will take a lot longer to process. The other thing you might do is use maximum render quality... just to get the most out of this 4K footage being cut down to HD. Let's click 'OK', that should render it, and it should come out HD. Where am I going to stick it? I'll stick it on my Render Files. So we're going to 'Exercise Files', 'Project 3', renders... stick it on with that gang. Hit 'Play', and let it go through its time. That didn't take any time at all, and we've got our clouds. It's been cut down to HD footage, looks nice, nice and easy. That's it for this video, I will see you in the next one. 81. File types & codecs to use in Premiere Pro: Hey there, this video we're going to talk about the main file types to use... mp4s or mov files. We'll also look at codecs, what they are, and what the main ones you'll use are. We can export anything, I'm going to export something a bit smaller. I'm going to use Clouds HD, make a sequence from the clip... and I'm just going to export this straight out like this. I'll do some basic editing, just make it smaller so it doesn't take so long... even smaller. So now I want to export it... remember 'Command M' on a Mac, 'Ctrl M' on a PC. You must have your Timeline selected. Let's talk about the two file types. The main ones are, there is lots... it's outside of the scope of this course really to go through everything... but the main ones are h.264, which is going to give you an mp4... and then a QuickTime video, it's going to give you a .mov. If you're on a PC, occasionally you might get asked for an avi. It's not in this list here because I'm not on a PC, and it's PC only. If you're on a PC and you can't see QuickTime... often you need to install the free QuickTime Player... and often that will give you the kind of codecs and things... that you need to make this work. So let's do it twice, let's send the-- let's do the one that we've been doing... h.264, let's add it to Media Encoder... and then I want to duplicate it, select it, duplicate it... and this one here, we're going to change to QuickTime, where are you? Doesn't really matter if you change it in here, or in Premiere... when you're kind of passing it over, it doesn't matter. Now we've talked about mp4s quite a bit, and how to like lower the Bitrate... QuickTime's are a lot bigger in terms of file sizes... but the codec, which we'll talk about a little bit more in a second... is what you need to pick, now in this case you could pick Match Source... or often you get asked for this one here, the ProRes 422. I'm going to 422 HQ, that's what I get asked for a lots from different people. So that's the other one we're going to discuss. So let's export both of these to the right files. So you can-- I go into my Renders file... this is going to be called, actually just leave it the same name. Same with this, you're going to the Renders file. Renders, there you go. Let's put it one after it, we end up with loads of these. The underscore ones. Let's click 'Play', and I'll see you in a second. It's exported them, nice and quickly, because they're so small... but you can see the difference, the mp4 and the mov. So the mp4 is the super compressed file, it looks great when you play it... but the quality, well, the compression is very heavy. So for a video purist, people don't like mp4s... because they use a codec called h.264, which is very heavily compressed. Keeps the file sizes small, and the reason we can watch video online now... is because of the h.264, which is wrapped up in this mp4. I'm getting ahead of myself with codecs but mp4s, small, movs, really big. They get blown out to Gigabyte files. Now why would you use an mov? An mov, especially if you're using that codec that we just used, the ProRes 422... is not as aggressive when it comes to... like shrinking it down and pulling out bits it doesn't need. So the file size becomes bigger, but the Pro is often like... if I'm ever having problems with video... you know, looks good in Premiere Pro, and I export it... and the colors are a bit strange in mp4s, it's because of the compression... and I'll switch to this mov using this codec... and often the quality will be great again. The big drawback though is that... the file size are ginormous. So let's move on to talking about codecs. So what is this codec thing I'm talking about? Basically this first one just gives its name, mp4 or mov. What's really happening is the type of compression that gets used within of these. Basically these are considered wrappers, they're just names. Inside of it you can have different kinds of compression going on. We're not going to get all the way into it, but in terms of an mp4... it uses a codec very often, doesn't have to be... of h.264, that is the poorly named codec... that compresses the file to make it look good... but also have a really small file size. That will change over time. There's this newer one here, the h.265. Now, it's not very common now, why wouldn't you just use that new one? It's mainly because of the players. So let's say that I'm looking-- I'm watching a video on my phone... if I start using random codecs, that I just go through here... and just pick some random one from in here... the phone's going to go... "I don't know what that is, I know what an h.264 codec is"... and I'll happily play that... but I might not play the newer version or the older version. The type of encoding that keeps it small... but the actual thing playing it needs to understand it as well... and that is super common, and super small, and super good quality. QuickTime's the same, if I duplicate that one... QuickTime is the .mov, it's just a wrapper... inside of that though there's lots of different options... and people will-- like I get, professionally, I get asked for... "Can you send me a mov with a ProRes 422 codec, please, HQ"... and I do that all the time, and send it out, because people want it. It's uncompressed, the file footage is as good as they can get it from me. If I send them an mp4, they've lost the ability to... they've lost some of the content in there because I've kind of... squished it down and got rid of the bits that I don't need... whereas something like ProRes is keeping the quality in there... so that the person on the other side can, I don't know... have as pure a video as they can get... and that's probably the most common at the moment... but you might get asked for animation, or, what else is in here? 444, this Cineform one, just whatever they ask for, give it to them. So those are the two main file formats. So mp4 and mov, and within them we are probably... most commonly going to use h.264 for the mp4... and there's Apple ProRes 422, for a QuickTime video. You might get asked for something else... and then you just got to work through what format it is... which file format it's going to be... and then which codec, and ask people, "What codec do you want?" If they have no idea, "What do you mean?"... just give them an h.264, mp4, and the world will be fine. All right, how are you doing? How is this all going, is it going into your brain? You might have to watch this section a few times over... or you might ignore all of it and just go to h.264 Match Source... and forget this ever happened. It's kind of exhausting talking about it, I enjoyed like trying to demystify... but it is tough, it's a weird old world of wrappers, and codecs, and 4K, HD. It can get a little heavy going, and if you do find it heavy going now... you're sitting there, leaning back, going, "Wow... I need a strong cup of tea," then you're not alone. It is a little bit painful to learn about... and you won't be expected to kind of know all of this all straight up. Basically you'll get a job, you'll figure out what they need... and if they don't ask for anything just give them mp4... and if they ask for something specific you rush around with your hair on fire... Googling stuff, or coming back to this video to talk about codecs... but anyway that's a good place to wrap up. Take a deep breath, maybe go for a jog, go for a walk... and I'll see you in the next video. 82. Exporting video from Stereo to Mono in Premiere Pro: Hi everyone, to round out our exporting technicalities... we're going to export Stereo footage to Mono... but instead of doing it here in the Timeline like we did earlier... we're going to change it when we export it through Media Encoder... plus we'll do a little recap of where we're at now... with our learning on Premiere Pro; let's get going. It's a nice, simple one, so I'm going to export this particular sequence... there's Stereo inside of it, I need it to be Mono, all in one big go. 'Command M' on a Mac, 'Ctrl M' on a PC, we've ignored this one, Audio. We're going to leave-- what have we got? Let's actually use h.264... where is he, I can't see it at all, there it is. Let's go to 'Audio'... and down here we are going to say... actually just export everything to Mono, please. That's how you do it, hit 'Export', or add it to the 'Queue'... and we'll mix down to Mono, so that it's the same on both ears. So you don't run the risk of having a little bit more on one side... or just actually one channel working and the other ear not. Nice and simple, and I also want to do a little recap of where we're at. How do you feel, do you feel like you-- I felt like, at this stage... I feel like I had a pretty good understanding of Premiere Pro. There's other things we want to do in the course... but I guess I want to-- I want you to sit back and go... "I haven't got every single thing in this class... but feel like I'm getting the swing of things." I want you to be proud of that... because Premiere Pro is a weird one, it's like Indiana Jones movie. It is, there's jewels and gold at the end, that's your video... but there's traps and spikes, and giant balls trying to crush you along the way. It's not you, it's this program. You know, it's complex, I'm not going to lie. We're trying to weave our way through it without getting too overrun... but I know you can get a little bit lost in here quite quickly... because I got lost, I spent ages lost, I wandered around in Premiere Pro for years I finally felt like I got to grips with everything now. So if you do feel, "Man, this is tough work," it is... but with a few practice exercises and following along with the course... hopefully you're navigating your way to it. All right, the pep talk is over, let's get into the next video. 83. Class Project 07 - More Sizzle: Hey there, it is time for a class project, it is project number 7. More sizzle; great name, Dan. Basically I want to take the project that I set for you, project no. 2. Remember the Web course you did right at the beginning of this experiment. So it was class project 2, was all these ones, saggy jeans here. Should have had a shave, red glasses. That one there you did at the beginning, I want you to add more sizzle... like we did for this last section. So grab that old exercise, duplicate it. I want you to do the following. So change the framing, so reframe it. Remember we did it in this last project... remember, kind of, I'm standing kind of halfway... and in this one here we zoom in, that's what I mean. So scale that up and reframe it so it looks like a change of camera angle. What else? There is the lower thirds, you created some in the last one... I want you to delete what you've got... and I want you to create an animated option using Easing. I don't mind what kind of animation, but go nuts in this one... you know, the text can slide in... I don't know, the box can scale in, and use Easing, do something. Now in terms of the sound... the sound wasn't too bad, so go through, have a little listen... and decide whether it needs to be fixed up... and if not, you can-- I just want you to have a look at the clarity option... in Essential Sound, let's have a look. So clarity here is this option, have a little play around with these. It's not-- there's not a like a specific magic potion in here. Just get an idea of what some of these do, just to enhance the audio. So what else is on our list? Background music, you'll either have to shorten or extend it... depending on which music you've picked, you pick anything... remember we did that funny overlap thing, I want to do that again. Get to fade it in, fade it out, so that it's kind of the perfect length. You might have to chop a big chunk out of the middle... or you might be extending and doubling it up. Experiment with Vibrance, with that course... remember, not Saturation, we'll look at Vibrance... and Color Grade, it's up to you whether you want to color grade it... because it's like a how-to video... probably doesn't require a whole lot of like special looks... it will only look like the matrix... but have a play around with it. Remember, it's under Lumetri Color, we'll play around with looks. So once you've done all that I want you to export an mp4... will match the source, we use the Medium Bitrate... just to make it a little bit smaller from now on... and I want you to export it just make sure it's Mono sound. Then once you've done that, upload it to the usual places. Remember, we want a link, either from YouTube, Vimeo, or Behance... or wherever you want to stick the link. Share with us through the assignments, or the projects, or the comments... and also share it to us via social media. You can either post a YouTube video... inside of something like Instagram, and tag us... or you can upload your video directly to Instagram using some tricks. Actually it's quite hard to do an Instagram... you can upload directly to Twitter and Facebook... or look at getting your videos up to Instagram in an upcoming video... it's a little bit tricky to do. All right, my friends, go add more sparkles... more sizzle to your Web course. Do what we say, do your homework from this list... and then upload it and share it. I'll see you after you've done your homework. 84. Weird Project Panel & strange file behaviour in Premiere Pro: Hi everyone, this section is more weird stuff that Premiere Pro does. I've broken it up from that first chunk of it. We did it earlier in the course, just so that-- this kind of stuff is more for experienced people, like yourself... just some of the quirks of Premiere Pro. So you can just watch this bit, so grab a cup of coffee... find a comfy seat, and let me show you... some of the crazy things Premiere Pro does, and how to fix it up. We'll get started with the Project Panel and File Behaviors in this video. There's a few of them, we'll start with one of the weird ones... is if you go 'File', 'Import' you can import the same file more than once. So I've already got XD Intro there, 01... I can import it twice, two different versions. There's one there, they can even be in the same folder, with the same name, weird. Just something that happens. Now if I delete, because I've used it down here in my Timeline... if I delete this one, it's going to say, "Hey, it's all been used in my sequence"... and I say "No', I delete this other one... it hasn't been used, it doesn't say anything. If I've used both of them, they both will tell me I've got a problem... and just leave both of them in there, they're connected to the same file... weirdness in Premiere Pro Next bit of weirdness is, let's say that I've got this file here that I've imported. It's got a terrible name, it's got the name... that came off my digital camera, MVI_blah, blah... and I've started using it, and I'm working with it... but then later on I'm like... "Let's be fancy, let's impress people with my naming." You're actually going to do some naming... and this is for the client <i>Bring Your Own Laptop...</i> and it's their, it's the first video in there, welcome for YouTube video. We're going to call it 'v1'... and we rename it, and in here it goes... ah, we freak out, and that's okay, we've done this before. So we locate it, we know that it's actually called, there. There we go, click 'OK'. It's matched it up, but see what it did with the names. It keeps the old name, and you're like, "Ah, this is a whole waste of time." It is not good at picking that up, it doesn't want to... and it brings up the point of, let's say I rename in here. So I've got-- well, there's nothing you can do about it... you can't, like automatically re- update it. If you do know a way, please drop a note in the comments. So what I end up doing is this. Paying for my-- good naming... I have-- click it, copy it, and paste it in, '.mp4'... and rename it that way, you can see down here... it's still the same, oh, geez. So just-- if you rename stuff, know that it does link to the right file... but it will keep the old name, it's pretty persistent. We can kind of use this to our advantage. Let's say that you want to keep this old name... and in here it's going to locate it, let's actually... let's offline it, this one here, I'm actually going to delete it. Let's say I import it again... and I don't want to do it the other way around. So I want to find it on my desktop, my lonely old desktop, where is he? And I bring this guy in... and I don't want to rename it out here, for whatever reason. I can actually rename it in here and give it a really good name... and it doesn't change the file name... it's just like a label that goes on the top. I'm going to call this one '01 BYOL - Welcome'... and I don't have to put mp4... it's just like a label that goes over at the top of it. Underneath is the right file... but I can give these any sort of name I want inside of Premiere Pro... and it doesn't mess with anything, the file, or the connection. It's mainly a problem. You can use it to your advantage. All right, next session. The next thing to cover is, what happens when... you create a Premier Pro file... it creates a bunch of files for you, let's have a little look. I'm going to do a 'Save As', and save this onto my 'Desktop'. At the moment, on my desktop there's nothing... there's a couple of files that are unrelated to this... and I'm going to go, save it to my desktop. I'm going to give this one a name. This one's going to be for the Bring Your Own Laptop client... it's their welcome video. Welcome video. Welcome video. And this one was shot in March 2020... and this one's going to be 'v1'. So I've got this new project, save it to the desktop... let's have a look. You'll notice that there's two files that are created. One is the main file, it's this prproj, longest extension ever. This is the one that you really want to keep a hold of. This one here is useful, it's where the auto saves happen. So automatically, in 'Premiere Pro', under your 'Preferences'... some of you are on a Mac, 'Premiere Pro', 'Preferences', and go to 'Auto Save'. On a PC, it's under 'Edit', 'Preferences' and go to 'Auto Save'. It's going to, in my case save automatically every 15 minutes. This is kind of useful, if you're finding it's taking forever to do auto saving... and it's really stopping your flow you can increase it up... but obviously you run the risk of it crashing... and you not having an automatic backup. You can turn it off in General, but yeah, that's what you do, auto saves. That's where it generates them, you can go and delete them. It will just generate another one in 15 minutes. So they're not that-- don't be scared of them. And when somebody asks you for your project... you have to email to them... you just need this thing, plus all the raw footage that is in there but... this thing is not that useful. You'll end up with up to, I think a maximum of 20 auto-saves... that you can go back from, so if Premiere Pro crashes... and it loads up and it's not where you thought it might be... or you need to go back a few versions, it will be here, in the Auto Saves. Just keep opening up the different ones. The other thing that you will see appearing is your render files. We looked at these earlier, remember, let's add an effect. So Effects Panel, I'm going to add noise just... so that I can add it to a small video, can you see, goes red above it... and remember it's going to find it hard to actually update that one. Where did that cir-- I remember him, go away, circle. So I've added noise here, if I raise up the noise a little bit... just so you can actually see it... it's going to need to-- it's not going to playback very smoothly. So do you remember what the shortcut is to do all the renders? Remember, it's the return key on your keyboard, so hit 'Return'. It's going to render out the files, where did they go? That's where they're going to be stored... right next to where your Premiere Pro file is. So it's going to chug through these, you can see it goes green. So it plays nicely, that effect, and in here you'll see a new folder. So there was my Auto Saves, and this is a new one, Video Previews. In there is basically just mpeg. Little renders that have helped this thing play smoothly. And again, gone to bin. It doesn't hurt it, just when it comes back in here... and tries to look for it, and I hit 'Play', it's going to run slowly again... and eventually goes red, eventually it catches up and goes... "Hey, I don't have that file anymore"... but the color takes a little while to update. So I'll keep those, because I've done it... but that's the file, so that's the main one you need to send somebody. These ones here are just like little extras that happen. Keep them around, there's no point deleting them. Your previews can actually get quite big in terms of the file sizes. So if you're struggling for file size you can just bin them... but don't be scared to bin them. The next thing I want to introduce you to is a Title. Titles are from earlier versions of Premiere Pro... before we had the Essential Graphics. The Essential Graphics is lovely and awesome, and does really cool stuff. Before we had this we had to use titles... and the titles were a pain in the bum to use. So they look like this, the same kind of thing, a bit of text, that's a title. They work differently in the fact that they're actual units... that appear in your Project Window, rather than just, like this... this thing here, this Sign Up Now button... doesn't actually appear as a unit over here... is like its own discrete thing... whereas titles do, you might open up somebody else's project... and have a bunch of titles, there's nothing wrong with them... except they're Comic Sans. So we've broken the law, be prepared to be dragged away by the Type police... but you can edit them, there's nothing wrong with them. You just wouldn't be creating them, if you do need to. Say you're working with somebody that just deals with titles... it used to be in here, used to go here, and go to Titles. They've just hidden it away because they don't want you using it... like that's the old thing. You can still find it, I think it's under 'File', 'New', no, where is it? Here it is, they've really scrolled it away so you can't find it. It's under 'File', 'New', it's called 'Legacy Title'. So you can create your own title, and you end up... it matches the frame size, you end up in here... There's nothing really wrong with this. You might-- you'd be-- you might have been using Premiere Pro for a long time and love this thing. I dislike it, it's a weird little separate thing... and I'm a lover of Essential Graphics. Now if you do get a project with it, to edit it you just double click it... down here on the Timeline this thing opens up. It's only like separate little window... and you can start doing all your bits and pieces in here... like at least default fonts, wow. Lovely, that's what we need, a green Drop Shadow. Anyway, Premiere Pro doesn't want you using it very much anymore... but you might get a file that has one... and you just use them like a video, drag them on... drag on my new title. Is there anything in that one? Nothing. Delete it, and to double click them just to open them, and edit them. All right, that is going to be it for the interesting things Premiere Pro does... with the Project Panel and the files that it creates. Let's do a little bit more weirdness in the next video. 85. Weird things the timeline does in Premiere Pro: Hi everyone, this video we're going to continue on the weirdness... by looking at things down here in the Timeline... and the funny things Premiere Pro does in this little panel. The first one is snapping, it's really handy when you grab stuff... and it kind of locks into the end there. That's real handy, locks into the Playhead. Snapping is awesome, unless you accidentally hit the S key. You can try it now, tap the S key, and that all goes away. Where it's useful is... say you do want to line something up not quite at the end, but close to it... if I zoom in, you'll notice, with snapping on - tap 'Yes'... - it snaps, you're like, "Stop it." So you can tap 'S' to turn it off... and most of the time though you're going to accidentally hit 'S' when you've... tapped it by accident, and you're like "Oh, why isn't it snapping anymore?" So turn it back on by tapping the S key. The long way is, under 'Sequence', there it is there. You can 'Snap in Timeline'. So use it to your advantage, turn it off... but probably get frustrated, and hit 'S' to turn it back on. The next frustrating thing with Premiere Pro... is when you add, say a transition, and you try and move it. I'll show-- I'll give you a, for instance. Let's say, in my 'Effects Panel' here, I'm going to type in 'dip'... because I want it to Dip to Black here. When you're at this zoom level you can adjust the end really easily. You can tidy it up, but if I zoom out and it gets quite small... and I try do the same thing, watch what happens. I go to in here, I'm like... "Okay, I'm just going to come in here and adjust the end." It can be really frustrating, and it's only because... it has the transition on the end, it's not sure what to do. You can either just drag-- it's easy just to drag where the audio is. Does the same thing... doesn't really matter if you're dragging the video or the audio part of the clip... or just zoom in, and then it's a little bit clear about what you want to do. That bugged me for a long time, trying to work out what that was. Anyway, what's the next thing? Next thing is, let's say that I'm working with this footage... and I accidentally insert something, and it overlaps all of this, you're like... "Man, why is it overlapped?" okay, I'll just delete it. It's part footage, they're still linked and I'm like, "I'll just drag it out"... and you're like, "They're all connected, what's going on?" You can either, obviously delete it and bring it back in... but the easier way for this... is to hold down the 'Option' key on a Mac, or the 'Alt' key on a PC... and you can actually drag these. So holding down the 'Option' key I can drag this one separately from the audio... you can tuck them in, separately... and I don't often use that... mainly just fixing problems, like I just showed you there. Now that happens a lot, the easiest way-- instead of overlapping it... I don't know, there's the proper way and then there's the way that I do. Most of the way, if I want to insert something... and it's going to be-- it keeps going into the wrong spot... I'm like dragging it, and I'm like, insert you, and it goes. "Oh." I could stop messing around, which I'll show you in a second, but I just do this. Zoom out, so I can see the edge, and I insert it... and then I just drag it to the layer that I want. The proper way, the proper way is to say, this one here, Source Patching... we looked at this earlier, you could say... "I want to be on this layer here, please"... and then insert it, and it goes wherever your Playhead is. So my Playhead there, I'm going to insert, and it goes on the right one. So that's Source Matching, that I never do. Also remember, dragging out these separately... is holding down the 'Option' key on a Mac, 'Alt' key on a PC. The next one is something that drove me mad for years, using Premiere Pro... and I never bothered figuring it out, just lived with it... is when I accidentally hit X key... and I get these in and out points. There's a couple of shortcuts that will give you your in and out points... but you just get rid of them, it's just this gray stuff. I'll show you what it does in a sec, but to get rid of them, right click it... click in and out, and "Phew." You use it on purpose, if you do use it on purpose... so I've got this clip selected... hit 'X', and I can do fun things, like render in and out... because I've set an in and out point by hitting 'X'... and I can render just this, this chunk. So I could say, I want to go to this one, and I want to move my out point to here... just this little bit, and I want to hit 'Return' on my keyboard... just to render this chunk. So you can use it purposely, mainly I turn it on by accident. There's a shortcut for getting rid of them. It's, hold down the 'Option' key on a Mac, and hit 'X'... or the 'Alt' key on a PC, to hit 'X', or just right click it. Clear in and out points. I'll show you this twice, because, yeah, drove me mad for a long time. All right, that's it buddies, it is time to get into our fun project Enough technical nerd stuff, and problems with Premiere Pro. We love you Premiere Pro, but now it's time to make some exciting things again. 86. Getting started with social media video in Premiere Pro: Hey everyone, it's time for our new group of projects. We're going to be looking at some social media videos. Now if you are thinking... like, "Hey, I don't need to learn about social media... because that's not part of my job"... I would continue on learning about them because it's just general video... squished into different shapes, and there's some important concepts... that are going to be within this course, so carry on with it. We're also going to focus on just two social media kind of outlets. We're going to look at Instagram and Facebook... because they're different enough... in terms of the video we need to make. Once we learn about those two you can apply them to Twitter or LinkedIn... whatever platform that's more important to you. We'll do YouTube on its own in another video... but this will work for YouTube stories, which is quite 'newish. So yeah, let's jump in and do some fun projects. First thing to get our project started... is we're going to practice using our templated folder... and getting our job all together just so you'll get a bit of practice. So what I'm going to do is, remember, in your Exercise Files... I got this one, it's empty folders, nothing's in them. I'm going to copy this and paste it. Now I'm going to stick mine on my desktop... and in here I'm going to give it a name. So I keep that one perfect so that I can duplicate it real easy... then I'm going to rename this one... yours will be different, PC or Mac, how to rename. This one is going to be for the client <i>'Bring Your Own Laptop'</i>... and this is a project for their Photoshop course... and this is, I put hyphens between everything for no good reason. So let's put in 'February 2020', so that's my project... and I want to copy some files into it, and I just want you to practice with me. So these two in there, and I want you to go into your Social Media... and let's copy out some bits. So Project4, Social Media, I want some audio. We're going to drag ours, I'm going to copy mine... so 'Command C', in here, paste. Why am I doing it, you're like, "It's the same thing." I just-- I guess you're not going to get given a project... in these lovely little folders. I want you to get the hang of creating your own project... saving your own footage into it. So the graphics, actually the footage... let's say that's come from your cell phone... but in my case I've put it in here for you. I'm going to copy that, copy it all, and paste it. To get the idea of what we're doing-- I just want to give you an idea of organizing... your own footage into its own project. You can skip it if you're like... "That's a waste of time," well, we're practicing. So we've got our project here... we're going to create our Premiere Pro file... and get it put into our folder as well, let's do that. So in Premiere Pro, have nothing open. If you've got something open, go to 'File', 'Close all Projects'. Let's make a 'New' project... and it's going to go into - browse - onto my desktop. You can put yours where you like, obviously. There's my lovely new folder, this is where I put my project files. Man, organization, it's going to be fun And in here you call it 'Untitled', ruined it all... 'Untitled Final', that's the kiss of death. Let's do a proper name, this is our 'Bring Your Own Laptop'... this one here is our project for our social media... and this is going to be my 'v1'. All is right in the world, let's click 'OK' to get started... probably I'll see you in the next video. 87. What are aspect ratios how to set ratios in Premiere Pro: Hi everyone, this video we're going to discuss something called an Aspect Ratio. It is a term that we need to understand before we can go on. It doesn't affect us as much when we're doing plain old video... but when we start getting into social media... where there's all these weird sizes... and they start giving us these things, you're like, "What the hang is that?" 4:5, 1:1, that is an Aspect Ratio... and we're going to discuss what it is... and how it works in terms of making the different sizes of our videos. The first thing to-- I guess the term is the shape. So, think aspect ratio, think what shape is it. That is what it means, it's not the physical size of it... it's the shape, so this is a square, it's always a square... doesn't matter what size it is, so it has the expect ratio of 1:1. So there is this side, measures 1... and this is equally 1, it's the exact same... because it's a square. So aspect ratio of 1:1 means, I am a square. A rectangle, so remember, replace aspect ratio of shape... so the shape of a rectangle is this, 16:9. So 16 across compared to 9 down, and it can get a little confusing... because you're like, "Isn't that just the height... is that 16 centimeters or inches, what is it doing?" It just means, the actual 16 made up units versus 9 made up units... and those units can be anything, because you can see here... this here is our HD footage... we've learned that it's 1080 high and it is 1920 wide... but it is an aspect ratio of 16 compared to 9, down the side... but UHD, the bigger version is exactly the same... I'm like, "How can that be?" because of this, watch this. I can scale this one up, and I can see that it's the exact same. It's 16 across by 9 down. The fact that it happens to be... a whole bunch more pixels bigger doesn't really matter... and that's why people give us aspect ratios... rather than sizes because you'll find stuff... on, let's say here, this is an aspect ratio of 16 to 9... like this one here, either of these two... but they say, the optimal is going to be... pixels of 1920 by 1080, that's what we got here... well, why doesn't it want this? Because at the moment it doesn't like the really big sizes for social media. Too big, drags on data plans... and most social media platforms... I seen on a phone, and that phone can't actually display this really big size. That will change though, they'll still have the same aspect ratio... but they might want something slightly bigger, let's have a look. I show you, because the rectangular Facebook video-- I'm just looking at random websites, to give you a... I guess an idea of the confusing nature of it, and trying to tie it all together... because they say it's an aspect ratio of 16 to 9, which I'm doing... but they say the size is different... they say the size is 1280 by 720... whereas this other website says, Instagram wants 1920 by 1080... and you're like, "Hmm, they're the same aspect ratios but different numbers." They just want different quality. You'll also see minimum and maximum. You'll find, at the moment... I think the recommended size is this, but the minimum size... is a width of 600, whereas we can go up to this, and down to that. So let's work our way through a couple of actual aspect ratios into Premiere Pro. Let's start with the easiest, 1:1, it's going to be square. 1 across the top, is exactly the same as the height... so it ends up being a square. Now in this case the optimal size is 1080 by 1080... but it can be smaller-- whereas this-- So I'm looking on a completely different website. I guess I'm trying to mix you up through different dimensions to show you... people say the same thing in a different kind of way. On this website here it says, your square recommendation is 1:1... and it says the square size is 600 x 600, but this is the minimum. So you need to check, at your time of recording... not your time of recording, your time of being live... right now, is go and check... just say what is the square recommended pixel size... for a 1:1 on Instagram... or whatever new fan dangled social media is out... fan dangled makes me old. Reluctant social media person. Anyway, so 600, if I made it 600 x 600, that accept it... but at the moment they really want 1080 x 1080. In the future it might be more, depending on how things go. So let's look at putting this into Premiere Pro. So what you do is, in Premiere Pro, we're going to go to our Project Window... we're going to create a sequence... a brand new one, because we can't really get it from a video... unless you've got a video camera shooting in square. I don't know any that do, but I'm sure they're ones out there... but let's go to a new sequence. And how do you get started? Probably the best way for using any sort of social media... is to get started with this one called Digital DSLR. It's a really kind of just generic size. There's already a 1080 in there, which is good. We're going to use 25 frames/second. Now pretty much all social media will accept everything, they have maximums. I think Facebook at the moment won't accept... anything higher than 30 frames/second for general videos... and is there a low one? I don't know, just stick to 25... nice and simple, and pretty consistent across the net at the moment. So we'd start with this, but before we click 'OK'... we're going to go in here and click 'Settings'... and we are going to leave all of it... except we're going to play around with the frame size... The cool thing about Premiere Pro is it actually tells you... you can see, at the moment we're using this 16 x 9... so if we were ready to make video for-- let's have a look... this one, 16 x 9, here we go... so for Instagram TV, I have to make a video for that... then, look, 16 x 9, I've got the right ratio... and the optimal at the moment is 1920. 1920 x 1080, so actually don't have to do anything. It's only when we get into the weird shapes of... let's have a look, square, square, square, 1 : 1, 1080 x 1080. I realize I say "ten eighty", and not "one thousand and eighty"... it's just, I don't know, the industry seems to say it like that.. and if you want to be cool like everyone else you say 'ten eighty'. You can see I changed that, you can see, look at that, gives me the ratio. It says I'm 1:1, you're like, "Jackpot," we're on the right track. Everything else I'm going to leave, I'm just going to give it a name. We can do it afterwards or now... I'm actually going to use this for the next project. So make sure you're following along with this one... and we're going to call this one... let's call it 'Instagram', Insta-gram... and call this '1:1'. I'm going to probably reuse this later on... and it's going to help us get the language right. I'm just going to write 'square'... just in case, yeah, not sure what 1:1 is, so click 'OK'... and we've got ourselves our first sequence, be adding video to. Let's have a look at this one, pretty common... and the reason you'd pick different sizes... can you see, a video post versus video stories, they're very different. You could use this, they call it screen real estate. On my little mobile phone, I can either have a video this big... or look at that, I can take up the whole screen with a video. So Instagram stories, at the moment you can use either of these sizes... but let's say it's just a generic post in Instagram, they want 4 to 5. You can kind of see the optimal size there, so I'm going to do that, what is it, 1350. So I'm going to go to a new sequence. I'm going to start with this one just because... but before I click 'OK', come into here, and I'm going to say... what was it, it was 4, so 1080 across the top, to 1350. Look at that, 4.5, and we're away. We'll give it a name, I'm not going to now because we don't need it... but the same thing is-- we'll do one more together to get the idea, so 9:16... which is basically the one that we've been dealing with throughout the course... 16:9, flipped up, portrait. So it's 1080 x 1920, so 1080 x 1920. Look at that, 9 x 16. Last one to hopefully drive it home is, just to recap... remember, the aspect ratio is the shape of it, not the size. Just how far across it is, by how far down it is. Let's have a little look at one of the Facebook ones now. You can see the recommended size is this, you're like, "It's a random size... "I wonder what aspect ratio is." Don't look down here. So I put it in this, 1280, it's going to here, it's 1280... and this one over here is what, 720, so 720. Look, it's 16 x 9, just a regular old horizontal movie... but it's just smaller, they just want smaller videos. So in here they want something about this sort of size. I'm using this program, Illustrator... just because it was easier to mock this all up in. So I'm going to copy and paste this one, I'm to make it blue... and I'm going to make it-- what did they say? I can't remember, let's have a look, it was 1280 x 720. So if I go 1280 here, x 720... you can see, it's like, what I've been working on, just slightly smaller. So I make a new sequence, I make it this size... and really, I could actually get any of these bits of footage... that I've worked for now, to work in this size... and even though they say, recommended size... I bet you they probably accept larger sizes. So do some testing, you might go, I've got this thing in 4K or UHD... do I have to shrink it down to export it?... because some website called Hootsuite decided that... they said it's optimal like this, probably not. They're pretty clearer in these days, where you can upload any old size... and it will convert it to the size that they need. Takes a bit of processing time but works fine. The other thing you can do is, let's have a look at Premiere Pro. Let's say that you are ready to export something to Facebook... and you were like, you want to use their 16 x 9. How do you check say some existing stuff, you're like, "Already made this thing." Great face. So I've got my earlier project open, my XD Intro sequence. With it selected down here in the Timeline I can go... 'Sequence', 'Sequence Settings', and you bring up this window... which you can change now, I could physically change my sequence size... but you can see it's the right aspect ratio... you're like, "Phew, but it's the wrong size, it's too big." Let's say you need to get it down to that, was it 1280? Can't remember. 1280, what you can do is instead of trying to shrink it here... and then shrink everything down... what you can do, during export, who remembers what the shortcut export was? That's right, 'Command M', 'Ctrl M' on a PC... and in here what you can do is actually say, I want to be this h.264... which is probably the most common to upload to social media... and under 'Video', I can say, I do not want to Match Source... I want you to shrink it for me, to that 720... because this is locked, if I click out... look at that, it's 1080 x 720, ready to go. You might do this-- it's going to-- I know it's going to accept the larger size... but let's say that you've got hundreds of them to do... you might want this to be smaller just to save on upload time... or you might be uploading them to your own platform... or website, or something. So you can just export it... it won't change the original size, just the size on the export. I do this quite a bit when I'm editing in 4K... then I need to export it for HD, I can come into here and just say... scale it down, don't actually have to... change it in the settings, just hereby, export settings... either via the Media Encoder or just doing it here in Premiere Pro. All right, just a recap, remember, aspect ratio is another way of saying what is the shape, and 1:1 is another way of saying... it's the same height by the same width, so it's a square. The shape of this is 16 across x 9, which kind of looks like a rectangle. There's everything in between. So let's do a little for instance. Let's say you've been hired by somebody to help them with their Twitter accounts... and you want to do some video for them. The first thing you're going to do is go, 'Twitter video sizes'. You'll have a look, there'll be a bunch of aspect ratios. You decide on which is best for you. Sometimes it's hard to get away from this kind of rectangle format... because the footage you already have is recorded this way... but you can decide what aspect ratios you're going to do. The next thing you're going to do is you're going to work out... what the optimal size for that aspect ratio is... and there'll be a height and a width, in pixels. You open up Premiere Pro, you go to 'New Sequence'... and then you type them in. You'll also note here that I've put in 1:1... and I've done 16 : 9, I think that's the more official way of doing it... but I put times, 'x' in all the time. That my friends is aspect ratios. Hopefully we're going to start creating some aspect ratio videos now... to hopefully put it into a little bit more context. If you are a little confused, don't worry, aspect ratios are hard... and are a bit of a brain teaser. Hopefully that helped, on to the next video. 88. Setting the length of our video using markers in Premiere Pro: Hi everyone, this video we are going to work out... how long our Instagram video needs to be... then we're going to add this little marker here... so that we don't go past it, let me show you how. To set the length of our sequence we need to figure out how long... our little Instagram (Square) video can be. You end up doing things like this, you go into... oh, side note, follow me on Instagram, bringyourownlaptop. You'd end up doing stuff like this, how long can an Instagram video be? I've added the word 'Feed', because you can actually do videos for like ads... for Instagram, so you got to be careful you're doing the right length. So, for ads are different from feed... I think the feed videos can be 60 seconds, but stories... they can only be 15 seconds, if you can spell and write. So just have a little look through, figure out what they are... at the moment they have changed. They change frequently enough. So I know it is one minute or 60 seconds. Now what I want to do is to make sure I didn't go over that... is I want to, down here, is to go into 60 seconds... and set a little marker. So what we're going to do is get our CTI pretty close. You can see here, remember it's-- this last one is frames... we've set ours to 25 frames/second. So every second can be broken down into 25 little bits. So that's what this last unit is... you're worried about this one, this is seconds... that's minutes, that's hours. Frames is a second broken up. So we want to find something close to, I want to get it to 60. It's going to toggle over... it's a little bit too far, so it's too much. So what we do is just zoom in a little bit, okay, zoom, zoom, zoom... and you get a really, like finite, if you zoom in far enough... you can see I can get it perfectly on one minute or 60 seconds. Now what we want to do is set a marker. The shortcut is just tapping 'M' on the keyboard, so M, for mother... and you get this little marker here, that's your like visual reference. So markers, you can, up here you can 'Add Marker', that's the long way. So that's how you add a little marker to say, don't go past this. Now what I want to do is I want to zoom out a little bit. I'm going to hit backslash, ' \ ', and I'm going to add some footage. So the footage we brought in a little while ago... well, we at least moved it to another folder... so you can double click this dark area down here... in my Project Window, or go to 'File', 'Import'... and under-- we made a new folder on Desktop... BYOL, it's under Footage, in Ink. If you didn't do that you can find out under Exercise Files... Social Media, and under Footage, either one we want. I'm going to grab this one. Bring it in. Handy, it's the same frames/second... but let's drag it down onto our Timeline, on to v1... and it's going to say, "Hey, I'm the wrong shape." "You've got a square, I'm a rectangle"... because everything that gets recorded is a rectangle. So what you got to decide is, do I want to keep my settings... or do I want to change it to match my video... you're like, "No, no, no, I made you square for a reason"... and you can see, happy days, it's not past a minute. That brings up a good point, it's not like a target, it is a limit. So mine is only going to be about this. What's the end-- holding 'Shift'... so 24 seconds plus a few frames, or lots of frames. So I'm just going to make it that long because that's how long my video is. I could try and extend it out but that's actually going to work for me. So I'm going to hit my-- have a little look at it. It's a strange old video I got from Pixabay. Yeah, that's a skull, with ink coming down on it, anyway. Let's hit our backslash key, ' \ ' to fill it all up... and what I'd like to do in this particular one... is I want it to kind of loop, videos can loop on Instagram... so I want it to kind of fade out and fade in at the beginning. So I'm going to use my 'Effects', I'm going to type in here. You'll notice that I always use the search... instead of kind of looking through all of these things. I just do a search at the top, it's up to you. So under 'Video Transitions', 'Dissolve', 'Dip to Black' at the beginning... 'Dip to Black' at the end, and it's just going to... fade in, and when it gets to the end, and when it loops back around... I'm going to come back around to the beginning. One last thing we'll do is we'll actually just get this in the right size. So ours is actually perfect in the middle, but let's have a little look... because square is a weird shape, let's have a look, our Project Window... actually no, let's have our 'Ink'... select it down here on my Timeline, let's go to 'Effects Controls'... and we can see-- let's do our Position, this way, or that way. We can't really go up and down because it kind of fits in there just. So I'm going to reset it back to normal. You can play around with left to right though, it's up to you. You might have to do this... just so that you can get some text appearing kind of down the side here. So you're going to have to frame this as well as you can, for-- it's weird, I don't know why the world is rectangular, photographs, video... square seems a much more, I don't know, simple shape. For some reason we don't use it... and everything's just a bit harder to frame in a square. Don't be afraid to play with Scale as well... if you do need to kind of get it framed nicely... you need a lots more space for text, you can kind of like zoom it in. Obviously the more zoomed you are... the more pixelated it's potentially going to be... but I get pretty rough and ready when it comes to social media... because, I don't know, they never play at full quality anyway... so a little bit of, bit of pixel distortion... there'd be people out there kind of tutting, but it's okay. I'm okay with the tutting. So you could frame it like this. I'm going to set my scale back... and this back, right to the middle, because-- yeah, anyway. We've got it framed, we've got it in... we've dipped to black, let's move on to the next video. 89. Working with text boxes in Premiere Pro: Hi everyone, in this video we are going to add some text. We're going to do it in a text box... that actually breaks on the sides, rather than go on forever. Then we're just going to do some basic layout. We're going to fade the background out, add some drop shadows... change the colors, oh, very exciting.. Let's jump in now and do it together. We're going to add our text, now where we going to do it? We'll just do it at the beginning here. Grab your 'Type Tool', and I'm going to show you... there's two ways of actually adding Type in Premiere Pro. You can click once and type it in, 'Type it in'... and it will be this box that goes on forever, good for headings. If you want text to actually flow into the next line... you can hit 'Return' on it to break it. I'm going to show you a different way. We're going to delete it by clicking here in the Timeline, 'Del'... and with your Type Tool selected click, hold, and drag a box out. It's going to give it width and a height, so now when we type... I'm going to type lots, can you see it breaks on to its own line. Pretty exciting. We're going to type in... 'Crop it.' I got my uppercase on from a previous thing I was doing... can you see, All caps is on, just so you know. I thought my caps lock was on, it's not... this little button just says, I want you to all be caps. I'm going to turn that off. 'Crop it, like it's hot.' Very clever, Dan. We're going to grab this, we're going to pick a font. Your font's going to be different from me, I was using this one... Scriptorama, it's very cool, I like it. That's all caps, just turned that off. Before we go any further-- you're going to have different fonts... so just pick any font you like, except for Brush Script. Again that is illegal font. Let's talk about size versus scale... because I can scale this text box up to make the type bigger, this one here. Drag it to the right, I can scale it up. I can undo it, or I can use the font size. They do a similar job, you can't animate the text size. So if you're going to animate this to get bigger you have to animate the scale... but you can't animate the font size. It doesn't really matter, I'm going to use the font size... because I want the text box to say the same width, I also want it to be centered. I make it just a bit bigger. I want it to break it on to a few different lines, there we go. One last thing to do, is I want to put the actual title of the new course. Now I've put it in here, into your 'Project4', under 'Copy', under 'Quotes'. It's this stuff here, if you can't be bothered typing it you can copy it. So Photoshop Essentials, I'm going to do it in two separate fonts. You'll notice that I've pasted it in there, but like, where did it all go? It's because this is not big enough, I'm going to grab my Selection Tool... and I'm going to drag this box bigger. It's not really scaling, it's just allowing more bits to fit in there. And what I'm going to have to do is... grab all of this, and make the font size a lot smaller. Try and grab it all, and I'm going to pick a different font, I'll speed this up. So I've changed the size, I've changed the font, to something... you probably don't have Museo Sans either, but pick any font... remember Brush Script is not allowed, and Trajan isn't allowed either. I'm just hitting on fonts, it's okay, if you like Trajan it's all right... So we've got our font, for spacing in here, like... the Essential Graphics panel at the moment... lacks some of the paragraph settings that I really want. So I just put a 'Return' to space these out. What you really want is a space after... and this Hex you can do in here, I'm not going to get into it... but you could have just two separate text boxes, that'd be fine too. I just put a Return in. Let's have a little look, so it appears across a lot of it... but once I get into here the contrast is a bit different. Actually one more thing before I can move on, is hot is going to be... hot color, it's going to be very exciting. Also what I might I might do is break it on to two lines. So I'm going to select both of these... that line, and just shrink it down so it fits on these. Then I'm going to grab the word 'HOT'... and you can actually change the font separately... by just having them highlighted... and to do that I've got the Type Tool, and I just double click the 'Hot'. You can drag a box over it all. So grab this, I'm going to pick a Fill Color... that is, you can't do gradients on fonts at the moment. I say this because as soon as I make a course they release new features... and there'll be a gradient option up the top here when it does come. So I'm going to pick a color, hot, but not red hot... or a ruby red, I call it ruby red. A couple of things I want to do is, the problem is, once I get out of here... you can't really see the text even though there's a Drop Shadow on it. If yours doesn't have a Drop Shadow, you can select all the text. Come down here, turn it on, for some reason that default's really weird. It's defaulting to, like this washed out gray color. I don't want a washed out gray color, I want black, like all Drop Shadows... and Drop Shadow, how-- the percentage, do I want it up full percent? It gives me kind of a better contrast to the background... but you can spend some time playing around with the depth of it. I think we've talked about Drop Shadows before... but it's still not giving me enough contrast between the background. I could put a box behind it... but it's probably going to ruin the effect that I want. So what I'm going to do is... I am going to lower the-- I find this, I'm going to darken the background... and I find the nicest way to do this is, let's select on 'Ink'... which is the background video. Let's go to Lumetri Graphics, Lumetri Color, sorry. If you can't find it, remember, Lumetri Color. What I like to do is use Exposure, Exposure gives a nice-- I feel like it's got a really good consistent-- adding black over the top kind of works, but I find exposure, lowering it... still gives you like, you can have it quite low... and still get a very good understanding of the background... whereas black just seems to smoosh it all into the darkness. So find something that's a nice kind of balance... between the type and the background. Bit high. The other thing I'd like to do is, before we move on... is I don't want it to-- I want the video to start for a little bit... So I'm going to play it. I want the ink effect and then I want it to kind of appear... and with my timing there's a lot of getting at the front, hitting space bar... watching it and just get a feeling for it. So there's no rhyme, no reason to it... there's not a specific science, it's more of a feeling. I feel like, intriguing, what's happening, BAM, sales pitch... and I want it to go along, and because it's an Essential Graphic... it can be as long as you like. Now I want to disappear there at the end before this is finished... and I want it to fade in and out. The fancy way is to select on it, go to the front. We've played with this before and it's a bit tough, right? Opacity, set a keyframe, lower it down. Let's just do it because, don't you do it. I'm going to set a keyframe here of 0... then I'm moving along and I'm going to set it up back to 100%... and I got two keyframes. So you could do that, right, fades in, holds for a while... gets to the end here, remember our tabletop... it's another keyframe that's stuck at 100... get to the end here, and then set it to 0. That's one way of doing it... and I've probably shared this, this again, before. Let's get it all gone, so got rid of all my keyframes, I hit 'undo'. We're just going to sneak on the old Cross Dissolve. I think Dip to Black would work, let's do Cross Dissolve. The front, and the end, in and out, easy, whoop. It's at the wrong position, so I could use my Move Tool... or with multiple layers going on now, we're going to use the Effects Control... and just click on this, and then lower it down a bit. Wrong way, you always drag the wrong way first, there we go. That will be us for this video. I'm moving a little faster with this one... because it's everything we've covered so far... just like a recap, so I'm kind of, find myself speeding through it... maybe a little too fast but hopefully you can pause, rewind, play it slowly... if you are finding a little bit hard to keep up. Now in the next video I'll try and go a little bit slower... and we'll animate the text in. 90. Animating text in our Instagram video in Premiere Pro: Hi everyone, this video we're going to add some music and animate the text. It's relying on some of the features that we've learned already. Couple a little new tricks, but let's watch it. How cool are we? Skulls, bad-ass music, and text slides in. We are so hip. Let's learn how to do it now in Premiere Pro. Before we do our animation let's add a bit of music. I always find my animation flows better when there's a bit of music. Some are in my Project Window, I double click in the dark area. I am actually going to go back to my exercise files... I'm going to use some of the audio, we use it throughout the course. That's from an earlier project, from Project 3... under Audio, is a bunch of music in here, so have a little listen through them all. Have a play around with different ones, I'm going to use Trespass... because it's kind of cool, it matches my big skull theme. Okay, I'm hard core. I'm going to drag it down to its own little layer... you'll notice that it's way too long. So I'm going to hit my backslash, ' \ '... There's my little marker, so it can't be any more than that... but really I want it to kind of snap to the back here. Again, backslash again, such a cool tool. It's the one that slopes backwards, backslash... and what I might do is I'm going to put in an audio transition. So 'Effects Panel', 'Audio Transitions'. I'm going to use 'Constant Power'. Go to my little audio one just so it fades at the end. It's pretty loud... and I'd say too loud for my-- it's just banging away here, at the red. So I want to grab it and just lower it down a little bit. The easy way is, remember, just make it a bit bigger. See this line, just lower it down. Seems to be-- dialogue should be around this... music can be higher, it totally can. Depends on what you want to do. Surprised, really loud music. I love it. You can have a play with different tunes, might even download your own one... but for the moment, this one here... what was it even called? It's called Trespass. I want to say dub-step, but who knows. That is it, let's do the animation now. I don't want mine coming from the top-- I'm going to turn down my volume. That's loud. This is kind of where it appears, right? It starts fading in, I'm going to get rid of the Cross Dissolve... by just clicking it once, and hitting 'Del'. You got to be careful where you click, click on this little transition there. I'll leave the Fade-out, but I want it to move in. To do it let's select the clip, and you can drag it on the window. You'll do more and more jobs, and you'll start to realize... it's kind of tricky doing it in the Program Window... it's easier doing it over here. Also remember, there's a bunch of different positions we can change. Remember, there is our video, there's ones under Graphics... there's one under this one, Position, there's one under here... and in our case, because they're all going as one, doesn't really matter which one.. I'm going to use the Video Motion Position... and I'm going to start my stopwatch. We're going to use the secret trick... because now what you want to do is move it up. Move your Playhead along, set another keyframe, drop it down... but we're going to-- remember, I showed you my animation tricks, this is what I do. You can do it any way you like, but I'm going to go along a little bit. Start my stopwatch, come back to the beginning... and then move it up, get the wrong one. Got the right one, it's going up and down, horizontal, vertical. So I'm going to drag it up, just dragging it to the left... just so it's off screen, when it get started... and then we'll move along to here... and we'll just play-- we'll get a sense for the timing first. Well that's an Easing, select them both, we'll cheat, and do Ease-- so right click them, 'Temporal Interpolation', 'Ease In'... and 'Temporal Interpolation', 'Ease Out', you should be more official, but-- look at that, beautiful. Remember, playing with the timing... you can make it closer together to go faster. That's-- feels better, faster, further apart... maybe that's what you want. Oh, mine is fast. All right, that's it, a bit of practicing. Get yours to animate 'em, from the top or the bottom... whatever you want to do, we've got our music in, we trimmed it up, with Fade-out. How easy is it now to do stuff, cool, huh? That's it for this video, let's get on to the next one. 91. How to use the Time Code in Premiere Pro: Hi everyone, this video is all about the time code. We're going to inject this video here... because we're going to use it throughout the course... and you'll use it in your professional Premiere Pro career. It's this little timer here, we've briefly talked about it... let's learn a little bit more about it. So you've seen it before, right? It's-- I've talked about it a little bit. Runs along, the little timer... and basically hours, minutes, seconds., and then frames. And there's a time code both in the-- you can see, this one here they're joint. So the program one is attached to the one in the Timeline. You can also have a third one, that is in your Source Monitor. So if I open up 'Ink', and I hit 'Play', can you see it's got its own Timeline. It's really useful, time codes, because, especially giving feedback... if somebody says to you, "I don't like it, I don't like the text"... and you use the text a couple of different times throughout your animation... you can ask them what second, well, what time... and if they're previewing it on YouTube, or you've send it to them in an email... and they've downloaded it and watched it... they can generally tell you what second they mean. It's great for giving feedback. Gets a little bit more confusing when you start getting close to like-- what do you do if there is-- you want to get to 1s... you want to get to one minute, do you do 60 zero zero, which gets you there... or do I do 100 zero zero?... 100 seconds, one minute, sorry. You get to the exact place, so it doesn't really matter which one you use... but I find it really useful for... if I'm jumping back and forth on the Timeline lots... and I kind of know where I'm at... instead of having to zoom out... move my Playhead, zoom in... you can just use this little time code to jump along, you can scrub it as well. I'm not sure why, that's just the interesting fact, but I never do. All right, I'm going to do a little class test, you ready? I'm going to get you to click on this, and type numbers... and see if you can do it fast... just to get used to like how to jump around the Timeline, you ready? The first one is 22 seconds, type it in, go. How did that go, you're at 22 seconds? All right, ready? Another one, 45 seconds... did you get there, another one, a minute and two seconds. If you're like me that probably broke your brain. That's enough testing, but-- I want to get you fluent with it... I don't want you to get fluent with it... I just want you to know it's there, and it's a really useful tool... and I'm going to use it more throughout the course. A minute, two, zero, zero, there you go, that would have worked. Now I show you this now, just because... I'm going to use it more throughout the course... that we can all get to the right point... and when people give you feedback, whilst watching the video... you can kind of jump between the two points. Yeah, just kind of general Premier Pro proficiency; wow, all the Ps. Let's do one more, I'll show you kind of how I do a lot of stuff. I know that Instagram stories needs to be 15 seconds, watch 1500, the short cut is M. Look at that, entered a marker. The problem with my marker is I had a track selected, that's a very good point. We'll do markers a little bit more later on... but if I have nothing selected and I hit 'M'... it puts it up here in my Timeline, kind of a global marker... but if I do it here on a clip, or this clip, and hit 'M'... it will add it to the clip, which is-- it's fine, just... you might want one, you might want the other. I generally just want them up in the Timeline... get along the top here because it's a little easier to see. All right, undo that, let's save it, and I will see you in the next video. Haha, surprise pop quiz, 2 minutes, 32 seconds and 10 frames. It's enough yelling at you. I hope you got there though. I'll see you in the next video 92. Creating an Instagram story video in Premiere Pro: Hi everyone, this next kind of group of videos, just in the next few... we're going to build another social media kind of video, this one looks like this. It is nearly ready, I am right in the middle... of filming my Premiere Pro Essentials course. If you want to be the first to know when it's ready... swipe up and pre-register. Don't miss this course, it is going to be loads of fun. So a few things we're going to do... is we're going to deal with video that has to move... if we actually animate that video... so we get the best use of the space. We got some text animating, we do some audio adjustments, fix some plosives... and some weird stuff I do with my mouth over here. We'll talk about markers and how that can be a little bit weird. So really, it's a lot of the stuff we've done. It's kind of like a nice little, slightly more complicated project... that's going to allow us to kind of combine some of our skills... before we move on to new tricks; all right, let's get going. To get started let's close down our Instagram 1:1 Timeline... just so it's all clean... and let's create a new sequence. So 'New Sequence', we're going to start with 'Digital SLR 1080p'... we're going to start with this, 25 frames/second. I'm going to give it a name. I'm going to call mine 'Instagram Stories'... just so that I can use it later on, so I know what it is... I know that the aspect ratio is 4 : 5, and it's portrait. Now remember, basically I want to make sure that the settings... I Googled what 4.5, what the optimal is for Instagram stories... and it said, let's add our time code, 15 seconds, 15 zero zero. So jumps out there, let's hit 'M' for our little marker... because I know Instagram stories can't be more than 15 seconds. You can just hack to stitch them all together... but let's just say we're doing the official way, 15 seconds. Right there, this one, we've got our kind of sequence ready... and we'll start adding all the content in the next video. 93. Editing voice over & music to our Instagram story Premiere: Hi everyone, in this video we are going to put in... our dialogue and our background music. We'll balance them out, get them corrected, add some clarity. We're going to get rid of some weird lip noises that appear... plus we're going to learn what a plosive is... and how to try and get rid of it as best as we can... and what you'll figure out... is Dan will not notice that this marker moves from 15 seconds. Freaks him out, eventually he catches up. I like to talk about Dan in the third person when he does silly things. You'll see what I do in a little bit... and you'll see I'll probably lose my... lose my, I don't know, professionalism a little bit. Lot of laughing, but anyway, let's get in there and edit our Instagram story. Let's start adding our audio, double click anywhere, or remember, 'File', 'Import'... and we want to go to our 'Exercise 'Files'. Actually no, the one on our desktop where you imported it over. Under 'Audio' there's one called '1 Dialog'. Import that. You'll notice that I haven't put anything in folders yet, or bins. I feel like there's no point at this stage, so my process normally is... wait till it gets out of control, then put it in bins. So let's add our dialogue, we're going to kind of use that to get started. You'll notice that it's probably way too long so let's zoom in. It's way past our 15 seconds, which is annoying. Have a little listen through it yourself, and we're going to do some basic editing. I'm going to do it as well, but probably in fast forward mode. "It is nearly ready... I am right in the middle of filming my Premiere Pro Essentials course." "If you want to be the first to know when it's ready swipe up and pre-register." "Don't miss this course, it is going to be loads of fun." Adding lip smacks while you're actually trying not to add lip noises... is really difficult, like the tenth take. I'll explain this in the course. All right, stop talking, Dan, you're making this mp3 really long. It was a long time since I recorded this, I laughed myself because I'm like... I forgot I even recorded all this stuff, so basically in this audio... I added lip smacks, like little weird yucky lip noises, in here... so you can get rid of them. Where is it? This one here, I think, ready? Pretty gross. So we're going to go and edit it out... and I'm just going to show you how I do it. So I'm going to zoom in. I'm going to trim up the beginning here... because I need it to be 15 seconds. - "It is nearly..." - That's good. Double click the space, click it once, delete it. "It is nearly ready, I am right in the middle... of filming my Premiere Pro Essentials course." - Our first bit of problem is this, - "... my Premiere Pro..." I remember it now, when I recorded this, because I was like... I'll record it again because I did what's called a plosive. A plosive is this, I'm going to-- move your-- If you've got headphones on, turn them down, ready? In three, two, one, Premiere Pro. It's when you like yell into the microphone... it's not even yelling, it's just some words... shoot out of your mouth really fast... and make this weird kind of like puff noise across the microphone. So I did it here and I was like, "Oh, I'll record it again"... because they are really hard to get rid of. Then I was like, "No, leave them in the course"... because these things will happen. And I'll show you, there's a way of mitigating them... but not a way of removing them, let's have a look. "My Premiere..." - So I can zoom in... - "... my Premiere Pro..." What I might do is get the audio-- can you see the waveform's quite low. So before I go and do my editing I'm going to select it... go to 'Essential Sound', 'Dialog'... 'Loudness', 'Auto Match'... give it a second just to raise it up a little bit. I'm going to make this bigger as well so I can see them... - ...and let's have a look... - "My Premiere Pro..." It's that bit and that bit... so what I'm going to do is just lower it at the peaks. So I'm just, I'm not going to do a tabletop, I'm going to do a 'V'. Just to kind of take the edge off that peak there. "Premiere Pro..." I can still hear the word, and it doesn't sound weird... but I feel like I need to like just drag these plosives down. "Pro Essen... my Premiere Pro..." Definitely better, right? So we've made it a little bit better. The best bit is actually just going and re-recording it... but can't always do that, so we've fixed the plosives. Next thing we want to do is, let's have a little look, I think I'm pretty good... "... this course, if you want to be the..." It's this lip smack that I added for you. "Register..." Gross, Dan. I'm going to zoom in, you can see it, look at that gross thing I made. So we-- you could just snip it out, it's up to you. Now I want to-- you could do what we did for the Premiere Pro... probably just going to snip it out. What I'm going to do is leave the gap... because I feel like the timing still needs to be there. If I jam it all too close to it... - ...listen. - "Swipe up and pre-register, don't miss this..." There's just, I get straight into it too quickly so I want to keep the pace. - ...and go and... - "Pre-register..." - "Don't miss this..." - There you go. - Anything else, we kind of get to the end. - "... of fun." Let me start laughing. So 'C' on my keyboard, click on it, 'V' key, delete that stuff. How close are we? Oh no, we're going to have to trim it up. Oh no, 15 seconds, what are we going to do? - "If you want..." - Here you go, there's our deep breath. - "If you..." - That's going to have to go. 15 seconds, I recorded this audio, I don't want to go re-record it... plus I guess I want to show you how we... how we can make this happen. "It is nearly ready, I am..." I'm going to have to go through and chop out all these little gaps, unfortunately. You know I said, keep the spacing... we're going to get rid of all the spacing, it's going to be smashed together. What else can we get rid of? "It is nearly ready." "I am right in the middle of filming my Premiere Pro Essentials course." "If you want to be the first to know when it's ready... swipe up and pre-register." "Don't miss this course, it is going to be loads of fun." Oh, we are still way over, we're at 15 seconds? We're not even at 15 seconds. You know the best bit? This is in my course. My notes say, "Oh, when the marker moves make sure--" you know, there's-- it's even in the title, like weirdness about markers. I'm leaving this in there because this big frustration you might have. The problem is, I had this frustration on purpose, and then forgot about it. It takes me so long to prepare these courses... and then I come back and start doing them... and forget what are some of the key points, anyway. So this marker here, you're like... "What's it going on about, the marker's there," it's at 12 seconds... but we made it at 15, so what are we doing? First of all let's undo it a bit, because I was chopping it up... to make it really small, and actually it doesn't need to be that small. So I'm just undoing to get rid of my edits. Back to there, I'm leaving the gap... actually I've got to get rid of the-- there's 15 seconds. Don't get caught out again, Dan. What happens, basically the default... is, under 'Markers' it says 'Ripple Sequence Markers'. So it means, watch this... if I delete all of this, delete it... and then delete the space in between, watch the ripple. Tries to keep it with the footage that it's at. That's really good if you've left the marker here... say I put a marker here for the plosives... that's a note to myself to say... actually fix these plosives before I go out. What's really cool about that is if I go and, say delete a chunk... it comes along for it, so it's still marked the plosives. We've used ours slightly differently to say, let's mark the end of the video. So what I want to do is actually put this back to 15. Let's get my CTI at 15; oh, so close, 15 zero zero. I'm going to probably just delete this one. So I'm going to 'Clear All Markers'. Go to 15... and push my little markers. What you can do is just untick that. So go to 'Markers', untick this... it will be right for this project, it won't turn back on... and it means, now, when I go and delete stuff it stays where it is. So we've learned something... and I'd like to pretend I put that in there on purpose, I kind of did... is in my notes Dimension... but I caught myself out by doing it, so it's a good one to remember. Markers, and just whether it ripples on or off... depending on how you're using it. One last thing to do before I add the music is... I want to play around with-- I probably should have done this at the beginning... because now I've got two separate parts, it's okay. I've got this part selected, is clarity. I kind of forced you to use it earlier on... but this one seems to do all right with clarity, so I'm listening. This is going to be a bit of a personal preference... but I'm going to turn clarity on by just kind of like dragging it... and it kind of turns the tick on and starts working. So have a little play around with... and remember, while it's playing, turn it on and off... Kind of boosted a bit, but I feel like it does add some niceness to my voice. A bit more of a professional microphone, it sounds like. Like that one wasn't the best recording, A, I was too close for plosives... and something went wrong... wasn't the crystal clear stuff I'd hoped for. Now in here as well you can play with like... it's a male voice, we want to enhance the speech... and this is where I get like, "Is it better or is it worse?" "If you want to be the first to know when it's ready, swipe up..." I'm not sure I have like a-- like a real deep male voice, I'm not sure... what kind of voice, I have a Kiwi voice, we squeak a lot. So I'm not sure that's helping me. "Swipe up and pre-register..." I'm not sure if female or male is helping me, or making it worse... but I know when I was messing around, trying to make it nicer... clarity was a nice one. I'm going to do the same for this... what's this? 5.3; let's use the proper way... just to get our skills, because we haven't done it for a little while. Is let's select it, hit 'Command C' for copy, on a Mac, 'Ctrl C' on a PC. Click on this other clip, and go to 'Edit', and we'll go 'Paste Attributes'. We want to say, I want everything... what do I want? All attributes... yeah, because there was no like-- there's no motion in the whole project. So it's only-- you might have to untick these ones... if you only want-- I don't want any of that... I just want to bring in the Essential Sound stuff, and anything that I've done. I'm going to click 'OK', there you go. So now it has a bit of dynamics, and it's exactly the same. We could just copy that, I know, but... "Swipe up and pre-register." Using the paste attributes is a really handy thing to practice. Let's now add our music. Now my music is, I'm going to double click... I am pulling them from an old project... under 'Project 3' in your 'Exercise Files', 'Audio'... and which one did I pick? I think I picked Fond Memories, you can pick any one you like. We're going to add it to our sequence, and... "It is nearly ready, I am right in the middle of filming..." It's not that one, hang on... but if you did want to use it-- ah, why is that even in there? I'm going to go back here and I'm going to undo; bye Fond Memories... and I want, CaliBuzz, that's the one I wanted. I'm going to insert that one down here and trim it up. - Get started with the flurry. - "... nearly ready..." I always feel like it just comes in too loud, some of the stock audio. It's a little hard to see, I'm going to zoom in, make it bigger. - Drag that down a little bit. - "I am right in the middle of film..." I guess it's also balancing with the audio and dialogue. "... my Premiere Pro Essentials course, if you want to be the first to know..." I feel like it can be a little higher, for this ad... kind of seems to blend in nicely... and backslash, ' \ ', grab all this, trim it up to my-- can't be any past my 15 seconds but let's-- actually the dialog doesn't have to finish there. You'll notice it snaps to the marker as well, which is handy. "It is nearly ready, I am right in the middle of filming my Premiere Pro..." Even the Premiere Pro gets hidden a little bit more... with the background music. Might actually go a bit lower. - "... Premiere Pro Ess..." - Yeah, you still get the hang of it. All right, that will be it for this one, and what we've all learned... read your notes, Dan, before you start recording the video... and also, markers will move along, and disappear in kind of-- depending on how you're using them, just make sure... 'Markers', turn off 'Ripple Sequence Markers'... if you don't want them to move along. All right, I will see you in the next video. 94. Animating moving video over time in Premiere Pro: Hi everyone, this video we are going to put in some stock footage. It's this landscape version that we all know and love... but we have to try and squeeze it into this... really weird portrait shape that Instagram stories want. So we're going to add some keyframes, watch this. We're going to focus on here, and then we're going to move across. "... Premiere Pro Essential course. If you want to be the first..." Look at that, just to get a bit of best use of this footage. All right, let's jump in and do it. Let's bring in our video, I've got mine on my desktop, under 'BYOL', 'Footage'... and number '2 - Girl Editing', yours might be under your Exercise Files... under 'Project 4', and go to 'Footage'... and go to '2 - Girl Editing'. Let's import it, and a couple of things I want to share with you. One is that I can see that there's video and audio from this icon. Can you see this original one here, just has the video, no audio with it. Remember if you're on thumbnail view, that's fine... we're going to-- I just work in this view, from-- That's what I do, but what you can do is you can double click it... to open in the Source Monitor. The other thing to remember, if you double click the word... it renames it, got to double click the icon... will open up in the Source Monitor. Remember, the Source Monitor is just the Preview window... nothing's on my Timeline yet. If I click on the audio track... that's kind of like-- it happens quite a bit where... video, that never had any audio just gets exported with an audio track... even though there's nothing on it, so you end up with a lot of that. So I don't want the audio, I just want the video part... so I'm going to drag this thing over. So I could drag, I'm going to drag it and trim it. The other thing I want to point out about this video, is you can see... we're at the beginning here, somehow it's not 0... you're like, "I haven't even played 38 seconds... sorry, 38 minutes, 2 seconds, and 18 frames." That's the beginning, why isn't it 00:00:00? It's because this original footage was part of a very long tape... and it was recorded for a long time... and this little snippet's being cut out... and exported for us to use, as stock imagery. So that happens quite a bit, I know it's... there's a lot more, I don't have it, I can't get it... but it's just kind of set the time code, it goes into the metadata of the mp4. So when it gets moved around it still knows where it was in that larger tape. So you might get some stuff, like this Ink thing here... this Ink thing, starts at 00:00:00. That's because the original footage was just cut there and reset to 0... whereas this one, where is he, started at 38, 38 minutes. That just happens. So what I'm going to do is I'm going to drag the whole thing on, but just... the video part of it, not the audio... and I drag it here, you'll notice that, "Oh, doesn't fit." You're like, "What am I going to do?" So it does-- it's the right kind of size, as in it's 16 x 9... but we need it the other way around. Obviously I'm not going to go through and rotate it... you could rotate it around, benefits. That's not what I need to do for this Instagram story. What I need to do is scale it up, so I'm going to scale it up. It's not perfect, like obviously I'm losing some resolution... but for an Instagram story it's going to be fine, in my humble opinion. So it'd be great to find 4K footage, or UHD footage that we could use... but we don't have it, so we just scaled it up by nearly double. So where are we going to crop it to? I'm going to... start it with her face, because the format's such a weird format... that I want-- I can't really see the screen so I'm going to animate it at the time. So I'm going to start it with her here. Now actually, how much of her are going to be in it? Let's have a look. So what we could do is... let's double click it with our Selection Tool... just to give us a sense of how big this thing is. Can you see, it comes all the way out here. You might have to zoom out a little bit... just to see, there's actually quite a big chunk. Now you can either drag it with the Selection Tool... because there's nothing really else on the Timeline. So this is actually kind of safe... or you can, again, remember, position it using this. I'm going to start it with the girl, and then after a little while - "... nearly ready..." - I'm going to animate the video, so that slides over to here... so I can see the screen. It's like doing a pan with a camera... because I got all those extra stuff. So how far along? "... nearly ready, I am right in the middle... of filming my Premiere Pro Essentials course..." About there, I'm going to animate it across. So just like we did with text, the same thing with video. Let's start out little stopwatch, to say, at this point it's going to be here... but then in a little bit of time I want to move it. I can either use my Selection Tool, double click it, move it across. If you are moving it across, you can hold down 'Shift' key on your keyboard... and it will lock it in left to right as you're dragging it... or just use this, and say, you... so I want to get the camera kind of facing the editing that's going along. "... Premiere Pro Essentials course. If you want to be the..." I'm aware that's not Premiere Pro in there... but this is the stock library footage I could find. Let's do it fast. "... Essentials course, if you want to be the..." So at 2 keyframes, and they're probably... too far close to each other to start off with... then I'm going to select them both... 'Temporal Interpolation, I'm going to 'Ease In' to both of them... and then I'm going to 'Ease Out' of both of them... just to get a little bit of... "... Premier Pro Essentials course... if you want to be the first to know when it's ready... - ...swipe up and pre-register." - Kind of getting the best of both... and probably it's come across too far... because the actual raw footage is panning as well. So what I'll do is go back and edit one of these keyframes. Now the trick is with the edit controls, remember, while I'm dragging this... it's best to hold 'Shift' so that snaps to the keyframe... so that when I'm adjusting it I'm not kind of getting close... and adjusting it, which gives me an extra keyframe. I'm actually holding 'Shift', snapping to it... so it's actually at the keyframe... and what I'd like to do is move it a little bit further that way... because the camera's moving. You keep setting keyframes and move it over a little bit more... maybe I'll do that, we'll get to-- let's tuck it up at the end, so I'm going to hit backslash, ' \ '... backslash, it's going to snap to my unmoving marker... and when it gets to here it's still off, remember, right? So I'm going to get to go to the end here... snap to the end, it goes blank. For some reason the last keyframe is kind of like just past where I need it to be. I'm going to go back one frame, which is your left arrow on your keyboard... just to come back one. For some reason, kind of drops off at the end... even though I've got the clip selected, anyway. So I'm kind of here, and I want to do some, bit more adjustment. I'm going to drag this. So it's kind of on screen, so it's going back... that's playing loads, then it moves across to my-- let's have a look. It's playing loads, looking at the girl, then jumps across to see the computer... then because the computer moves... I move the slight animation to kind of keep it on screen. "It is going to be loads of fun." So that's animating our Timeline. We've kind of-- it's really hard to use this portrait Instagram story size... and it's going to be a few tricks we'll do later on, on how to fill it up... but in this case we just scaled it up, which is technically not a great thing... because the quality gets a bit stretched... but that's what we have to do for stories, because we don't have... a lot of portrait stock photography to work with, or stock footage. So we just animated it, so it moves from there... and moves the focus across to here. All right, that's it, let's get into the next video. 95. Text animation for social media video in Premiere Pro: Hi everyone, in this video we're going to add two blocks of text. Watch, they're going to do some cool sliding thing when they overlap. The majority of this video is not going to be particularly new things... but just recovering and showing... some of the quirks and issues that you'll run into... when you're dealing with Type, so it's worth a watch. Keyframes, Source Matching, Overlapping, Arrows. I'm trying to sell you on this video... but if you are here at video, like 90 something... you're committed, I feel it... I'm committed too, let's jump into the video. So let's start putting in our text... I'm going to drag my CTI to the beginning here... and let's put in some Type. We'll do it with the Type Tool, I'm going to click once in the middle... because I'm going to get mine to be centered. The text, if you want it, is in your 'Exercise Files', under 'Copy'. You can type it though, it's just, not that many words. This bit here, "Coming Soon, Premiere Pro Essentials." It's weird, because I'm making this course now... and this is a promo that I'm going to publish at the end of this little project. So if you are following me on social media already... you would have seen this already a long time ago, "Coming soon." All right, little inception. I'm going to select it all, and go to my 'Essential Graphics.'... I'm going to make it centered, I'm using Tandelle. I like this because it's a really clear, condensed font, it's compressed. So it's-- you can fit a lot of words in. So I'm going to separate mine out on to two,bigger. Fill that one up, this one here is going to get smaller. Probably not be all uppercase. Just so it all lines up, nice. Now I'm doing mine, like on two lines here... you can just add a second bit of text and do this separately. You don't have to have it all in the same text box if you're finding it difficult. Just in this case it seems to work all right. So mine are ending up down here. So it's actually going to just be there at the beginning. "It is nearly ready..." One thing that seems to be weird is, there's a return in here. There we go. So I want mine to come down and kind of slide down like you saw at the beginning. Now there is an option, I want to show you an option that you could use... that you might be thinking, "Why isn't he using that one?" There's a reason why, but let's have a look at effects. I know it's called-- it's either Push or Pull... what is it? Push, yeah let's have a look at Push. So if we add Push as a transition... it's pretty cool, you can get it to slide off... and you can select on the word 'Push', go to your 'Effects Controls'... and actually get it to go from these different angles. So by default I think it's going to the right... no, it's going-- pushing that way. Pushing from the left out. "Premiere Pro Essentials course..."... but you can get it to push up, off screen. "Premiere pro Essentials..." And that would work perfect, except in a little bit of time... we're going to look at saving this as a template. It's a thing called a Mograph Template, and that won't get included. We have to use the, like standard position set keyframes... for that to be recorded. It will make more sense later on... but if you don't want to turn this into a template... totally use the push and just get it to go off screen. Where do I want to get off screen? I wanted to kind of... do I say, sign now, I'm just listening to the audio here. - "Swipe up and..." - There you go. "So if you want to be the first to know when it's ready..." So about swipe up, about there... is where I'm going to switch to that... other bit of text that I've got here, that says... "Swipe up to pre-register." So I'm going to go to there... and then about here it's going to start moving up. So I'm going to set my position on pretty much any of these. This one here is going to work... and then I'm going to hold 'Shift', snap to the end, and get it to go up. You'll notice it disappeared, where did it go? This happens all the time... we've kind of looked at it before, where the video goes blank... because it doesn't know it should be there, or there, it gets kind of stuck. So often you'll drag it, hold 'Shift', get to the end... you're like, "Where did it go?" You have to go back one frame, I know, I know, I don't-- I'm trying to justify it, seems like a really dumb thing, I don't know. You have to bring it up with Adobe. You do have any things that you'd like fixed in Premiere Pro... there's a place called User Voice. Go to User Voice and look for Premiere Pro... it's where they take feedback on bugs and stuff. You can hit on them in social media, and they do not do anything. User Voice is a way you can vote, look for things that you think are useful. See if anybody else has mentioned it, and upvote it, it's pretty cool. Anyway, so we've got it here... I've gone back one frame, how did I go back one frame? I can just drag it or get it to the end by holding 'Shift'... and then just hit my left arrow, just goes back one frame. Weirdness. Anyway, I want it to move up, so it's this one, wrong way, go up here.. Oh, one little thing that I haven't shown you... is I have to go quite the distance, it's a lot of scrubbing... which is fine, but watch this, if I hold 'Shift'... hold 'Shift' key down your keyboard and then start dragging it... can you see, it goes in like mega fast, kind of like 10X is the speed. So without Shift key, the exact same motion... well, holding 'Shift' key... So if you do have to go long distances. Works for any sort of thing you scrub in here... Not just position, but scale anything you like. - Cool. - "... add a bit of easing." So grab him. Let's do it properly this time, Dan, come on, just so we can understand. From between here and here I want this to ease, which is it? Ease in or Ease out? Pop quiz. I'm looking at this one here... and half of you going to be right, and half of you are going to be wrong. You ease out of that keyframe, and then into this one. Mix. - Eventually makes sense. - "... the first to know when it's ready." So that's that bit. So the next bit of text, we can just cheat. We're not cheating, it's just, we're being efficient. So we're going to copy this... and we're just going to paste it and change the text. So I'm going to copy it, and paste it, and you're like, "Ugh." It ends up there, how did it end up there?... and you'll come over here and go, "Oh." I'm just going to do the Source Matching, you're like... "Where are they all gone?" I thought I understood, it doesn't-- it's weird. It is weird, took me ages to work this out. These things here are only to be used when you're using your Source Monitor. So if I open up something, you'll see it appears. So nothing in there, if I open up 'Ink'... then the source matching works... and I click on this, and it will insert on to that line there. So that's to do with that. Nothing, if I close this down, watch, they all disappear again. Doesn't disappear, it's back, but it's nothing to do with that, it's-- copy and pasting is to do with these first ones, so you can say... actually, officially I'm going to go to this line... maybe even this one, just to keep it away from everything. So yeah, it is confusing. And what you'll do is you do what I do... you copy it, and you're lazy, you zoom out... and you just paste over here, wherever it goes, and then drag it back in. That's what I do lots of. So I'm going to extend this one this way, so they kind of match up, listen. "... first to know when it's ready, swipe up..." So let's change the text, you can be on any tool, basically... the Selection Tool, the Type Tool... Just kind of double click this, and eventually you get there. If you find it too hard you can click on it, go up to 'Essential Graphics'... and just double click this as well, it kind of starts the same sort of process. So I'm going to do swipe up... and then this text here is going to be... "Pre-register." Come on, I can do it, paste. "To Pre-register..." Man, making a meal of it; it's all right. All right, "SWIPE UP TO PRE-REGISTER". Let's all be caps, because. Let's make it all bigger, now this is where... I want to make it all bigger but I can't really... because there's two different kinds of fonts... I'm going to cheat and use the scale... because they both come up together. Move it up a little bit. Now I want the arrow at the top. Did you see it in that kind of initial preview? Now arrows, you can go off, there's lots of ways you can do arrows. A nice easy way is just use the font Webdings... or you can go off to the internet, find-- you're looking for an arrow that has a png or transparent background. You can import it as an image, bring it in, but I'm just going to do this trick... where, I want an arrow. So I'm going to switch my font to Webdings, or Wingdings, can never remember. So Wingdings, we're going to use. Wingdings have a bunch of symbols. So over here I've got Wingdings I'm going to type in a-- So I'm going to type in, I know it's meant to be lowercase h... so I'm going to put in lowercase h to start with... Get rid of the uppercase thing, and go to Wingdings. You're like, "Man, how does he know about Wingdings? This guy's good." He's not, he typed in 'wingdings free font map'... and just had a look through them all, and just-- that one's not a good one to look at. You can start looking at all these different ones... and you're like, "Oh, I want that arrow," and you can see it's a lowercase h. An uppercase h is a double arrow that way. Just a font for symbols; thank you the spreadsheet guru. Anyway, so it needs to all come up, let's grab my 'Selection Tool'... holding 'Shift' to kind of get it to slide there. So again, I'm going to use my little special trick where I want to kind of-- there's this, there's the join, right?, and I want it to come in a little bit... and that's where I want it to finish. So I'm going to go to my 'Effects Controls'... turn my Position 'on', I've got this one selected. Now this has got animation from the last project I did. So I'm going to delete that, I don't want those keyframes... or the easiest way probably is to reset it... or to turn the clock off, and you say... "Would you like to delete the keyframes?" "Yes"... and then turn it back on. So I got my first keyframe, get back to the beginning holding 'Shift'... and I want to scrub it down there. All right, that didn't work. How am I doing there? Undo. There's my first keyframe, back to the beginning... there it is there, and then scrub it down. There you go, keyframes are tough... even me, I spend as long as the time, like, "What? What happened up here?" Effects Controls, rah. Anyway, we got it, right? So plays a little bit, swipes up. Let's do the proper way. Temporal Interpolation, which one is it? You ease out of that keyframe, and then into this one. Into. - "Ready?" - Having a good day, I'm humming. Don't normally hum in a class. It's the beginning of a new day, I've got myself a coffee... the sun's out, and we're swiping up. - "Ready?" - Looks nice. And we might do it at the end there, where it actually completely swipes up... and leaves us with a bit of video to actually click on. We're still at our 15 seconds... and we're going to put a keyframe in to say, don't move. So between here and here, don't move, but between here and here... zoom, and what do we hold down to zoom it up the top of the screen? That's right, we hold 'Shift', we go the wrong way, then the right way. Hopefully the easing, it's continued the easing on from these... and it's not going to be right. Just grabs whatever this one was, and replicates it. So between here and here, it's going to be wrong... because that's meant to be easing in... and I don't want it ease in, I want it to ease out into this one. So let's cheat, let's just click them both, and say, all in... and all out, there we go. Now that trick works normally really well when you've only got two keyframes. If you've got a really complex animation, just selecting them all... and go easing in and easing out will, maybe work or might not work... but it really, works really easily with just two keyframes. "... course, it is going..." - Oh, a bit fast. - So let's give it a play. - "... ready, swipe up..." That's an interesting question, that you didn't ask. - This one here went nice. - "Ready?" So that's what I did, I matched the kind of spacing over here... and I was like, "Okay, it's the same spacing, it'll be the same niceness." "This course is going..." Where is that one going? So much faster, is it something to do with the easing? No, it's just the amount of space it has to cover. So this one here starts, can you see the top of the box?... It only have to, watch it move, it only has to come up that far. So between here and here it only has to move a little bit... but between the same distance it has to move a whole lot further... because we have to hold Shift to get it all the way up there. So that's why this one is a whole lot faster... even though the keyframes look the same, just this one has to get up, get moving. - So I'm just going to space them out. - "... don't miss this course, it is..." - It's probably too slow. - "... this course, it is..." All right, one thing you might do is... there's this thing, we missed this opportunity here where... they could push one off... at the moment it's a very simple... you know, this one finishes, this one starts. "... the first to know when it's ready." So this one here, we're going to overlap just to make it look a little nicer. So which one's going to overlap, it doesn't matter. I feel like this one should overlap, I don't know why. I'm going to lift this one up, I'm going to overlap it... and then I'm going to have to move the keyframes, because at the moment... doesn't matter that they're physically overlapped down here on the Timeline... the keyframes are still finishing, can you see, about here. So I need to grab them and just zip them along a little bit... towards the end. - Let's give it a go. - "... it's ready, swipe up..." A bit too much. - "... know when it's ready..." - "... ready, swipe up..." - Oh, it's not quite right. - You get the idea though. - "... when it's ready, swipe..." Maybe I did like it when I was getting there. - "... when it's ready, swipe up..." - Yeah, it's kind of nice. All right, kind of had some practice, we've learned a few things... we've addressed a few little issues that happen to us... like copying and pasting, and source matching... and keyframes doing weird stuff... and hopefully reintroduce you to Webdings, you remember it, you've used it... you're like, "Huh, I can use it, maybe I should use it more." Handy for things like arrows, shapes, and symbols. The best was the bomb emoji, does anybody remember that? Like it wasn't even emoji back then... was just a symbol of like this old... TNT Acme Disney bomb, that came with Webdings, one of them. Anyway, that's enough for this one, let's get into the next video. 96. Exporting video for social media using Premiere Pro: Hey everyone, it's time to export our video for social media. Basically it's the same as every other video we've done. Right up into the end in terms of which platform it's going to. Everything's the same except for Instagram... which we'll do in the following video. Let's get started. So exporting is easy, it's just like all the other videos we've done. So we're going to export both of these ones, so we'll do... which one's open? We'll do Instagram stories because it's open. 'Command M' on a Mac, 'Ctrl M' on a PC... and now you just need to make sure... that you're not breaking any other rules. So I found a little list of what you need to do. I have got the max file size, 4 Gigabytes. It needs to be one of these two file formats. Needs to be no longer than two hours, and the frames per second. So this is for Facebook. Let's just assume we're doing all social media, at the moment. See this, figure out what the specs are. You probably have done this at the beginning... when you're working out your sequence. So we can just double check, we're using h.264, which gives me an mp4. Under the video tab here... I'm going to scroll down, my frame rate is 25. I think the maximum was 30. In terms of file size, can you see down here, it's teeny tiny... it's only 19 Megabytes. So we fit in the 2 Gigabyte range, and we've only done two ads... but when you're doing social media you end up doing like... when I'm doing these things, I'm promoting different courses... I'm doing all the courses, so they'd be like 30 different videos. Queue this one, and that's where Media Encoder becomes super helpful... because the same thing for the-- this one here, 'Command M'... leave it all, it's all good, except it's probably in the wrong place. If you've accidentally not put it into the right folder... you can do it here once it's in Media Encoder. So you can go into Output file... and go to, actually I want this to go to our desktop... into the folder under Renders. So I'm going to put the drafts folder here. This is my little favorites, so I'm going to put into drafts... because this is what's going to go to the client. We're pretending, because I'm my own client... and the finals go in the Finals obviously once the client's approved it. That is it, we're going to hit 'Play' and let this thing run... but basically for anything that's not Instagram... you just take these mp4s and you upload it to your social media. Just log into LinkedIn or log into Twitter using your browser on your computer. It's slightly more quickie for Instagram, and we'll do that in the next video. 97. How to get your Premiere Pro video from laptop to Instagram: Hi there, in this video I'm going to show you how to get your video files... from your computer to your phones... so that you can upload them to Instagram... because Instagram will only let you add content via your phone, at the moment. There's many ways, let me show you the one that I use. So there are many ways to get your video from your computer to your phone. You can use any of them, there's no right or wrong way, just figuring out a way. I'm going to cover my way here, but you could use AirDrop... if you've got a Mac computer, and an iPhone. I don't, I've got a Mac computer and an Android, and they don't like each other. They are polite to each other but they don't work very well. The other way you could do is Dropbox. Dropbox is a perfectly good one... and Google Drive is another good one, or whatever you use to share files. You can email it to yourself, that's a way of doing it. Often the file sizes can be a bit big free mail but that can work. I'm going to show you to use the way using Adobe's Creative Cloud... because if you're doing this Premier Pro course you probably got the license. So let me show you how. So you've got kind of two ways to get started. On your computer you probably have the Creative Cloud app installed... and it probably, during its startup process... installed this Creative Cloud Files folder. If you can't find it, on a Mac, look under your kind of root directory... and there'll be a folder in there. On a PC it's-- do a search for Creative Cloud Files... that's the folder you're looking for. What we can do is we can just add to it. So I'm going to open up two windows here. I'm going to open up my 'Drafts', and I'm going to just drag it in. I'm going to drag a copy because I want to keep these in here. I'll do one that way, and one another way. So I've just dragged it into my files, because my Creative Cloud app is open... can you see the little double arrows... it's syncing to the Internet, that's the whole idea of this. It's a version of Dropbox or Google Drive, if you haven't used it before. As part of your subscription you get a chunk of available space. So that's one way... the other way is just to go to your web browser, go to 'assets.adobe.com'... you'll end up at-- this first one here is called Files. What we might do is be a little bit more clever, we'll create a folder... and we'll call this one... the same name as the folder on our desktop, we're going to click it. So BYOL is the client... now we're going to try and find their folder, there it is there... and all we need to do is drag it in here. Can you just drag it in? You can. So where is it? Instagram Stories, in it goes. You end up doing the same thing, it says uploading. They change the layout or the UI of this quite a bit. I'm going to wait for mine to upload. Come on, farm internet, I'll see you in a second. Okay, it's there, now it's on the Internet, now we need to get it to our phone. I'm going to show you how to do that. I'm going to switch over to my phone now. So I've dropped to my phone... it doesn't matter if you're on iPhone or Android... just download the Creative Cloud app. So go to your App Store or the Play Store on Google... download the Creative Cloud app... and open it up. You'll have to sign in, it will ask you for your Adobe ID and password... and then what we need to do is find our file. You can either find it, or go search for it, it does need to update. So there is a bit of lag between it actually going from your computer... and actually appearing in here. I swipe down from the top just in, and there it is. There's my two files, one on the right, which you can't see me pointing at... is the one that I uploaded just by dragging it into the files. Remember, just into that Creative Cloud Files folder... and the one on the left... is I used the web interface and created a sweet folder. Doesn't really matter which one you want, we'll use the square one. So what you need to do is download it. So click on it, I hit the little, three little dots to the bottom right... and let's download the original file. We don't want a cut-down version... and it's just going to download it to our phone somewhere. Remembering the name of this can be helpful for finding it later. So it's downloading, I think, there it is down the bottom there, downloaded. I'll do the same thing for this one. Actually I don't want to download the folder... I just want to download this, 'Download Original', thank you very much. So downloaded that, now I've got it on my phone to load to Instagram. So you don't need to show me this, I'll show you this really, because it's... kind of how you upload anything to Instagram. So in here I'm going to go, and say ' + '... and you'll see, see the two files there, on the left... or the first two files, are the two different videos, there you go. That's how you upload it to Instagram. So whether it's a story or a post, that's how you do it. If Creative Cloud for some reason doesn't work for you, in your flow... you can download apps, like the Creative Cloud app there... that I'm pointing to, that you can't see... the red one on the left, you can download apps for Dropbox... and what is Amazon's one, Drive?... or OneDrive I think, from Microsoft. Doesn't really matter, you just need the files to be transferred... from computer to phone, and then into Instagram. All right, that is it, I will see you in the next video. 98. Saving your own motion graphic template in Premiere Pro: Hi everyone, in this video we're going to take our Essential Graphics animation... this 'Swipe up to Pre-register', and turn it into a template... using something called Motion Graphic Templates. The easy way is just to click on it, right click it... and go to 'Export as Motion Graphics Template'... and most of it, or the majority of it is self-explanatory... but hang around, there's a couple of little tips for some other bits... but yeah, let's go and make our own graphic template. Now why would you want to? I hear you ask, or not ask... is brand consistency. So you need to send this to your team... so other people can use it, so it's all the same. You might design it, send it off. Handy things like this, where your social media needs to look the same... where it might be... in cards for YouTube... you put a bit of effort into it once... you can save them as a template to reuse them... add a bit of consistency for yourself. Might be title sequences for your TV show... in credits, that you spend a while getting ready. You get the idea, they are templates, you can make them, reuse them. Let me show you a little bit more detail with them. First thing is, you need an Essential Graphics element. We've got our animation that kind of slides up... "Swipe up to Pre-register". So we've done it already in our Essential Graphics... in the last couple of videos... and now we want to get it out. All you need to do is have it selected in your Timeline... right click it, go to 'Export as Motion Graphics Template', all pretty easy... and in here give it a name. I'm calling mine 'Swipe Up Instagram Story'. You need to add some keywords in here, because... where you've got to find it can get lost in the pile of other stuff. So add as many keywords as relevant, like add the client name... so in this case it's BYOL, add Daniel IG... whatever you want for Instagram... just kind of add a bunch of keywords because it does make it helpful later on. Now let's talk about these two destinations. The first one here, is the default one... Local Templates folder is the one you're going to use most of the time. We'll come back and talk about this other one in a second... but basically you just click on that, and click 'OK'... and it's going to do what you imagine it does. Means that later on, let's pretend, you know, let's fake pretend... that we've got this other animation we're working on... and we're like, "Ah, I've got that Essential Graphics thing that I've got"... let's go and bring it in. You have to go to Essential Graphics panel, go to Browse, and then here's the search. There it is there, mine's at the top. Yours is not always going to be the top... but if you can see it there, you can just drag it on. If you can't see it there, most of the time... you can type it in, like 'IG' should get me there. All my different Instagram bits and pieces, you won't have them all. If I type in 'Daniel', so you can see how the keywords are quite useful. Drag it in. and all you get is a duplicate. Comes along with all the extra bits, like the animation. You can kind of see it over here, and if I want to edit it still... it's not connected to the original, like sometimes... if you come from Photoshop land, like smart objects or symbols... so you can click on it, and it's all fully editable... and you're not really changing the original, so change the formatting... double click it to add down... so you can edit it quite easily. So that part of it's easy... and that's what you're going to be doing most of the time... adding random text boxes. Also, what I've done-- let me get rid of those. Let's talk about the other things you might do. Gone, gone. So let's say we want to do it to this first bit now. I'll show you the other option, Save Locally. So we're going to-- there's a little bit of animation going on here... for our 'Coming Soon', kind of swipes up. So I'm going to select it, right click it, 'Export as Motion Graphics Template'... and we'll just pick this other option. Local drive just means I'm not going to put it in my Templates folder... my default templates, I'm going to pick the folder it goes to, on my local drive... I was going to stick it onto my desktop... and I'm going to call it, 'Coming soon number #2'. I got a different keyboard, here we go. So I've got number two because I've already done this previously... and I recorded on the wrong microphone. So it sounded bad, so re-doing it. So let's click 'OK'. It's going to save it to my desktop... and it's going to do something kind of weird. So there's the original one; goodbye. So this one here is on my hard drive, which makes it easy to send to someone. You just drop this in an email, and go... "Here you go, here's that Motion Graphics template to use." Great for kind of brand guidelines style stuff... where you need a bit of consistency across a bunch of people. So you can make it as the designer... and send it out to the people that need it. The weird thing is that it doesn't get added... to your Essential Graphics browse. You'll notice in here, if I go into here, and go, 'Coming Soon'... there's everything but that thing. So weirdly, by doing that, it kind of just yanks it out of here... and puts it onto your hard drive... doesn't actually put it in here, you can later on. So what you do is, if you drop this into an email to someone... you say, "Here you go, here's the Motion Graphics Template"... what you'll need to tell them is, say... "Go watch Dan's course, he is a great teacher." Right after you're finished saying that, you should say... open your Essential Graphics panel... click on the little icon in the bottom right... and click on that, and they should be able to work it out from there. So there's my 'Coming Soon', click 'Open', and it should be part of the gang... and because I've typed in 'Coming' in there... top ones at the top, this hasn't been my-- I've been using this for a little while... and it hasn't always worked like this, with the new ones at the top. You can go into here and go, Sort by Recent and Sort by Title. I'm not sure what the default is in here but anyway... add some keywords to make life easy for yourself. Now if you're sitting there, going... "Can we just, like open up our old project"... go 'File', 'Save As' and just change stuff... and I don't have to create templates, and you're like, "Yep, you totally can." A lot of the jobs that I do, repetitive stuff... so I wouldn't bother going into making templates... I would go and just reopen the old one, do a 'File', 'Save As'... give it a new name and just go and change the text, that's totally okay. I guess I want to show you this process because... in the next couple of videos I'm going to show you how to import them. Basically I'm going to show you how to click that button... but also show you where to get other people's ones... free ones, paid ones, some of the pros and cons for using them. You need to know how they are originated, how they get born... and it's basically just right clicking an existing one... and making it, nice and easy. All right, that's it, I will see you in the next video. 99. Using the default Mogrt Templates in Premiere Pro: Hey everyone, we are going to look at the default Motion Graphic templates... that are installed in Premiere Pro. Get ready, hold on to your seat. Generic news thing, and then some sliding text. That was my theme music. News at 5:00. So we'll look at the templates, what there is, and how to install them... and get them working for you. Maybe right after this commercial break. All right, to get started let's import our footage of the waves. So either 'File', 'Import', or double click down the bottom. In your 'Exercise Files', under 'Project 4', under 'Footage'... we want three waves... and let's make a sequence from it, so let's right click it. Giant drop-down, if you're like, "Man, this is massive," it is. I spent a while looking for 'New Sequence from Clip'; cool. It's given it the same name, which we know is a little bit confusing. So we're going to call this one '100% NZ V1... and that's what should be up and down here, let's close down these other Timelines... just so we're nice and clean down the bottom here. Could be a good time to start doing a bin, Dan. Nope, I'm going to leave it all messy till the end. Let's have a little look at the waves. Very cool, man, drones have really transformed what we can get, right? Imagine trying to hire a helicopter to shoot these, it's beautiful, anyway. So what we want to do is we want to find our built-in kind of template Mographs. So you want to find your Essential Graphics panel... remember, 'Window', 'Essential Graphics'... and click on this 'Browse', and here they all are. Mine aren't appearing because the last thing I did... was do a bit of a search, so I'm going to close it down... and you'll see in here, you're not going to have exactly the same as me... because you're in the future... and they're probably going to put more in here, hopefully. There are lots of really bad ones in here. If you're like, "Man, these look a bit bad, are they bad?" Yes, some of them are real bad. They're mainly aimed at broadcast and cinema. At the moment there's not a lot of social stuff going on in here yet. I feel like they should, and they will... and it's some that I've installed for other projects... that you're not going to have. So how do I kind of figure them out? Probably a really good way is to hit that Tilde ' ~ ' key, remember our grave key. So just hover your mouse above it... hit that Tilde ' ~ ' key, just to go full screen... and down the bottom here, our little thumbnails, make them a bit bigger... just so we can have a little look through, and it not be so tough. Let's make it massive, let's do it. The other thing to preview them, is let's say this one here... it's kind of like our thumbnails from the last... you know, from, where is it? Down here in our Project window, when we search to this view... you can do the same thing over here, you just move your mouse across them... so you just start on the side and just slowly move across... and they will animate for you, watch this. So just slow-- I'm not doing anything or holding anything... that's just animating across, so some of them don't do a whole lot... and some of them you're like, "It's not doing anything, Dan, not doing anything." It's trying its best to load... it takes a while, you can see, there it is, oh, look at that. Remember this one, you ready? That one loads straightaway, if I find one that's a bit more hardcore... let's look at some of these, I don't know, sports ones, watch. You're like, "It's not loading at all." It's trying its best, you just need to be really patient. You hover above them, don't have to click them... it's trying to load it in the background... and it takes forever, sometimes it just never loads... because you computer's slow, and it's just really, really complex. There's our one, look, you can kind of swipe across this one. There you go. One of the things I didn't mention is-- what is this? Because it uses a font, it's saying... there's a font included, and you might not have it. So be careful. You'll notice the ones that don't have text in it don't have that font thing. You can right click them and say, 'Sync Missing Fonts'... and it will go and check Adobe Fonts... which is part of your Creative Cloud license, and see if it can link it up. Sometimes it doesn't because whoever made these originally... didn't use proper Adobe fonts... might have used some random font. So get to be careful that if-- there might be missing fonts. Let's find one now and show you how it actually works. I am a little judgy, the ones that I kind of like... are the bold section of the template ones, I'm going to find this one here. Scrolling is really slow on my computer, it's going to be the same on yours. Just a little hard to navigate these... because all those animations' trying to happen. I'm going to use this one called Bold Title. I'm going to click on it once... and I'm going to hit my Tilde ' ~ ' key to go back. I was hoping it might show it here but it's not. You scrub up and down till you find Bold Title. It's alphabetically, so I can find it... and in my alphabet there it is there. You just drag it in like we did our Swipe Up. So I'm going to add it to the beginning here... and what you might have to do is... you might have to wait for the fonts to load. Mine hasn't loaded yet... my Creative Cloud app is open, which is good. So if you haven't got it open find the Creative Cloud app... and either open it or just make sure it's doing its thing... and it will try and load the fonts, it does take a little while. It doesn't do it automatically, it doesn't anyway... if you're going to change the font... don't worry about it, just go and change them... but if you do want them... try right clicking it over here and sync missing fonts. Give it a sec, watch this little Creative Cloud app. Waiting for it to do its little magic. If you find like, sometimes it works, sometimes don't want to work... happens to me all the time as well. I'm going to ignore it, and assume that it's never going to sync. So what I'm going to do is have it selected... and I'm actually going to go change the fonts. So I'm going to go-- your title here is going to be my-- click it, I want to say '100% Pure.' Change this, 'Visit New Zealand', I'm using different fonts, '100% Pure'. That's another important point, see the ones in brackets... it's looking for Bebas Neue, that will do... If it's in rectangles it means, that's what I'm looking for but I can't find it. You might go off and search the internet and see if you can download it... you might go to fonts.adobe.com and see if you can sync it... but I don't want it, so I'm just going to go, Museo... and I'm using Museo-- like a bit of Museo Rounded, maybe a light font. So that's my adjustment, let's actually look at the animation, Dan, come on, ready? Hey. It's a little bit clumsy, that's just my opinion. So what I'm going to do is I'm going to select it... go on to 'Effects Controls', and you can see... there's a bunch of stuff going on in here. The person who made this Mograph-- have a look, we know the circles mean hiding inside of here is... more diamonds, unless they're circles. Slightly more complex easing going on in here, but I can... I can play around with the timing and adjust it as good as I can. Maybe separate it out a little bit. So you can do some alterations afterwards. I've changed the fonts, I'm going to change the Drop Shadow as well. So to work on both of these at the same time... a little trick is, I can work on this one that says 100% Pure... and hold down my 'Command' key on a Mac, the 'Ctrl' key on a PC... to click both those bits type... and down here I'm going to play around with the Drop Shadow. So I'm going to add, where's my shadow, it is applied. What I want to do with it, anything that has a line means... these two are two different, and I can't show you. So what you can do is just type in '0' to get them set back to 0... and then start playing around with them. How fuzzy do I want it? Maybe a little less, I want the drop down to be 5. I'm just messing with this now. The opacity is right up, how far away, a bit less. It's going to be hard to get it to stand out... so I'm just going to grab this Lumetri Color. I'm going to go to my Exposure, and just take it down just a tiny bit. Just a little bit, to let my text stand out. One of the other things I want to show you before we go... is we've used a pretty simple one from the Essential Graphics, run 'Browse'. That's one thing that does get lost. I do it, obviously I just did it. Editing it, it's one thing... but if you want to go back to the templates you got to click on Browse. So we inserted this, and in my Project Window... nothing happened, there's nothing extra appeared in here. Some of them that add some bits... let's have a look at our crazy sports team one, where is it? Sports team, New Spin. This actually has a bunch of graphics in it, so if I want to add this to it... it will add it to it just fine but you can see... over here it's added this folder that wasn't there before. In here is a little clip, if I double click it... give it a sec, that's what's being included, this lovely... New Spin. So some of the ones bring in their own assets, some of them don't. In this case I'm going to undo it, undo it. Didn't get rid of it, stays there forever, even with my undo. So some of them will throw in bits in here that they need... and with fonts, I hope your version works better than mine. I've forever had problems syncing fonts, maybe I'm doing it wrong. It feels like that's right, but it never seems to go away... and the font never seems to sync, so I just go to fonts.adobe.com... and, oh, hey, you proved me wrong, Premiere Pro. It heard me, it was like, "Quick, Dan's making a tutorial." So it does work sometimes. So that's using templates that are built into Premiere Pro. In the next video we'll look at templates that you've got from other people... that aren't yourself, and that aren't the ones that are built in. Let's go do that now. 100. Installing free Adobe Stock Templates into Premiere Pro: Hey everyone, in the last video I might have been unfairly critical... of the default templates that are in Premiere Pro. It's just a style choice, and they're not my kind of style. Luckily though there are other free options that Adobe makes. It is Adobe Stock to the rescue. We're going to do this in this video, ready? Oh, music. How red is that! Lags it as well. I'm going to show you where to find these free templates... and how to get them going. We're going to start with a really easy version... and in the next couple of videos look at some of these templates... that are slightly more complicated; let's get into it. To get started what we'll do is, we've got this original version... so the one we did in the last video, 100% NZ V1. Let's right click it and go to 'Duplicate', and a giant list is towards the top. I'm going to double click this, and instead of 'copy1'... it's going to be called 'V2', so our second version. Now down here, just note that even though I was working... with kind of V2 there V1 is the only one open. So I'm going to double click V2, so it's open. I'll close down this one so I don't get confused. Next thing we're going to do is we're going to delete 100% newer... newer? 100% pure... and look for some other templates. So like we did before, we go to... 'Essential Graphics' panel, click on 'Browse'. So the default ones just appear here, what you can do is Adobe Stock. So Adobe Stock is kind of a different part of Adobe... that allow stock footage, and they have both paid and free stuff. Let's look at the free stuff, because we're cheap. Let's have a look at it, let's click the button. Now without anything doing... all of these are a mixture of free and paid. So, like if you've got an Adobe Stock license... you might be paying for it already... you can obviously look at any of them, I do... but if you want to look at free stuff... you can tell the ones that are free, and not free... and also you can hit this little tick box, and it just gives you the free stuff. Now with this though, this window is too small for it. What was the shortcut to make it massive? That's right, the Tilde key. Now these are loaded instantly for me... they're going to take a long time to kind of download for you... because they're all spilling from our website... and what we want to do is, you can see, we've got the free ones... and you can see there's only two pages at the moment... this, well, one in a tiny bit... but there's some cool stuff in here... and more and more will get uploaded to Adobe Stock for free... and also you might look at premium, paid for ones as well. We're going to stick to free right now. The hover thing doesn't work, like in here... just because these are kind of online-- oh, look, a cool swipe up. So there's lots of cool stuff on here... and there will be more and more as time goes by. So we're going to start with a nice simple one. We're going to start with this one here called 'Sliding Pop Art Title'. We're going to click it, and you can either right click it and download... or hit the teeny tiny little 'Cloud' button... and sit back, relax, and it's going to install everything we need. You can see, now I can hover above it... look at that, so that's what it's going to do. Let's jump back out to big view. So turn off the Tilde key, so how do we find it? So over here, we're on Adobe Stock still... so go back to 'My Templates', and it's in here, somewhere. So you just switch and try and find it, or try and remember some of the names used. I remember pop, and that's what it was called, sliding pop up title... and you just drag it like you did the other one. So drag you drag, and I'm going to stick this one in here. Now it's going to take some time to install the fonts. Remember, if it has a little 'A' at the top here... right click it and say 'Sync Missing Fonts'. You can go and change the font, which I'm going to go do. There you go, it's a nice simple one. Before we go further, why is this easy... and the other ones we're going to be doing hard? Basically there's two ways to create a Premiere Pro Mograph title. You can either use Premiere, like we did... remember, in the last video we did our Swipe Up. That was created inside Premiere Pro for Premiere Pro. So the trade-offs are, often they don't look as magical... if they're created inside Premiere Pro... it's not really a motion graphics design tool. Does bits of it, but it's really After Effects... that does all the really exciting things. So if it's made for Premiere, by Premiere it is not as pretty generally... and the perk is, is that they're really easy to update... like this, I'm going to go through, just change the text and pick the colors. I have full control over it. The harder ones are ones that are made for after-- The harder ones are made by After Effects for Premiere Pro. So another program, separate from this one has created the Mograph title... and kind of delivered it to Premiere Pro to use. The visuals are often really beautiful... there's a lot more you can do in After Effects for motion graphics... but in terms of the adjustability it is a lot less. We'll look at that in another one. The other thing is, is that it can run really slowly. This one here, because it was created in Premiere Pro... it slides and plays really quickly, and easily. So that's why we're doing easy one to start with. So let's go and change the text, this one here is going to be 'New Zealand'. That's where I'm from. This one's going to be '100% Rad'. I got a pretty red font as well. This one here, get more red than that. So that is our quick adjustment. Let's add a bit of music to this one, because music always makes it better... and this one here I'm going to go back to my 'Exercise Files'... we're going to go to that 'Project 3' that we've been pillaging from. Find 'Audio', and this one here was called 'Slow Motion'. This just felt, felt right. The other thing is that Waves had a random audio track... remember, we can right click it, unlink it... click this bottom one, hit 'Del', drag in our music. Trim it up, zoom right out using our backslash, ' \ '... trim it up to our waves, and it's going to be too loud. Oh, it's too loud. Zoom in a little bit, make it a bit bigger... and turn it down until we're happy with it. It's hard because we don't have any-- not hard... but we don't have any dialogue to really balance it against. So as long as it's not going past the 0, you're right. 0 is when it starts clipping out... and it's because I don't like it when it goes past above the 0. So that's an easy one. Just a recap, go to 'Browse', you can do cool things like lower thirds. Remember, there's not a huge variety in here yet... but there is some lower thirds... actually, I'm searching in my templates, which is the built-in stuff. Let's go to Adobe Stock and do the same thing. Lower thirds, and the quality kind of jumps up a bit. There tends to be quirkiness, there's some... I don't know, hard copy, CNN stuff, but let's have a little look. Let's go full screen, there is a bunch of lower thirds in here. Got to wait for them all to load, takes a little while. Depending on your internet connection... mine's going to, it's kind of getting through them all. So yes, that is it, lower thirds, put in Travel, put in... whatever you're thinking, social media, you'll find stuff. There's all sorts of really cool things built in here that are free. Why would you use premium ones... that are just even more, and even more better... but you got to pay for them, how much are they? The trick is to kind of leave here and go to Adobe Stock, the website... and just see what the memberships are, how much the templates are... because it changes all the time, and I say, in a video... and then it's not true all of a sudden. All right, so that's the easy one done. Handy, that's built into Premiere Pro, thank you, Adobe. Let's get into the next video... where we'll look at something that's medium hard, let's do it. 101. Working with Harder Adobe Stock templates in Premiere: Hello friends, it is time. We're going to look at this free template from Adobe Stock. It's one that was created in Adobe After Effects for Premiere Pro. We don't need After Effects to actually edit it, we can do it within Premiere Pro. Just makes things slightly harder, call it medium hard. We'll do the adjustments, and we'll add that really appropriate music, look at it. All right, let's get into the video. So let's create it, let's first... in our Project Window let's find-- let's duplicate V2. Right click it, this one, call it 'V3'... and to tidy everything up let's close down V2, open up V3, slightly more cleaner. Just make sure we're working on the right version. You will figure that out, you will work on the wrong version, and break it... and there's no real way I can help you fix that unless you do it a few times. What we're going to do is get rid of the 100% Rad... we're going to go for a different music as well. Now the one we're going to work with, the medium hard one... is under your 'Essential Graphics', 'Browse'. Be on Adobe Stock and type 'travel', we did that a second ago. And in here, if I hit the full size one... the one thing that fit more in here if you don't want to go to that full size... is you can just drag the thumbnails down as small as they go... so you can fit two of them in there. The other way as well, when you're in this view you can crank them right up. So you can get a good look at them. So I'm going to go low, hit my Tilde key, ' ~ '... and we're going to be using this one. I've already downloaded this one, have I? Maybe I haven't, not sure. It's got a tick next to it, so I feel like... when I was prepping for this course I've already downloaded it. Let me have a check, what is it called? Remember the name, Password Stamp. Go to my 'Templates', go to 'Passport'. I have it there, cool. So let's look at adding it, it's pretty easy, drag it across. An interesting thing is to just check, in here, Motion Graphic Templates... News Intro is something that I did by myself, I deleted it, I'll delete it. You'll notice that this folder appears, and it's got an animation in here. Basically that's-- I know it's come from After Effects... because there's this kind of weird clip in here... and we'll also know, because of the Essential Graphics panel... can you see, it's really different from the other ones. So version-- let's have a look, version 2, that we installed... it has the exact same kind of look and feel to the Essential Graphics panel... that when we were working on it by ourselves. Everything is customizable, I can click on everything and change everything... whereas if something's been made in After Effects first... and brought into Premiere Pro or exported for it... you'll notice that they've allowed us these controls, that's it. It's cool though, they've given us lots of good controls... but it's up to the good will... no, the good thinking or forward thinking of the person making this animation... and the restrictions of After Effects, to what actually goes in here. Sometimes you download some, and it's got two sliders, you're like... "How do I change the color?" you're like, "You can't"... because the guy didn't put-- or girl didn't put a slider in there, you're like, "Hmm." So let's look at working with it. Be prepared for it to be a little clunky-- clumsy. Just as when you're working with... After Effects kind of smooshed into Premiere Pro... but the effects are really cool. So I'm going to type, instead of Travel 100%... you notice how the text kind of appeared above it, rather than highlighting it. Just the way this works, or you can do it over here... can you see, 100% Tour. What they've done as well is they've put a fake break in here. So if you're not sure how to-- let's click out. So on one line it's not really occupying this space very much. You can put a return in just to kind of break it. So I'm going to put 100%, and New Zealand. Cool. Oh no, I wanted-- New Zealand doesn't fit... and you're like, "Oh, how do I change that?" It depends on what they've allowed you to change. Is there some main text controls... is there-- I haven't checked this-- is there a... shadow size? There is no size for the font, there's spacing... but there's no size for the actual font... and you're like, "Well, just let me do it," and you can't from Premiere Pro. You can start hacking the Mograph templates from After Effects... that's another course really... but in here what we can do is, I'm just going to do this. Work within the boundaries that I've got. That's always going to be the trade-offs... of using After Effects things in Premiere Pro. Let's look at previewing, I'm going to go through and change a few other things... but I want to show you the previewing because it's going to freak out. You ready? So we're going to play... and then it's going to go... and die. And it's only on half, stick it on full and you've got no chance. Remember, this is a pretty good computer. So it's not going to play back nicely, but don't worry. We know how to pre-render, remember, it's just called rendering. What key on your keyboard do you tap? That's right, the return key. All right, and it's off, and... we're going to acknowledge the estimated time left... that never ever works, just keeps getting bigger and bigger. It's the opposite of useful. I don't think there's a-- ah, there's not a better program in the world... no operating system that doesn't have this ridiculous... may take 3 days, 7 hours, 2 minutes, 14 days. I'll get Jason to speed this along, go, Jason. All right, we're back, and it's green finally. I'm not sure how long that took, I looked away... but now it plays beautifully, look at that. So that's one of the drawbacks, but you'll notice that, like-- you got to balance it out, because it looks really cool. Really swish, the animation's great, the easing is beautiful. There's all this lovely movement in it, but it takes forever... to actually render, which is problematic... and the controls aren't that great, so how do you check? You can't, when you are looking through your kind of, like Essential Graphics... scroll to the top, go to 'Browse'... you kind of just look at them, and go-- you know, check the kind of animation... and if it looks awesome, it's probably After Effects. Let's go back into 'Edit'. The other troubling thing is we spend all that time rendering... and now we're going to have go do some changes. So this lovely green stuff, it's all going to disappear. So let's go and change the top. Let's do the bottom here, 2017... we're going to put in New Zealand, and see what fits. It doesn't fit, well, luckily there is some... so where is it? Semi-Annual. You see in this one here, Bottom Text Size... oh there's Bottom Text Size... so there might be Top Text Size, the whole time... I was ragging on it, Middle Text Spacing. Why can't I see Middle Text Size? For some reason there's Bottom Text Size but no Middle Text Size. And don't think, "Oh, maybe you can't do it"... it's just to do with-- there might be some complication on the other side... whoever the author of this was... might have decided that there is no way to kind of make this work... and give them the option of doing Size without breaking everything... but bottom size, there might have been obviously a solution for it. I'm going to lower the size, let's play with Scaling, we can play with-- hopefully we can play with the-- man, I want to play with... not the scaling, but the spacing, but no spacing there. I can change the color, and I guess I leave this here... because I just, you know... I just get frustrated myself, and I'm like... "Man, this would be good if they just did this one other thing"... and that's why I end up jumping into After Effects... and just making my own stuff. If you are keen on After Effects, check out my After Effects course... but in this case we're going to use these sweet templates... and that's-- that's it for the adjustments. You'll notice that-- see the little red thing is gone. A couple of things I want to cover before I go, one is... background color is-- yours is probably on, and mine's been turned off. You are like, "Hey, mine doesn't look like yours." So this Background Opacity... I'm not sure what yours is set to, yours might be set to black... so I just changed my color, I can't remember what it was originally. So you can click on the button, change the color, lower the opacity... just to see through it. The other weird things is that there is no change of font. You can change what's in it but you can't change the font. It's kind of built into this Premiere Pro... into this After Effects project. Let's have a little look at what it-- so I've got it selected... let's have a look at Effects Controls. So it's pretty lonely in here. Basically it just lumps it in here, and says-- Is there any kind of control? There is. Basically it's showing you, under this one, Graphic Parameters... it's just showing you the exact same thing as over here. That's how you used to deal with it... and they've made this sweet panel over here which is a lot nicer to use. So yes, there's not a lot of stuff we can do in here... but I guess the other thing it highlights is that... can you see lots of stuff is happening, lots of different animations. It's kind of moving and scaling, and text is doing stuff. It's because of all those different ways of controlling the scale and size. So there are, I guess that's the reason once you get a bit more hardcore... why there's so many different controls for position, for different parts... then you get into more complex animations like this. Okay, medium, before we go though, a couple of-- just housekeeping. We need to do some housekeeping, look at it. It's atrocious, let's clean it all up... and I'm going to show you the way that I do... I get to a point like this. Generally when it's off screen, and I'm like... "I have to start sliding up and down." I get to this point, I'm like, "Actually, should probably fix this." So what you can do is... one of the weird things is, mine always defaults to Frame Rate... I'm not sure why, is it just me? I don't know... but often you want to stick it by name. So that might just help things, you might be like... "I can live with it a bit longer"... but now I'm going to make a couple of bins. So remember, we've got footage, I'm going to show you how I get it going. So 'Footage', 'Audio'... 'Graphics', they all end up inside each other. Oh, I renamed something wrong. Let's do a bin, even. Bin inside of bins, I'll leave this in here as well... because if you're like... "Is it just me who does this?" nope, we all do it. So I've got three folders... and how I get them all in, where they need to go... is I'll do things like this, I need an mp3. So I'll grab all of you. I'm holding 'Shift' to select all of those... and going 'Audio', I'll grab you in there as well. For the footage, it's an mp4. It's not that hard, our one... because we don't actually have a huge amount in here... if I'm honest, I leave it go, I'll even a little bit longer... and the graphics is probably... this thing here is going to go in there. Now these, they can go into their own one, you might create one called Sequences. I generally just leave them sitting in the root directory. Depends on how many you have, but I generally just leave them there. Next thing I want to do is bring in some audio. So I'm actually going to open the bin, and then go import, double click down here. The one I want is this one, this feels right. I kind of downloaded this one, I was like... "I won't use this one, this would be funny but I won't use it"... but if you've ever been to New Zealand... ever been to maybe Northland or the Coromandel Peninsula... this is the perfect kind of music. Let me pre-render it first. I'm going to quickly cut back in here now just because... if you are frustrated by rendering, and it takes forever... I will show you how to kind of not do it by lowering the quality down here... but also rendering details, you can see how much time you've lost... how much you can't get back... and the other useful thing to know is that... to speed this up, basically you need to do two things. You need lots of RAM, and there's two kinds of RAM you need. There's the regular old RAM, normally kind of described as... you know, you get 8, 12, or 16, 32, or 64 Megabytes of RAM... but there's also a RAM that's to do with your video card. So there's a video card in your laptop or computer, MAC or PC... and cheap ones don't have any, what's called VRAM, a Video RAM... and the really expensive ones have loads of it... and that can really help this rendering. So if you are getting serious about video editing... you want as much RAM as you can fit in your computer, or afford... and as much VRAM as you can. Oh, it's done. The animation, the music... the slo-mo waves... I want to go back to New Zealand right now... find that beach, maybe do some fishing. That's what I want to do. Instead I'm in Ireland, it is winter... they say it's spring, but really it's always winter here. That is it for this video, we've tidied up... we've looked at a medium hard graphic template... that was free, that came from Adobe Stock. Let's get into the next video. 102. Where to get free motion graphic templates for Premiere Pro: Hi everyone, I'm going to show you... how to find, download, and install a template... that you've downloaded from the internet. We're going to do this one... oh, look at the zoomy, it's got a bit of Motion Blur going. I'm going to show you where to find them... how to install them, plus some of the limitations. First of all though, actually before we get started... the easy one, if you just came for figuring out how to install it... go to 'Motion Graphics', 'Browse', and click that button. That's how you install one... but stick around if you want to learn a little bit more details, get into it. So finding stuff on the internet... we're going to look for free stuff, because, I don't know... I don't know why, is it just me? I've got money to pay for them, I just want to look... to see what the free stuff is first, and then maybe pay for it. Motion Array, if you do a Google search for... 'Premiere Pro motion graphic templates'... they appear quite heavily, and they got really nice stuff. What you can do is you get to here, and you can do things like-- they've got a really nice search feature... they support these video products really well. So I can go to Premiere Pro templates, and actually just hit 'Search'... and it gives me everything, and then if you're cheap like me... go and turn this to 'Free', pop that back in and just see what they've got. So in here, remember we talked about the difference between presets and templates... presets are the things that, we did them way, way ago... and they end up in your Effects Panel. Remember we did our own preset, that's a preset, often... it is things like color grading, so you can look in here for those as well. Templates is more motion graphic templates, and there's a bunch in here. Yeah, well thought out, well considered from this site. I've downloaded one for us, but you can download them. You've got to click on the 'Download' button. There's a cool little preview. Then you hit 'Download', you need to give them your email to get it. It's the ethical bribe if you go into their emailing list... but they're pretty good with not spamming you, to send you useful stuff. Obviously you can unsubscribe, you'll end up with something like this. So in your 'Exercise Files', under 'Project 4'... I've put the little download. Let's tidy this up. Under 'Motion Array'... and that's what I downloaded. It comes as a zip file, I opened it up, and these three things were in there. This is the thing you want, the mogrt... and this is a font link, a little PDF explaining how to install it... but that's my job right now. The Link one becomes useful because they've used a font called Roboto... which might not be linked to Adobe Fonts, it might not come down automatically. I know I already have Roboto installed on my machine... because I use it for other things... but often it can be really helpful to figure out what font is needed... to go off and install it, even tells you where to get it from. Typekit, which is what they used to call Adobe Fonts. Anyway, let's look at installing it. Installing it is easy, over in your Essential Graphics panel, go to 'Browse'. Let's go to this little button down here. Look, even tells us, 'Install motion graphics template'. Find it in your Exercise Files. Doesn't matter where you've downloaded it from as long as it is called... this one here, m-o-g-r... g-r-t, mogrt, motion graphics template. Click open, and it will-- I already have it... because I've already installed it... and it will appear. You can get lucky by going, let's sort by recent... oh, look, and it appeared... but often it doesn't. If it was made three years ago it could be at the bottom. So you might have to just try and remember what it's called... and you might have to type it in. There's my one there, and I'm going to install it... by clicking-- actually I need to make a duplicate. I'm going to call this one 'Course V4'. Let's delete what we have in there, go, get rid of the music. Let's find it, under 'Browse', drag it in. Awesome. It's going to pretty much stress your machine out pretty badly... even though it's a kind of a simple thing... basically anything that uses something called Motion Blur while it's moving... really freaks Premiere Pro out, looks cool though, so it's worth it. So what we're going to do is... we're going to lower the quality over here to '1/4'. I'm not going to pre-render it because I want to change the text. I'm just going to get a look of it. Yeah, it's playing a bit slowly. I find sometimes it does-- I don't need to see it in like actual time... I can just grab my CTI and just slowly move it across myself. That's enough of a preview for me. Even though it's not in real time it's a little bit jumpy... I find that's a easy way to test it. Let's have a look what they've done. So again, no changing of the font, I can live with that, kind of. So pretty-- pretty basic. You can see, got some cool stuff going on in here that I can change... change the color, the text, I'm not going to run through all of that... it's pretty self-explanatory. The thing that I might do is, let's change this to... 100% Pure. And I also want to... go through and maybe put more than one in, because I like this kind of zoom effect. So I'm going to tuck this in, so it disappears. I'm going to do-- copy it, I'm going to paste it. Remember, just paste it over here, drag it back in. Don't tell anyone. Drag this one on top, so we've got this kind of, like pacing... and that one doesn't disappear, just kind of goes over the top. Doesn't make much sense, if you don't change the color... so I'm going to pick a new color... and let's change it from '100% Pure' to 'Visit New Zealand'. So, space bar, lowest quality, still not going to work. I'll pre-render it for you so you can get a sense of it. That one needs to be probably longer. I'll see you in a second. We're back, I hope we got the timing right, 100%... Pure, New Zealand, look at that, we're doing it. It's beautiful, so that's really cool thing about Premiere Pro... and those mogrt templates... is that you can find lots online now... and again I'm not kind of advocating for always looking for free... because we'll do some premium ones in the next video, just give you a look. Actually it felt like I was finishing up, there's one last thing I want to show you. Oh, I want Visit New Zealand to be on two lines. Don't worry, just put a 'return' in there. Look in here, let's have a look. So there's just, this is like, ugh. That's the problem with sometimes using somebody else's template... and you're like... "What do I do? I can't play around with any of that"... there's no space after or line spacing. Just have to live with that, and try and work around it. I guess I don't want to make it seem like it's perfect all the time. I want to show you some of the issues that... face us all as Premiere Pro video creators. All right, that's it, let's jump into the next video. 103. Where to get great paid motion graphic template for Premiere Pro: Hey everyone, this video we're going to look at... why you would go and pay good money... for Motion Graphic templates, when there's free ones around. Why? Because of this. Look how pretty this one is, oh, it's growing, and stuff... and this one here, look at this little quote... oh. so pretty. The cool thing about ones like this quote, is check it out... it's part of a pack you can download. There's 300 of them, look how cool they are. Clean, modern, quotes. There's all sorts of cool stuff in here, loads, and loads, and loads. And this is what you get when you pay for premium versions. So we're going to show you where to get them from, how to install them... and some of the quirks that go along with them regardless of that premium. Let's jump in now, and I'll show you how to do it. The couple of places I'm going to show you for paid premium templates... both, I have affiliate links for... means I get a small commission if you do buy from them. So bringyourownlaptop.com for Envato... and bringyourownlaptop.com for Adobe Stock. Now the reason I have these two options is their payment plans. So Adobe Stock will charge you per download... for your Motion Graphic templates... and Envato Elements have a monthly subscription where you can download... it all, and everything, but you've got to keep paying monthly. So it's up to you, I end up paying for Envato Elements... because it does all sorts of cool things... music, images, and videos, plus templates... but sometimes it's nice just to download one... and that's where Adobe Stock might be more useful. Now in Adobe Stock, you just got to make sure... when you're looking for things... you go to this one, you do 'templates' for search. I'm just going to hit nothing in there, and just see what templates they have. You can use these little sliders over here to go through and decide... what kind of template, I'm going to use Premiere Pro. Then you might start doing some searches from here... that you've kind of like got it down a bit. So there's these ones, Envato Elements... very similar, they've got video templates. And same kind of thing, I'm going to do a search, for nothing... to make sure that I'm saying, show me the templates for Premiere Pro. Now why would you pay for them instead of getting the free ones? Mainly for me, is the fact that a lot of the pa-- free ones, sorry... aren't sized for 4K, and I need 4K, some of them are... but it's a little bit harder to find. And really the main reason is the quality, quality goes way up... when somebody gets paid for what they do, and they should do. It's a really small fee to support the people that make these amazing things. The one thing to consider when you are downloading them, on both sites... either-- any site, Motion Array do premium ones as well, go check them out... but sorting by 'Most Popular'... the problem was, is that from 2018 version of Premiere Pro onwards... they introduced the Essential Graphics panel... which allows us to do all this kind of cool stuff brought in from Premiere Pro. So you really want the newer ones, actually no, it had it before then. The big changes, you know a lot of the templates we've been using... haven't got fonts and you can't change them. It's because that wasn't an option earlier on. So a lot of the stuff that's been around for a while, even the most popular stuff... because it's been there long it's often the most popular... but the newer ones, you can often change the font now. After Effects can allow you to change the font, into Premiere Pro. You don't have to search 'By New'... but I can't guarantee that you can change the font... but it is more likely, in the newer ones, from about 2018 onwards... you will be able to adjust the font... which we haven't been so far, which has been annoying. Hey, it's Saint Patrick's Day tomorrow, which is exciting. So you download them-- because I pay for a subscription... I can hit 'Download', and just download it straight and start using it. I want to show you a couple of files... yeah, just in Premiere Pro just so I can, you know, so we can practice... using Mograph templates. I'll show you some of the nice ones that are found. So we're going to duplicate this one, we're going to do it slightly different. We're sick of right clicking and figuring out where in the giant list Duplicate is. So we're just going to select it... best, just click the icon, and then 'Command C' on a Mac, 'Ctrl C' on a PC... we're just doing copy and paste... and you get-- the difference between this one... is it gives it the exact same name, which is weird, and good. Anyway, we want V5 open... and we're going to close down V4 if it is open. Let's just delete them, both, the music, actually. Yeah, we delete the music, not appropriate anymore... and our previous kind of Travel looking one. Let's install one I've downloaded, one of the premium ones from Envato. Let's go to 'Browse' and let's click this little button here... and in your 'Exercise Files', under 'Project 4', 'Social Media', 'Graphics'... under 'Envato Elements' I've got these two, so we're going to start with 'Floral'. Now this one here is not to be used, other than just to practice in this class. So not only use it in your portfolio, or commercially, or personally... unless you go off and buy it, so this is just like a little sample. It's part of a bigger pack, but it's so pretty. For this one to work as well, what I should do is... when you download it, they're pretty handy, that gives you a Read Me file. The Read Me file says, "Thank you for downloading." So this is the person that made it. So if you do want to go and buy it, go check this out on Envato. Tells you little bits about it, their email address. The other cool thing, it tells you the fonts that have been used. So you can go through and download them. Often when people make these they'll make sure they're free fonts... and to install them you just find them in your exercise files... select all of these... and on a Mac, actually on all of them... just double click them, all the TTF fonts... and it will ask you, "Would you like to install?" and you say, "Yes." Let's say I've done that already... and now I'm going to bring in my mogrt, click 'Open'. Mine's already there, you can see it there, I've practiced... and I bring this one in, put on my Timeline, it is so pretty. It's a bit big, let's make it a bit smaller. So I could do one or two things in this case. Probably for most of them, this one's come at 4K, which is great. I don't need it at 4K at the moment... it's a bit big, but at least I've got it there. What we want to do is, right click it and get it to fit. Do you remember, if it's Scale or Set? What was that lame thing Dan said? That's right, you're all set for Frame set. That will scale it down. I think this particular one has scale built into it... so you could just drag the slider. Now this thing is pretty elaborate... so we're going to turn down the resolution to 1/4 just to make it usable... and we're going to run instantly into a problem, I love this one. There's a bunch of ones to pick from for different use cases... I just use this one... and then this ended up happening, 100% New Zealand... and it works on none of the fronts. So I leave these things in here because I guess, it's not always all roses. So 100, for some reason the font is that-- what is it called, Tubular Old Style. It's that weird font where it goes up and down, watch, if I put 6 and 7 in... it's that kind of font, and it just looks weird under 1. hundred percent, and New Zealand doesn't fit... and there's no size over here... and where I said before, make sure that they're 'new'ish... 2018 above, because you can select fonts... this one was obviously made beforehand... but I couldn't resist, because look how pretty it is. I have to scrub along because it's... it's so complex that even doing a rendering... I'm going to render this in a second, and I know it's going to take like... five to ten minutes to just do a little preview render in here. See what happens when you try and break it onto two lines... probably awfulness, let's have a look. Yep, awfulness. Ones that are done in Premiere Pro don't have all this exciting stuff... but often are a little bit more usable... because you have full control over everything. There's not a really good way in any of these platforms... to know whether they are Premiere Pro mogrt... made by Premiere Pro or made by After Effects. Now I'm not super worried about this mainly because... I pay a subscription to Envato Tuts+ so I can download loads of them... like a thousand in a day, I'm not sure if you can do that... but if this one doesn't work I just move on to the next one. Where is buying one per-- you know, playing once at-- one at a time can be a little bit... roll the dice, anyway this is super cool. Let's move on to the next one. Now the next one, another Envato Elements one, and I love this one... like 300 titles, I've given you just one of them... again as a sample, not to be reused unless you go and buy it... but I love-- I love this one, it's got really good video... just so you can see what's going on. So Modular Setup, no way. It's 300 titles, glitch, look at them all go. There are so many cool things in, like these kinds of packs... and you can start to see... you could use these for a long time... change the colors, change the fonts, change the text. So that's what we're going to work with. Let's stop the 'ooh'ing and 'aah'ing and look at actually installing one. So, again, copy paste. Version 6. Open up version 6, close down version 5. Let's delete this one and let's install Essential Graphics. 'Browse', '+', we're masters of this now. Envato Elements, there's one in here called Quote... and this is one of the 300. Actually what I want to do is show you... the actual thing that you get when you download. So this is what I got when I downloaded... comes in a zip file, you open it up and this is what you get. This is a beautifully created one. It's up to the-- Like Envato is actually more of a marketplace... so if you're a designer, you can upload stuff to it and hopefully sell it. So the person that made this one is Motion Theory Studio... and just like, beautifully designed. So where do you get the fonts? Cool. Tutorial on how to install them, that's what I've done. Previews, this is the best bit, because there's 300 of them... they've made a sweet little web page that I can double click and open... and it's this weird, like cool little web page. It lives in a browser to show you them all. They've broken them into little categories. You can see, look at these cool clean ones, they loop. So you can just sit there looking at them, and go, "Oh, I want this one." Then go off and find the mogrt called Clean Title 07. So then you go into here, and you go... here they are, clean. Title 07. So useful. So we're going to install our 01. So Clean Quote 07. Now I did go through a few of these and they just didn't fit my quote. Like we had the problem with Hidden Paradise... some of them just weren't designed to support the size... of the quote that I wanted to use. So I'm going to install that one... and there it is there. I can always-- already see there's a... probably going to be something wrong with it. Shouldn't be a giant white box, let's give it a go. There's nothing really going on, so it's probably 4K. So if anything is kind of like too big and you can't see it, it's probably 4K. You can right click it, and I'm going to stop doing the gag... and let's just click on 'Set to Frame Size'... and it kind of works, and you're like, "Great." I'm just going to go to my Effects Controls... and I'm a Pro, and I'm just going to lower this. Where did half of it go? This can happen when you're bringing in stuff from After Effects... and hopefully if we go into our Essential Graphics... and have a select of this... hopefully there's Main Position - Left & Right, that's what I want. It's a good few controls in here. Such a good block of things. Get mine perfect, there you go. And what I want to do as well is probably get rid of background opacity. I probably want the text to be white. Now I'm just going to speed through this... because this is just dragging these up and down. I'll stop if I run into any problems that I can... you know, give you a bit of heads up on... but I'm just going to kind of animate it through really quick, see you in a sec. We'll stop there because there's something that came up. You saw me messing around forever... changing them to white, that took a long time... and then I just made the lines a bit smaller, it's pretty cool... but just then what I did was... I wanted to go and add a Drop Shadow. There wasn't an option in here. There was no option or facility for it. So what I did was, is I did it a different way. So you can, on your Effects panel, I typed in here 'drop'. So under 'Video Effects', 'Perspective, there's another way of doing Drop Shadows. So up until now we've been just doing it through the Essential Graphics... because it allows us to do that... but because this has come via After Effects we've had to grab it. I just dragged it onto the clip there. Now if I go back to my Effects Controls... I've got it applied as an effect rather than... through the Essentials Graphics panel... and I can do the same thing, make adjustments, but I'm happy with that. I missed a little bit... you know, there was control for these lines... to make them bigger and smaller, which I thought was cool... and the weird thing about this one is that even though it's red... and there's quite a bit going on, if I hit spacebar... it will play through pretty much without any problems. It's pretty cool. Even at full, I think this one works pretty good. It's mainly because there's no Motion Blur. Motion Blur really kills, kind of, it's the faded stuff... for the Motion Blur... that gets applied in After Effects... that comes through here, that really slows down render time... and that is going to be the end of this video, a bit of a long one... and I kind of toy with throwing some of these out... just to keep the course a bit shorter, but I feel like some of these ones... the actual doing stuff, and things going wrong, and you know... not being exactly how they are described on the tin can be just as helpful. So yeah, hopefully this one wasn't too tedious... and that will wrap up our premium version of these mogrt styles. It's up to you whether you want to invest in these. Especially some of these cool packs, that have like 300 different styles... but always the trade-off is, over here, you're upto the... winds of the creator of what can actually be controlled. All right, on to the next video. 104. Where to get Free Video to use commercially for Premiere Pro: Hey everyone, let's talk about free stock video. So we're looking for stuff that we can use both personally, and professionally... commercial video as well. The term you're looking for is free stock video. Stock, as in, it's in stock and you can use it, anybody can buy it... or anybody can actually get it for free. There's another term that gets thrown around, that is called Royalty Free. It's not free, it just means you don't have to pay a royalty every time you play it. Some videos are Rights Managed... and that term means that often you'll have to-- every time it plays... you'll have to pay the owner of the video a little bit. That happens more with like news coverage and sports games, those sorts of things... but for us Royalty Free is out of the scope of this video... because we want just regular free. The most common ones are, the ones that I use the most are Pixabay... and this one here called Pexels. Both of these do both, images and video. What you're looking for in all of these sites... I'll go through them all real quick... is you're looking for, not all of them, just because they're on here... doesn't mean that they're going to be completely commercial free. Let's just click on this one... and we're looking over here, this one is Free for Commercial Use. You're looking for No Attribution. Some of them will be free for commercial use... but you'll have to attribute the owners... and that might be, let's say that it's used in YouTube... you'll have to put a link to them... or at least acknowledge them in the description... but if they do ask for it, they'll be a bit clearer about it. It's amazing, it's a bit of a revolution lately, there were-- There was a time where there was no such thing as free video... now there's lots on there. Pexels is another one, this one here, Mazwai is another one. Videezy, comes up a lot in searches. Videvo, basically I did a search for you beforehand... and found the ones that I've used before in the past. There's a lot of crossover between lots of these. So those are the kind of main ones, there are lots of other ones. I've linked them all in your Links folder, here they all are here. So all of these are just your generic, where to get free videos to use. These last two are slightly different. The term public domain is a useful term to know when it comes to content. So things that are public domain are either... kind of created for public consumption, from the start... or that they're just so old that they've-- there's like... a standing license time that the owners are allowed to have for footage... and it can drop off... and it falls into something called the Public Domain. Often there's really old stuff, it's really cool... but you've got to kind of hunt through it. A website called Pond5 did a really cool project... where they tried to kind of put a category together... or at least a catalog - that's the word I want... - of all the projects. Now you got to be careful in here. Pond5 are a commercial company that sell videos, they're great. They're a great company... but you do end up kind of going through here looking for footage... typing a search, and then-- some birds... and you end up not only kind of-- you've ended up outside of that kind of public domain catalog. So you've just got to be careful how you use it. Even now the back button ended up doing crazy searches. The best way is to go to pond5.com/free... and that will kind of get you in here. Just be careful where you're working in here to make sure you stick to the... cool old pictures that you're allowed to use, because they're a public domain. This is the best one, an actual hovercraft. Let's have a look at other kind of public domain. NASA kind of allow people to use their images, not commercially... but they do supply them out to be used for different projects. Just make sure, before you go and stick it in some sort of... you know, Super Bowl ad, that you're allowed to use it. So you can-- yeah, they've got some really cool stuff in here... some raw stuff as well to play around with, which is cool. The last thing is, don't be afraid of paid, I know, for a long time... I never paid for anything, I would spend hours looking for free stuff... even though my hours were costing me. So don't be afraid of free. Remember, Envato you can go to... and as part of your license, I like this site because... as part of my monthly license I get to download images which is really cool. You pay your subscription though... or again, like Adobe Stock, they have some really cool stuff... but you can buy these once off here. Just buy once off things. 4K, HD, you have full commercial license... sometimes you just need to go out to these kinds of sites, he's very concerned. One thing that happens quite common... is when you are pitching ideas to a client... is you just leave the watermarked version... and when the client approves it you go in and pay for it afterwards. Just make sure the client's aware of the costs involved. They're all slightly different, let's have a look at this one here. This one here is going to cost me, for HD, it's going to cost me 50 bucks. So it's not cheap, it's a lot more expensive than your images... like when it comes to our free versus paid... remember our Graphic Motion templates earlier on... the quality just goes up, and there's... you can see lots of variants of the same thing. Free or paid, there's going to be times in your career... that you're going to need one or the other. Those are all the places that I use, there are plenty more. Just remember those terms, you want free stock video... and also when you are on these sites just make sure that when you do a search... you will-- the reason Pixabay can give away free stuff... is because they get paid another way. Let's say that I need a picture of a handsome man. I'm not appearing, where is it? Ah, let's-- What they've done, there's no-- they don't have anything of a handsome man. That's the only handsome man they have... and you're like, "Oh, this would be awesome." What they do is they sponsor this... like slightly darker bit is full of the paid videos. Shutterstock is another site like Pond5 or Elements-- Envato Elements... and that's how they make their money. They want you to go... "Oh, but I really want this handsome man"... because that handsome man's not going to cut it. So you end off going and buying it, and they get a commission on royalties. Let's say plant, things like nature and plants... often you can find just as good free stuff as you can paid stuff. Often, not always. You're probably not going to get too many stock motion... of things growing out of the dirt... but you've got to be conscious... all of the free sites will have some sort of like... "Ah, this would be awesome"... oh, it's sponsored by something, often Shutterstock. Anyway that is the free video, video done, I'll see you in the next one. 105. Class Project 08 - Your Place: Hey everyone, it is time for a class project. This one is about your place. In the last kind of group of videos we did some stuff with my place. We just did one video with a quote on this one. We did a lot of that 100% Pure New Zealand. Now these are just-- they were really quick and simple, just one video. I'd like you to take it a little bit further. Let's look at the project. So you've been asked to create a short video about your place. It could be your town, your state, your city, your country. I don't really mind... but it's basically a tourism drive. It's showing people the kind of experiences that they could have... when visiting your town place, city, country. It can be serious or funny, I don't-- I'm not too worried about that. It could be beautiful, and beautiful music, or it could be a bit tongue-in-cheek. Now the requirements, you've been asked to make two videos. You're going to have two things at the end, two mp4s. So you've been asked to do these Aspect Ratios... the Facebook feed and the Instagram feed. Not the stories. The Facebook one is your traditional 16 x 9, which is the landscape video. That size. The Instagram feed is a strange old size, 4 x5. So go research that and just figure out. This is a "check out the requirements," so figure out... how big it can be, how long it can be, what you can do within there... file sizes, that sort of stuff before you get going. You can use video, it can be the free stuff... that we looked in the last video. You can use paid stuff if you have access to it... or you can use the watermarked videos from your-- from those paid sites. I don't mind if it's watermarked. You get a bigger range of videos... obviously from the paid stuff, but it's up to you. The other thing is, it doesn't actually have to be video of your place. I don't think this is New Zealand. It's just some waves and some cliffs. You know, this is a practice exercise. If you did do this for tourism and it wasn't actually your place... that might be different, but this is a practice. We want to get the vibe of your area. So you need background music... you need to do your Color Correction, your Color Grading. There's going to be text, so it must be animated. You need to have kind of two parts, you need to start with your slogan... and kind of end with 'Visit New Zealand'. Some sort of call to action at the end. Now in terms of the slogan, lots of places have them. I was looking at-- I was just looking around... and Dublin took a new-- what did they do? "Take a Deep Breath" was their new kind of slogan... for the city in Dublin, in Ireland. It's a really cool video, good kind of representation of what you could do. This one's quite long, you don't have to do-- doesn't have to be this extreme. I was looking at U.S. states, and they have lots of them. I was like, "Ah, look at that." They're all very-- you know-- I like California's one. Eureka, I don't know if people actually know these things. I'm a foreigner looking in and I'm like, "This is good," you've found it. All very motivational and inspiring. I lead... through the stars... to the stars through difficulties, oh, great stuff. So you can work with these to kind of give yourself kind of a starting point. Your town might have something different, you can make it up, it's okay. I was contrasting with New Zealand names. So we love to put slogans on our towns. I don't know why, your town's probably the same. New Zealand, I love this one. So Dunedin changed it from "I am Dunedin..." whichever was it, "It's All Right Here."... which everyone said, "It's alright here." Featherston had the best one, "If you live here you'd be home by now." Such a good one. Timaru did like an online one, that never seems to work out these days. Let's, as a community work out a name that bonds us all, and it becomes-- "Timaz Hard." Does anybody remember Boaty Mcboatface? If you haven't seen that go check that out. Naseby, "2000 Feet Above Worry Level." So good. Hamilton was another good one, they had... their one for a little while was "City of the Future." Nothing wrong with Hamilton, but it's definitely not the city of the future. "You Matter in Matamata." There are some other good ones that you can look into, for New Zealand... but look out for your one, if you can't, if you don't have one just make one up. My nana's from Kerikeri, and they're named, "So Nice They Named It Twice." Kerikeri, aah. Let's get back to the assignment restrictions. They're not restrictions... they are requirements, that's a better word. So animated text, start with your slogan to kind of set the scene. So nice that they named it twice. Then it's going to end with "Visit Kerikeri." Some sort of call to action. Optional, you could do some sort of quote in the middle, if you want. Like we did with the New Zealand one... it's not a small country, it's a large village. So have little quotes about your area, you might use that... and put together something. Obviously their length is going to be set by what this is... but it doesn't have to be that long, yours can be 10 seconds long... it can be whatever the maximum is, I know what it is. You have to go research, because you have to fish your way through... like I know what it is right now, during recording... but I bet you, in the future it will change. So you need to go-- Facebook Feed Length 2027... whenever this is. Now the sharing is slightly different than last time. Because there's a lot more kind of creativity going in here... and in terms of the text animations you're going to probably be doing... either your own kind of, you know, using the Essential Graphics panel... or you might be doing things like... downloading templates from the internet from other places. So what I want you to do is when you do share it just describe your work... just the relevant things. You might only mention a couple of things... you might describe it heavily because you've done a lot of work on it. So things you've fixed, adjusted, I'd love to know-- and it's not just for me, it's for other people looking at it. They're going to look at yours and go, "Oh man, that was really simple." "What did they even do?" It might be that you've had a big kind of frustration with a part of it... and how you kind of got over it, and problems you had, and how you fixed it. Really help each other because you're going to get the questions anyway. You're going to post it, people are going to go... "How do you do that? What font is that? Did you use a template?" I'm not sure what that voice is, but-- if you say-- yeah, just let us know a little bit about it... so that we can all learn from each other. Then do the same thing, we want to see the link. Also share it on our social media, tag your city or town. I bet you it has a handle, social media tag. They'd probably love to see some... "Come to our town" stuff that they didn't have to make themselves. All right, I want you to go do this project; this is a fun one... "Take a liking to a Viking." Great. All right, I will see you in the next video. It's going to take a little while because you've got a bit to do. So I'll see you in a long time, bye now. 106. What is Pre & Post Production in Premiere Pro: Hey everyone, time for a nice new project. We are going to be doing... a documentary/commercial/sports thing, that's everything. Basically we're going to follow our guy around. His name is Amin Smajalovic. I practiced that; sorry, Amin. Basically we follow him around, he's practicing his Parkour... which is kind of urban running, jumping, flipping off things... you'll see in a second. We follow him around so he can practice and enter a competition. That is what we're making. It kind of brings up some really interesting things... that we haven't covered yet... in terms of the techniques of editing and some of the requirements... for high Frame Rates, sports action and stuff. So it's going to be an interesting one. Before we get started let's talk about post-production... because that's what we're doing. To understand post-production... we need to understand the production process in general. You've probably heard these terms, you might already know what they are. Basically there's kind of three main groups... there's pre-production, production, and post-production. So pre-production is everything that happens beforehand. So it's the planning, it's the, getting actors or organizing interviewees... or organizing the equipment. So writing scripts, getting sign-off, getting budgets approved. It can be big or as small as you like. So that's pre-production, pre getting started into production. Production is the day you turn up with the actors, with the scripts... with the camera equipment, and actually start filming. So people running around with cameras, sound gear, Sound Engineers, Directors... or if it's just by yourself it's you, with your camera. Your pre-production was buying camera from Amazon... your production is you filming yourself for your vlog... and then once you've got it all, you've recorded it all... then you move into post-production. So doing stuff after you've done your production, post, you get it. So that's what we're doing really in this course. So we've been given a film, and we need to make magic from it. You might have heard the term, "Fix it in post." They mean, in post-production, it means... "Don't worry, it's hard to record on the day, we'll fix it up later on." And some things are really easy to fix, just fix it in post... and some things can't be fixed in post. Like giving me a shave... this morning I was like, "I don't need to shave, they won't notice"... but then I'm just watching my earlier videos, I'm like... "You look like a bum, Dan," this can't be fixed in post-production. So pre-production, beforehand... production, actually doing and filming the thing... and then post-production, the editing, that's what we're doing. So we're going to post produce... this Parkour documentary commercial sports thing. Let me show you the, a final kind of cut. We won't get to this level in this course... we're going to cover all the things you need to get there... but like we did with the Wedding we are going to do... just a small part of it, and if you want to go off and grab the rest of it... to practice your editing, you can get it from Edit Stock. So let's jump in. When I was in Bosnia I started doing Parkour... and I had a lot of struggle, we didn't have gyms or nothing... but since I moved here, to United States... I discovered <i>Above All</i> and <i>Above All</i> helped me a lot. I progressed a lot, I'm coming to the point where I wanted to be. It's not the competition as much as it's... how hard can you push yourself... and how much can you take on your body, and break those limits. Progression is the main key. If I'm trying to do a big jump I would keep jumping closer and closer to it. Training indoors is a lot more helpful... with knowing that I cannot get injured, and I can try those things... and once I learn the feeling on how to flips feel... then I can bring that outside and have less difficulty. Once you decide what you're going to do, that would just calm down my body. Picture myself, breathe out three times, and just go for it... with meaning, towards accomplishing what I'm doing. You just got to go and push, and once you push... it's the best feeling in the world. You get proud of yourself because you just break that wall... and you can go break another. Through all these years doing it... I realized that there's no limits. All limits are inside your head. My message for all the future athletes, who have passion for Parkour... is to be in control of their bodies. The best way to learn is to... go somewhere safe, start having the feelings of what you're doing. That way once you get outside you can just go for it. My name is Amin Smajolovic, I'm 19 years old... and I train for Above All. 107. Working with the Parkour footage in Premiere Pro: Hi everyone, in this video we are going to discuss a couple of terms. One is called logging, rough cuts and final cuts. Logging is the important one here. It's kind of how we get our footage from the production process... and I'll show you a few examples just to give you... a little bit of a mild experience with it before we start our project. So we talked about the terms... pre-production, production, and post-production, right? So we're okay with that. Let's talk about post-production, because that's what we're doing. That can be broken into a couple of little spots. There are lots of variants of this... but the main ones are, you can do some logging at the beginning... then you do a rough cut, which we've done a bit of already... and then there's a final cut... where everything gets tidied up for final production. Probably the weird term is logging. Logging is just the process of-- happens directly after the production day, or generally at production day... but basically it's, you've walked around with cameras and sound equipment... and you've recorded everything... and now you've got a bunch of files that have terrible names... and no sort of structure to them. We've talked about it before, but the official name is Logging. Let's have a little look at what I mean. So in the 'Exercise Files' that we're going to be using in this course... it's under 'Project 5', under 'Footage'. Basically I've just cut out the bits that... we've got from Edit Stock, that we can use in this course... but the full-- I'll show you the full package. This is what comes from the production process... and what comes downloaded from Edit Stock. So in 'Footage'-- now remember this is different for-- It really depends on what you're filming, who's filming it. There'll be a different way of structuring it... but they've structured it for indoor, outdoor... and in here they've structured it for different cameras. So there were two people videoing... or one cameraman with two different cameras... and they've just recorded it this way. So there is a 1Dxii, which is a fancy enough camera... and a 7D, basically the 7D is the kind of level that I'm at. There seems to be this, like intro to DSLR video cameras... then there's the next level up and then it goes higher. So this is kind of like an $800 range, that's the camera that I use. Then you jump up to about three grand... and then you kind of jump up further, these are all Canon cameras. Seems to go sub-1000, about the 3000-5000 mark... and then it goes kind of like 10 Grand plus... once you get into proper commercial video cameras... but anyway that's how they've broken this footage up. The outdoor stuff was done on a 1DX, this is done on a Hero camera... one of those kind of ones you-- sports cameras, that you strap to things. It's interesting, the way that they've done it... and obviously in this we're going to be doing a small part of it. If you do want to get all of this to do a nice big edit... you can get the footage from Edit Stock. This one here is called, what is it called? It's called Bos Parkour. So that's the one you could potentially get... if you want to go further with this project and use it for your portfolio. Remove all the watermarks, but you don't have to for this course. Let's have a look at a couple of the other ones. Donut, Donut Dynamite, Madame Donut, we looked at her earlier. This one's broken into kind of parts, part 1, 2, and 3. I think they came back on different days to record it. They've got some behind the scenes, they've got B-Roll. Now B-roll is just a-- let's have a look a little bit of the B-Roll. We're going to talk about it later on... but it's the stuff that isn't, like the main interview, lots of... lots of small kind of shots, little tight things... to kind of help tell the story but not the main interview. The main interview I think is in here. I love that. Basically they've come down-- they've broken it into three parts at least. The main interview and everything else in this is a bunch of B-Roll. On obviously different days they might have been recording... and they've obviously set up this one... where they've recorded a bunch of stuff. Eggs. That's how this was delivered... let's have a look at one more, that Jacuzzi one. So the Jacuzzi one is set up in case scenes. This one was a little bit different, this was a short film. So this was shot in-- so '00' were the different scenes. So scene 2, you can see, scene 2/1. Same thing, these were all broken into the different scenes that were shot. This obviously is a lot easier to work with in this particular setting... because there is obviously a script, and they match these things to it. I guess I just wanted to show you, like what logging looks like... and the process of logging is basically... you'll have a bunch of cameras with a bunch of SD cards in it... and you need to kind of get them off and start labeling them up... so you can edit them later. Now this is lovely, named Awesome Stuff. Great names, that's not such great names but it works... but you're not going to get footage that says-- that has all the lovely keywords in it. You're probably going to be working on your own stuff, potentially... and it's just going to be '_2_1' You might even just have one giant file that you have to work through. So you might skip the logging... dump it straight into Premiere Pro and start working.. but obviously there's going to be times... where you need to chop things up to work with. So you might spend a bit of time before you start editing... doing some logging, adding some good names... putting it into categories so that you can work on it later. It's really important to do it straight afterwards... rather than waiting till the end of the year. I did a big motocross kind of video... and I just dumped it all into a folder, and I'm like... "I'll work it out by the dates later on," and that doesn't work. Just need to take a little time after every shoot... just to give it some labels, put it in some folders... so that you're aware of it all... rather than having to re-watch every single thing to know what is in there... and then to come back to it months later, and still have to re-watch it all again. Geez. Anyway, logging has been done for us. We're going to now start importing and doing our rough cut. Let's do that in the next video. 108. Importing Parkour footage into Premiere Pro: Hey everyone, in this video we are going to create a sequence... import footage, and you're like, "We've done this loads of times," we have. I'll throw in another little shortcut... to make it a little bit more worth your while... but just some basic setup before we get into our project. Let's get started, let's go to 'File', 'New Project', or hit the big button... and in this case we're going to call this one 'Parkour V1'. We're going to stick it in, we've got a folder in our 'Exercise Files'... 'Project 5 - Parkour'... and inside of here, 'Project Files', that's where I keep everything. Let's click 'Choose', and basically when you are... from intro to medium level, you won't change anything else on the screen. You will move into some of the more hardcore ones in the advanced parts... but for the most part just click 'OK'. Just need to tell it what it's called, and where it goes. So you might get this quite often, like I do... because I'm forever plugging speakers in and microphones in... and Premiere Pro, like we saw before, is very, like... "Hey, the thing that was plugged in before is not plugged in." What do I do? I'm going to hit 'Yes', just because... because you can see, my default input-- we're not using the microphone here... so I don't really care about that one at the moment. The output though, where is it going to? So I had some speakers plugged in before, my headphone speakers... headphone speakers? Just headphones. So they've been unplugged and it freaks out. So I'm going to put it to this thing here... that's a little headset that I wear when I'm recording... but yeah, you're going to have to come in here all the time and change it... if you do like to plug things in, and unplug things. To import our footage we could use the boring way, which is 'File', 'Import'. You could use the sneaky way by double clicking this area down here. Let's give you a third awesome shortcut. This kind of jumps straight into the rough cut; I love it. So you need to have your window... kind of hovering above Premiere Pro for this to work. It might not work on your system. I don't know all versions of Windows, and whether this works. Seems to work on my version of Windows, and every Mac that I've owned... but I'll show you, so in 'Exercise Files', 'Project 5', there's a 'Footage' folder. What you can do is you can click the top one, hold 'Shift', grab the last one... and I don't need the end credit right now... but I can just click, hold, and drag it straight into my... where my timeline is, and watch this, magic happens. Look at that, it dumped it all in, imported it, created a sequence for me... and then put everything into the sequence. You might find this is just, if you've done some good logging... this doesn't work if you've just got crap everywhere... but it works really good if you've done some serious logging... and everything's kind of in some sort of order. It's just a nice way to get it all onto the Timeline, all at once. Let's tidy it up a tiny bit. So the sequence, you can tell by the icon. I'm going to call this one 'Parkour V1' as well... and we are going to create a bin. This bin's going to be called 'Footage'. I don't really need to do my fancy search thing because there's only mp4s in here. Now I'm not sure if you know how to do all this kind of file stuff... but click the first one, hold 'Shift', click the last one... and on my Mac, I hold 'Command', and click that guy to deselect them... or on a PC hit 'Ctrl' and deselect them. So if that's a bit fancy just drag them all in... however you can do it, drag them into footage. Let's bring in a couple of other folders. I could dump on my audio in here but it's not what I want. So I'm going to double click in the dark area... and I'm going to find, in my 'Exercise Files', under 'Parkour'... let's bring in 'Footage', no, got that already... 'Audio' and 'Graphics'. You can bring them in individually... or hold down the 'Command' key to click them both on their own... or 'Ctrl' key on a PC, let's bring everything in. There's a bunch of stuff in here that could not be supported. Graphics have a bunch of things in here, there's actually nothing in that folder. Don't bring in graphics, it's for later in the course. Audio, all in there nicely. Before we go let's delete everything off the Timeline... because we're going to be a little bit more purposeful with this edit... because I want to show you some tips and techniques... but totally if I was working on my own now... just dump them all on the Timeline, if they were in some kind of order... and we could start rough cutting on the Timeline... rather than up here in the Source Monitor. All right, everything's in, we're ready to go. Hit 'Save', and I will see you in the next video. 109. Editing the audio interview in Premiere Pro: Hey everyone, in this video we are going to cut up our interview... we're going to take our 10 second long kind of straight interview... cut it up into some bits that we can start using, down to about 40 seconds. Let's jump in. To get started we need to find the interview... and you really need to just have a listen through it. So it's in your Audio bin, called Interview.mp3... double click it to open it, in your Source Monitor... and just listen to it the entire way through. So whenever I'm doing a project like this... I'll listen to the interview all the way through... and then come back and do a rough cut... rather than trying to do it all in one big go. You need to get a sense of how this thing kind of balances out... and where the good bits may or may not be... but I'm not marking it, I'm just listening to it all the way through. The other thing is, is often I'll listen to a little bit... just to make sure, the audio is good... but I don't mind if they speak in chipmunk voice... so I'll stick at the beginning here... and we're going to go back to some of our shortcuts. So remember, looking at your keyboard there's that J, K, L keys. You rest your three fingers on them quite often when you're editing. So 'J' goes backwards. Weird. 'K' is stop, and 'L' is forward, plays once. So you tap it once, it just plays a normal view, 'K' to stop. If you double tap 'L' it plays in chipmunk mode. - "I've got nothing..." - " I'll take a shower and brush my teeth." So I find I'm happy listening to it, and just tapping it twice... to go to mild chipmunk, I can't go any faster than that... I can't really understand what's going on... but I often listen to everything in chipmunk view... and be surprised when that goes back to normal... when they go all kind of slurry and drunk sounding... but it's their regular voice... because I've been listening to it at super speed for so long. Pause the video now, play through it... have a little listen to it, it's about 10 minutes... and you can watch it in chipmunk view if you like... and then come back and we'll do some editing. So you've listened to it, a few little things just to mention... is that, at the beginning there he asked what's for breakfast... there's a few kind of random things. It's basically just to get... Amin talking, for sound check... to make sure that the microphone is recording right... it's not too low, it's not too loud, there's no background noise... and also to get Amin a bit more comfortable with the interview process. So you can imagine it's pretty stressful. So you want to get him kind of laughing and kind of joking... just try and release some of the tension in his voice. So that's why he started talking about, he had nothing for breakfast. "I don't know..." Obviously, not going to be included in the interview. Another bit was-- where is it? It's about here. - Let's have a little listen. - "What it was like..." "How hard it was, just things like that." "And say, and start the phrases, say, when I first started Parkour..." So we asked him to start with the phrase, basically this particular video... we don't want an interview-- uh, we just want the interviewee. So Amin's going to start asking basically himself the question... and answering it, so there's no need for an interviewer voice. I'm recording him, otherwise we'd have to introduce the interviewer... and that's not what this is about. So it's very common to have that, so he'll answer his question. "Well when I first started doing Parkour..." Instead of asking him a question he just kind of answers... kind of suggests what he's about to talk about and then answers it. That's the role of the interviewer... and often it's the Sound Engineer or the Director, or... if you are doing it all, you're going to have to practice a little bit about... making sure that there is some context when people start answering your questions. Anyway, next we're going to do is start cutting it all up... and get a rough cut into the Timeline. Now to do this rough cut, because we are going to follow along together... I need you to grab the exact bits that I do. So we are going to practice copying and pasting time codes. It's going to be good practice, mainly for copying and pasting... but I want the same footage in here. So what I've done to make it a little easier... is, in your Exercise Files... inside of 'Exercise Files' under 'Parkour', which is 'Project 5'... in your 'Copy' folder I've got this Parkour Interview time codes... open that up. Basically we're going to copy this first bit, just grab it all. You'll notice that they don't start at 00:00 They've started their time code four hours earlier... or five hours earlier. You can set your sound equipment and your camera equipment... to all kind of start at the same time. So even if there are individual machines you can kind of have a joint time code. It's a bit hard core but that's why it starts at a random time. What we're going to do is make sure your interview.mp3 is open. Click in here, paste it in, hit 'Return'... and it should jump to the exact position. Now, it won't work-- well let's get this one going for the people that it did work. We're going to set our in point, remember, I on your keyboard. Now we need to jump to the out point. If yours didn't work it's probably because you've got that selected. It won't work if you have this space over here... because Premiere Pro doesn't know what to do with it. So you've got to make sure you grab just these letters. So none of these. I'm going to do the second one, and grab just the numbers. I'm going to paste it in here, and hit 'Enter' on the keyboard. Maybe that's what I did in the next line as well... hit 'Enter' on your keyboard, and then hit 'O' for my out point. That's the first chunk I want. What I'm going to do is-- you can't drag audio into your timeline; weird. You're going to drag the, just this little icon down here. Make sure you're not dragging it to here because that's not going to work. Why is that not working? That's right, it has to be on the audio track... so that's going to be my first one. I'm going to zoom in a little bit just to get a sense of it. "I started doing-- when I first started doing Parkour..." "... jump so far and do all these awesome tricks." So I'm kind of purposely giving you a rough cut. We're going to tidy it up later on, I don't want it to be perfect just yet. So we've got our first chunk... let's go through and just cycle through all of these. I'll do one more with you, then we'll speed it up. So paste, 'Enter', 'I' for input, or... if you're not liking the shortcuts you can use I for mark in... and O-- just these icons down here. You can get a bit of a flow going. Copy, over here. Paste, set your O, your out point. Drag this in, and just bunch them all up together, rough cut. I'm going to speed the rest up. Cool. The last one I haven't put in because you might use this other method. So remember, you can use your up and down arrows... to kind of flick down here in your Timeline. So make sure you're down here, and your Timeline selected... you can get to the end... and you can use another shortcut, which is... in our case it doesn't really matter... if it's insert or overwrite, because we're at the end... but remember, your shortcuts... are full stop and comma, or, Americans call it period, I think. Let's go to that one. So you can get a bit of a flow going. Now what you would have noticed is that... have a little listen to where we're at, what we've got. You'll notice that I've cut bits out, and in this particular interview I'm not... afraid to move things around... mainly because it's this-- it's the type of thing it is. You just got to be really, I guess I want to draw your attention to... changing the way that the interview comes across with editing... you can get into trouble... from the talent, or from the public... but in this case it's pretty-- there's no sensitivity in here... and we're just trying to tell a story, we're making Amin look better... by cutting out all the ums and ahs... and the interview process was just a bunch of questions. It wasn't a particularly strategized interview string to not be edited. It's meant to be edited. So I've cut little bits out and strung them together... to kind of make it feel more fluid. Okay, that's my disclaimer, let's get into the next video. 110. What is a high frame rates in my video in Premiere Pro: Hey everyone, in this video we are going to talk about... why everybody is running in slow motion, with our footage... and there's a bit of a slurriness to everybody's voice. Then we're going to kind of move towards this, where we take our footage... and we speed it up, to regular size. - "I don't like the day there's no limits." - Slo-mo, awesome; ready? "... inside your head." So High Frame Rate, I'm going to do my best... to try and explain it. We're going to kind of touch back on Frame Rates in general... and I'm going to probably leave you a little bit... more confused than when you started. It's not my goal, you let me know at the end how well we went. That's a nervous laughter. Not laughter of joy, like confidence. We can do this, let's learn High Frame Rate. We need to discuss High Frame Rate because the footage... has been given to us in a kind of a strange format. So we need to understand it... so that when you get it in the future, or you're recording High Frame Rates... you are comfortable-ish with it. So I'm going to open up one of them, you'll notice that... these are shot in High Frame Rates. They're all given to us in slo-mo, which is cool but weird. So let's-- we're going to end up doing this. The reason we want to do this is-- this is the kind of thing we're going to do. So have a look at this side. "We can jump so far and do all these awesome tricks." "I realize that there's no limits, all limits are inside your head." We want that slo-mo kind of effect. So we have a High Frame Rate... because we get to do really beautiful kind of cinematography like that. Now ours is okay, but you can go and look at things like-- like this has been shot at 60 frames/second. Everything else so far has been either 29, or 23, or 25... but this has been shot at 60 frames/second. A higher Frame Rate than normal. You can-- like it goes-- I think-- I just Googled the... the fastest Frame Rate at the moment, and it's 10 Trillion. You can actually start to see light traveling. "So what we're seeing here is..." Bananas; like light passing through something. And, if you-- like-- I need to acknowledge that this video took me about half an hour to make; why? Because I ended up going down a worm-hole with the slo-mo guys. These guys are amazing, they just shoot stuff in slow motion. It's worth having a look, just-- Just because. - "Oh, you're ready for high adrenalin?" - "You're like doing it for months." And underwater bullets, all that kind of stuff... is all shot in really High Frame Rate. These guys shoot in, I think... they've got like half a million frames/sec, which is obviously spectacular. Your digital camera is probably going to shoot standard... probably 60 frames/second. Most cameras do that now. It will get higher as we go along, but they've just got so much cool stuff. The one thing I would recommend going watching is... the slo-mo guys on YouTube, but the one that says how a TV works. It's kind of an eye-opening one for how video gets produced... especially if you're going out to broadcast. Not even that now, just any sort of understanding of television. They cover all sorts of cool stuff in terms of... - how the image... - "...takes an extremely fast..." how it's produced. And they go through kind of range of TVs. Anyway, you can do some beautiful stuff with it. Let's get back to our understanding. So let's understand High Frame Rates. I've got something in your Footage, called 'Frame Rate 30 FPS'. You don't actually have to open this, it's just an example that I'm going to use. It's shot at 30 frames/second, which is helpful for my math in this example... but it doesn't really matter if it's 29.97 or 25. The principles are the same. If you're like, "Why is it 29.97?," I don't really know. I know it's a technical bye-product of the olden days of television. And I researched it once, and it blew my mind. So just know that it's a very common Frame Rate in America... because of technical limitations that don't exist now. So 25 frames/second is very common in Europe and Asia... and 29.97 or 30 frames, it doesn't really matter... there's such a slight difference. So what I'm going to do is make a sequence from this... and down here I'll find a bit of footage that is... nice. A little side note is, see how I'm dragging this edge, and two little windows appear. There you go. So there's just one, and if I drag the end of it, so you see... it compares to where my Playhead is versus where we're going to. So it's just kind of like a... give you a comparison of like what's left behind, which is empty space... to where we are now. So let's put in our one second, so it's one zero zero, '100'. I'm going to zoom in a bit. I'm going to hit my 'Marker' key. I didn't have the track selected so it went up there. Let's go in one more zoom. Now this is exactly 30 frames. So 1, 2, 3, and you count them all up to here and that will be 30... and because they're all stills... our little human brains can't tell the difference between live action. So this is my little example here of that exact same setup. So 0 seconds, one second, 2 seconds. It was at 30 frames/second. Well that's what it is now, and say we want to make it slow motion. So in Premiere Pro we can-- let me zoom out a little bit. So it's about 10 seconds long. I need to stretch it out, I can right click it go to 'Speed'... somewhere, 'Speed Duration', and say, actually I want it to be... half the speed, so it goes nice and slow... and it kind of jumps out because it's longer now, because it's half the speed. Let's have a look at our man, you can see, it is not very good slo-mo... because we just stretched it out, this is my little example here. So this is my 30 frames, these little cubes. If I stretch it out to be 2 seconds... you can see, there's still the same amount of frames... we just kind of stretch them out, that's why they're nice and jumpy now So I'm going to undo that because that's not what we wanted. There is better ways of faking that... but that's a really good example here in Premiere Pro, really jumpy. That's why this other stuff is shot in 60 frames/second... and is, oh, opened the wrong one, let's open this one. That's why this is all very slow. So that we have all those extra frames, so we can stretch it out. Now when you do shoot in 60 frames/second... so you get your camera, and you have a look through your settings... your cell phone will do it, it will shoot in a High Frame Rate. It's getting higher and higher, it's going to like 60, 120. Just some real simple cameras. So you've gone to your camera... you've set it up to shoot High Frame Rates, like our Videographer has... and you've found 60 frames/second... and that's probably the max of that camera, and you're like... "Great, I'm going to shoot it like that," so that we can go do cool slo-mo stuff. Now your camera is going to give it back to you in one of two ways. Let's have a look at both ways; I'm going to delete that. I've got, in your Exercise Files, there's one, there's two Walk 8s. There's a Walk 8, and there's a Walk 8 60 frames/second. So I'm going to add both of these to my Timeline. I'm going to keep my existing settings, so the first one is 60 frames. So this is-- my camera said, here you go... here's your video at 60 frames/second... and it plays at regular speed. Ignore that. Down here, the other version... that is 29.93 Random. This one here plays in this kind of really weird slow motion. They're the same thing, one is sped up, one slowed down. Let me show you in my example. I'm not sure if this is going to help. Sometimes it does, it feels like it's helping, and then sometimes it doesn't. So this was my old man walking, it's shot at 30 frames/second. This is High Frame Rate stuff, is 60 frames/second. So there's double the amount of frames, which gives us all that extra detail. So your camera can say, here you go, here's your 60 frames... and at 60 frames/second, so there's 60 little boxes... there's one second. It still plays over the right time, they just hold a lot of detail in there. So you can spread it out later on... and open it up and slow it down if you like... but it's still playing at the regular 60 frames in a second. That's this one here, playing at full speed. There's lots of detail in there, if I do want to slow it down, which is cool... and there's no real difference between which one you get... in terms of the end result of our slo-mo... but the other way you can get it... your camera can say, actually, I'm shooting 60 frames/second... I'm going to give you 30 frames/second... but I'm going to smear these out. So there's your 30 frames/second... but there's all this extra stuff, what do we do with it? Oh well, we'll just lump it in, and it will make it longer. So now that one second is now taking two seconds. That's why everything plays in this kind of like slo-mo version. That's pretty jumpy at the moment. So it doesn't really matter how I get it... you'll get both of them, some of them will say, here you go, 60 frames/second... and some of them will just be... 30 frames/second, it'd be super slow, and this one here... we need to speed up to look regular... and this one here we need to slow down to get our amazing footage out of it. Does that help at all? I spent ages trying to work on that, it is confusing... even more confusing to explain. So if you found it useful, carry on, if you didn't... maybe drop a comment in there to maybe help other students explain it. Last little thing we might do is, this one here is playing at regular speed. If we want to get out... extract our amazing slow motion, you can change the speed. So I want it to be slower. I want to slow it down because I want to see all those extra frames... and I can never remember, is it 50%? Yep. So it's longer... so it's going to play in slow motion like the first one. This one's in slow motion, and we say we want to speed it up... which we're going to have to do for this video. So it's playing too slow, my computer is struggling to play it at all. It's playing a slow-mo, to speed it up... I'm going to go, you, I want you to be faster. How much faster? Double the fastness. There you go; let's have a look. Can't do it, poor computer. Let's go. It's playing at regular speed, badly. It's a bit stressful for this computer to do the Time Remapping... which we kind of just did, changing the speed... and also do the screen recording, and all sorts of other stuff. All right, let's go into the next video... and we'll actually go and change the footage, now that we understand it. We'll actually get it back to regular speed... and then just slow it down occasionally. High Frame Rates; more confused than when you started this video, or less confused? Next video. 111. Speeding up or slowing down footage in Premiere pro: Hey everyone, in this video we are going to actually bring in our footage... keep some of it slow-mo, speed some of it up. Just, really a nuts and bolts kind of video... where we actually kind of get some stuff together... and we'll get it vaguely similar, between us, doesn't have to be exact. All right, let's go throw some stuff on the Timeline. So close down, if you still have the other Frame Rate sequence. We just want to be in this one called Parkour V1. We're going to add a couple of bits of footage. We're not going to be as prescriptive as we did before... like following time codes, but let's get the same basic stuff in here. You can adjust this later on to suit your taste. For the moment let's open up, we'll start with Lamp 2, double click it. Now in here, I just want a section of it, just really cool... like just a little bit of movement. So I'm going to set an in point randomly, and an out point. Oh, just two in points. So I and O, and drag just-- We don't want the audio, there is audio with it... well there's an audio track attached to it, with nothing on it. So we just want to drag this part down here. "When I first started doing Parkour, it was five years ago." Stop; my stop's not working very well at the moment. A bit stressed out laptop. So roughly that sort of length. Let's go to Lamp 4, open that one up. It's got some really cool close-ups of the hand, so just want the in point... out, oh, I keep hitting in point twice, out point. Grab a chunk of it. It's probably a bit long. I know it's a bit long because I just kind of... I've already done a practice, kind of go through this, and I kind of have an idea. Normally there's a lot of playing forward, playing it back... but you don't want to watch me do that. This particular shot has a couple of good scenes. There's the close-up of the hand... and then there's the kind of visionary look over the city. That's what I kind of want. So I want to grab a bit of that... and a bit of that. Some great camera work, I love it, just grab the video. "Years ago, and..." - "I was doing just some small little..." - All way too long. That's all right, let's get the basics in and then we can edit it to the interview. The next ones we're actually going to speed up, so I want a couple of the walks. So we'll start with Walk 8, so open that one up. Have a little scrub through, what I'm going to have to do is slow this... turn the quality right down. My poor little laptop is struggling. So I want kind of, before he gets there. In point. Out point. I'm going to drag it on... and over here it's running in kind of slow-mo, it's not what I want. I want to get back to real world speed, so we're going to go to Speed and Duration. So I've just selected it, right clicked it... and in this case I want it to be-- is it 50? 50% of the speed, no I want it to be 200, man, I get that wrong every time. 200 speed, so sped it up, so it's shorter... - but now it's kind of running... - "...and blow my mind." I might switch this to 1/4 as well. - Cool. - "... and blowing my mind that..." And then just to be a little bit longer now. So don't worry too much about matching mine. We're going to do that jump sequence, and we'll kind of back date all this. So we've got a bit of that, let's grab one more, let's go to Walk 20... and just grab a chunk of this. I've already looked at this one, basically the same walk all the way along. I keep hitting the in point twice. Out point. We're going to drag this over, right click it. So select it first, right click it, speed, 200%. Make it just a teeny bit longer, and then we're going to end with that Superman. Now you'll notice that I've just gone through and picked... cherry picked some stuff to kind of match my intro... even though it was shot in a progression, I'm just kind of-- it's just the style that I was looking for, at least the style I came up with. You can do it differently. For the moment though, just the purposes of the exercise... let's go to Superman 4, and what I want is... I basically want just bef-- I want that bit, so just before he comes out... so about there, set an in point, come along... and he kind of dives, and starts going over. That's kind of what I want; out point. Listen to it. I'm going to leave that slow-mo because I'm going to want to... yeah, I'm going to want to play around with this in a second. And for me, I'm going to time this jump... to a profound bit of his dialogue, where is it? "I realize that there's no limits, all limits are inside your head." Oh, see? No limits; limits inside your head, look at that. That is keen. Holy Molly, that's brave. Anyway, big jump. So I'm going to time that with, but I feel like it needs music first... before we go through and start cutting it all up. So let's go off, get our music in, and then we can kind of come back... and start timing this and playing with a little bit more of the slow-mo. All right, I'll see you in a sec. 112. Finding appropriate mood for music in Premiere Pro: Hey everyone, in this video we pick background music for our video. We play a lot with the timing. Now just so you know, you might be looking at the length of this one, going... "Oh, there's lots of value in this one, it's a really long video." It's not particularly true, it is a lot of waffle... and I leave it in here because... I find that when I'm doing these tutorials... I'm very concise and, you know, succinct... and we follow along, and it's great... but this one here, there's so much timing, and, like creativeness. There's no, like really specific tool to be doing. It's trying to get this balance of audio versus video, versus background music... and kind of baseline drops, there's a lot of messing about. So there is a chunk of waffling in this one. I know there's a lot of waffling in this intro as well... but what I want you to do is follow along, definitely... but if you do find, because I chop and change so much you might find that... it might be easier, you don't have to... but there is a file that I've saved at the end of this to get you to where I am. I would just keep going with your own version, but if you're just, like... "Man, this dude's waffling too much, I'm just going to catch up with him"... in your 'Exercise Files', under 'Project Files'... there's one called 'Picking Music'. You'll have to open it up, it's probably going to need you to re-link the music. We've done that, or relinked the footage. You've done that in a previous earlier video, you might have to go back to it... but hopefully when you relink once you'll be able to relink all these footage... otherwise carry on your own one. Yeah, let's get started. Actually I'll play this through, it's where we're going, ready? "When I first started doing Parkour is five years ago... and I was doing just some small little jumps." "Watching videos of others and blowing my mind... that some people can jump so far and do all these awesome tricks." "I realize that there's no limits, all limits are inside your head." That's kind of where we get up to in this video. All right, let's get going, let the waffle fest begin. The first bit of music I want is... this first bit, it's... the guy's talking, slow motion. It's all very-- I want to add some drama. The interview itself is a little bit plain. "I was doing just some small little..." It's fine, but yeah, let's add some drama, and I-- just so you know... I'm never looking for a bit of video that's going to do-- audio that's going to do the backing for the entire thing. Just the timing can never be found. So I'm going to find a better music to start with... and then kind of launch into something else. And how do I pick music, I don't, I just get started looking for stuff... start throwing it into the Timeline... and see what sticks. There's a lot of times where you're like... "Oh, this is going to be great," and you find it on... let's say, YouTube Music, or one of your stock library... song sites... and when you actually add it to the interview, or the video... it either bombs or does really well. So what I want to do is, in here what I did is I went to-- remember, check out that the link of this is in your Links, Word doc... and in here I went Genre mood, and I was like, looking for this kind of... either dramatic or sad, I had to play with both of these... and I spent way too long. I spent so much time looking for the right music... and playing and downloading... but this is kind of where I ended up. I just kind of like started working through these... just trying to find the right one. I ended up with this one called Towards Us... which I've got in your exercise files. So the nice thing about this one as well, it's free to use... and monetizing your video... if you've never heard the word monetize, it just means... as a YouTube creator you can turn it on a box that says... I will be willing to run ads over my videos... and get paid a small part of it; cool. So even though I wanted dramatic I kind of really like this one. Especially when it gets started, it's got this kind of-- Anyway. So I downloaded it and installed it, I went through a bunch of them. I've got a couple more, that are in your exercise files. So there's a few of them in here, that I got from YouTube. Now you can go and download your own one. We'll work through this together, just do this with me... and then you can go pick your own one... because you're like, you might hate the music I've picked, very personal. So let's have a little look in Premiere Pro. In your Audio folder it should be up for you to pick from. We're going to this one called Towards Us. So I'm going to drag this on to the next available space, which is A2... and I'm going to drag it up a bit bigger. What I found with this one is... "I started doing-- when I first started..." Got this kind of like weird walking noise at the beginning. I just want to get started here. So I'm just going to drag it along to this kind of part... and just see how it starts, just have a listen. "I started doing-- when I first started doing Parkour..." You might want to get it to fade in, but... -"I started doing, when I first started..." -Maybe we'll do that. Let's add a quick little audio transition... and we'll just put in that, and we'll make it a little bit short... just to kind of ramp it in. - "I started doing-- when I first started doing Parkour..." - There you go. So get started, it's quite loud in comparison to the... in comparison to this. So the dialogue, so I'm going to select it all, so I'm going to select-- This is a good trick, I need to adjust all of this up... so if I select them all and make it a bit bigger... I can drag one up but not all of them. So if you want to just do them all at the same time... you select them all, I just kind of made sure... I can see this side and just drag a box around them all... and over here, in my 'Essential Sound'... it's 'Dialogue', you can do them all at the same time, if you drag this one up. Doesn't change the look of this one, which is strange. It's like an effect that's applied, so these don't go up. Like they have in the past, when we do our Auto Loudness... but you can just raise the level of them. "Watching videos, I always think..." What we might do is solo it... remember, solo means only play this audio track, not this one. We could have muted that one, would do the same thing. "Blowing my mind..." You can see it's bouncing in the right place. "Jump so far and do all these awesome tricks." "I realize that there's no limits, all limits are..." It's kind of need to be a little bit higher. I could use the Loudness Auto Match, I just wanted to show you a different way. So I'm going to un-solo that. So hopefully now... "I started doing-- when I first started doing Parkour is five years ago..." So this needs to come down a little bit. I'm trying to get this balancing between these two. - "...watching videos and..." - And remember, in my head... always, whenever I think that's perfect, I lower it down a little bit more... because I always have the music up too high. How do I know? Because of all my YouTube comments... like, "Great video, music was too loud." Let's look at adding another bit of audio. So what I wanted is when he starts getting into the Superman jump... I want people to kind of launch into some... like really crazy big... - "I realize there's no limits." - Kind of this, I want, boom. I want him to kind of launch into some... in my head I was like some dub step... that was going to be it, some angry mad dub step... and just so you know I went through... searched for ages, trying to find the right angry mad dub step... and I added them to the track, and I played with them all... and then I realized I didn't really want angry and mad... not for any other reason other than... it just didn't suit the scene, and what I was trying to do. So I ended up with some kind of more dance stuff. I'm going to show you Envato, remember, this is a paid one. Link is in your Links panel, it's called Envato Elements. The cool thing about this is that as part of that subscription... it is music as well. What I really love about it, it's a small thing... is to be able to see this waveform... because what I'm looking for is... let's say over here I'm looking for, sort by... let's do a search, I'm going to do a search for "dub step". I end up doing two searches, dub step singular, and dub step together... just, because it does actually give you different results. Then I just spent time going through because what I really want is... to build up into this, like I want a big drop when... he jumps off. So I looked at this one and I'm like, I can see instantly from the waveform... it's not what I want, I want this kind of like moving into it and then, boom. So I want something more like this. It's not what I want, I'm looking for the big dramatic drop. So let's have a listen to this one. Kind of what I want, you'll also hear... the word audio jungle; listen. You can kind of hear it in there, it's easy at the beginning. So they overlap audio jungle in there, it's not part of the track... it's just there so that while you're previewing it... and haven't paid for it by downloading it, as part of your subscription... they add that, it disappears once you've downloaded it. So I just spent my time going through, I've downloaded a couple... both from YouTube, I typed in "dub step" in here, down in here. I can't remember where I got to... like how many pages I went through listening to all of this stuff. Just know that you might be different... you might zone in on the thing you want really quickly. I spent a really long time, it's like searching for stock images. It's the same thing, I spent forever searching stock images. Most of my professional time... is wasted looking for the right image, or the right font, or the right music. Anyway, so I've found it, I downloaded it... it's just part of it, it's the first, like 18 seconds of it or something. I can't give you the full version, obviously, because it's paid... part of that paid subscription. So let's start with this one, let's add a few different ones I added... and I'll show you my process. So in Premiere Pro, I'll show you what I do. First of all I don't have much video... so I'm going to use this to scrub this up a little bit... so I can see more audio down here... and when I'm dealing with the audio tracks... I'm probably going to go a lot of full screen as well. So remember, that's the Tilde key on your keyboard; that's the wrong key. So I'm going to do this, the Tilde key, just to go full screen... and I'm going to do a couple of things. I'm going to get my Playhead to where he jumps... because I want him to kind of like - "... awesome trick, I don't like that there's no limits..." - jump, kind of about there. I'll have to get the timing right, a little bit later on... but I'm going to put in a marker. I'm going to have nothing selected, just click out here... hit 'M' on my keyboard... to have a little marker that's kind of where I want to line it up. I'll do my first one and just see how it goes. This one here I'm going to tuck in... because I don't want it to be for the whole thing. Let's add some audio tracks, so you. We'll start with the one that-- it might be fine for you, might not be. This one here, 'The End Is Near', just dump it in, make it bigger... because I want to be able to see where the-- kind of, riddle kind of goes... kind of launches, the drop. See, that's what I was thinking. Big angry dub step, I love a mere bit of dub step... but it didn't end up working in this case. So I'm looking for, basically see this peak here... I want it to kind of be around here... and there's no real science to it. Specifically you need to be watching the video, let's have a look. "...so fine, do all these awesome tricks." "I don't like that there's no limits." That's kind of what I'm looking to do. About there; I have to speed up the video from about then on. Now there's so much of like, this is where it's creativity, it's like... I can show you how to paint but then it's, there's a lot of like... your own interpretation of what it needs to be... so I'm going to, I guess leave this in because... what I want to do is... I want it to actually go fast and then go slow motion. At about that jump there. So kind of when he launches... about there.... just about to launch off... I'm going to grab my sweet 'C' key for the Cut, or the Razor tool. I'm going to slice it, and I'm going to change the timing for both of these... because I want it to be going probably fast and then slow... and we have to move that marker. So 'V' key, click on this, right click, 'Speed Duration'... and I want this to be a lot faster... because, remember it's been slowed down... so I'm going to put this at 200, let's have a little look. That should be the actual speed. "Find they do all these awesome tricks. I don't like..." Still feels too slow. So I'm going to go and trump just about 300%. "...and do all these awesome tricks." That seems more realistic. "People can jump so far and do all these awesome tricks." There we go, I'm going to butt that up to there... and I'm going to move my marker to be about there... and then I'm going to move this... and just kind of see how it goes. There we go. "Jump so far and do all those awesome tricks." Kind of there. So now I'm going to dump in the rest of my tracks... and just kind of compare the two. You'll notice you can scrub this to make them all bigger or all smaller. I sometimes do that, I never do that, actually. I do it per track. I do this because some of them I want big and some of them I want small. So let's have a look, we've got an Audio 3. So kind of run out of tracks... so we're going to have to add a new track, you're like, "How do I do that?" If I go to my Project, and the other one that I want is... we're going to use 'Cold Step' was another one... and I can't add it, so all you need to do is right click anywhere... kind of where there's nothing. So let's go to this side, over here, right click... and nothing appears. You have to do it on this side, so right click anywhere along. You have to be in the As but just do it just to the right, let's 'Add Track'. Hopefully now there's another one called A4... and you can right click in there, 'Add Track'... and just keep adding tracks as you need it, we need five of them. Not Add Tracks, there's two, there's Add Track, and Add Tracks, plural. So you can add more than one, I'm just going to add one at a time. So I should have a bunch of them here. So I've got my marker, I can hit my Tilde key to go full screen. Also note that sometimes it's not the Tilde key, it is on most keyboards... all the ones I've ever used, but I have had students who have had weird keyboards. Sometimes it's a different key... you might have to do a little experiment with your keyboard. So I've got those other tracks, let's add this one. Make it a bit bigger, this one a bit bigger. I'm going to add-- where are we? Cold Step, I'm going to either-- grab the middle of this. Here you're in. What other one we've got? We've got our Future Final, that's this one here... And yeah, I'm just going to drag this along till-- So I'm going to solo this one, just listen to when the actual-- So it feels-- where is it? It's about there. So I'm going to drag that, kind of in there. I just keep playing with the-- Let's have a look at this one. This is the one I actually picked. So we have to un-solo that one, solo that one. You can, well, you can't really tell but... it's a lot happier, this one here, a lot more-- less kind of dark and moody... and I just stumbled across it, I was like, actually, that's kind of more what I want. Let's have a go. Way too early. It's kind of where I want it. We're going to do some cool cuts in the next video... to kind of cut to the music a bit more... but I guess I wanted to show you kind of my process of throwing things in. One of the weird things is that... let's say that I want this one to be up the top. There's no way of actually dragging the layers; strange, huh? You can't drag tracks, at the moment, and this might happen later on... but you can't just kind of rearrange the layers. You need to drag things from one layer to another. So if you want this to be at the top... you need to probably create and-- I'll just show you, the pain. So probably this one, I don't really need it... well, I'm not sure if I need it. This one's my priority, so I'm just dragging it up... and it will try and snap to go where it was before. So I just kind of reordered them. So this one's kind of at the top, these ones, I'm going to keep them around. There's so many times where I wake up the next day and I'm like... "Oh yeah, let's listen to that amazing thing I made."... then I'm like, "Oh man, that's terrible." And I can go through some of the other options... or I run it past the clients and give them a couple of different options... or they come back and say, "We don't like the music." I don't want to waste, or get rid of these just yet. If you did you just go through and delete them. Just to tidy off this waffly video is... I'm going to just check the audio levels... to make sure I'm not blowing anybody's eardrums. It's probably a bit long there. Blowing everybody's eardrums. So let's have a little look. First of all, this one here, what have we got, this one is-- I actually wanted that one on the top, didn't I?... because it's my backing music. So you my friend, are going to go down here. This one's going to go up here... and I'm going to mute that one. I'm going to mute. You can come back up here... and you as well, might use you later on. It's the backing music. "I was doing just some small little jumps." - "Watching videos..." - I'm just listening to the dialogue. So what I'm probably going to do is just lower this down. So remember the keyframes. Remember what shortcut allows me to see those... first of all, how do you see the keyframes, or the line? Is remember, you've got to have this... if it's too small you can't see it, so make it bigger. And I hold down which key on my keyboard to give me keyframes? That's right, 'Command', so I'm going to go something like this... and just blow that down, have a little listen. "... videos of others, and blowing my mind... that some people can jump so far." "I don't like that there's no limits." This is where it gets extra waffly. I'm just playing around with the music, trying to get the timing right. So there's no, like actual science to it. Just me kind of trying to get it how I feel like it works. So you can skip on to the next video, if you haven't already... or you can watch me mess around with everything... because what I think I want is, I want-- I like this... "...inside your head." "Inside your head" is where I really like, so I'm going to move all of that out... because I want there to be a bit of a break... and I actually want the Superman jump to happen... basically where he goes from the big leap, "inside your head"... where all the music launches and does all that stuff. So let's-- I'll show you what I mean. So Superman, you can come, I'm holding my 'Shift' key... to click on various things at once... because I kind of timed all of this, right? Actually I want just these... and the timing for the jump to come along. - Let's have a look. - "... limits are inside your head." Boom. Let's see if that work, so solo off , this is definitely too loud. - "...inside your head." - I can't hear him at all. So I'm just going to drag this side down. - "...inside your head." - Still even a bit lower. "I realize that there's no limits, all limits are inside your head." That seems all right, it can maybe get louder... maybe it needs to come in just a little bit further along. If you find it hard to kind of move it along... you put your Playhead and it will snap to it. Let's see how that goes. So all this stuff needs to be extended out. I'm just going to see what there is, this is the walking. There is plenty of walking so I can just extend this one out. Go to scrub. My machine is struggling. This looks all right. There's quite a bit of this that we can play around with... because we just rough cut that, remember, we didn't put a lot of time into it. The cool thing about it is, when you drag it, watch what happens up here. You can actually see what's getting added. So I can see the end of it there; nice. "When I first started doing Parkour is five years ago... and I was doing just some small little jumps." "Watching videos of others and blowing my mind that..." Don't like that end part. So hopefully the beginning of it's a bit nicer. Yeah, cool. - Let's see how that goes. - "When I first started doing Parkour..." There's an audio problem at the beginning here... which is going to save me some time. I'm going to trim that up, and what I want to do... if I click in here and hit 'Del'... it doesn't want to bring everything back... which is an interesting thing. Mainly because it wants to bring everything... including all of this, can you see, this back... but that's already jammed up against the end. So what we can do is we can grab all of this... actually we'll leave that there, we'll just do it manually... you can move this forward... and then try and use the 'Del'... because now there's space for it to come back... but what we want to do is we want to actually just grab all of that. Oh, my music timing's not going to work, these are the issues. So get your dialogue sorted first. - "When I first started doing..." - Oh. Don't change it at all. It's good, just needs a little bit of break... a little bit of music helps fill that gap. "When I first started doing Parkour is five years ago... and I was doing just some small little jumps." "Watching videos of others and blowing my mind that some people..." This first bit is way, a little quieter than the second bit, have you noticed? You can actually see it in the waveform, so I'm going to see if I can... "...watching videos of others and blowing my mind... that some people can jump so far and do all these awesome tricks." "I realize that there's no limits, all limits are inside your head." That doesn't feel quite right either. You definitely should skip ahead... because I am just making this feel good now and... yeah, you can either keep watching... because you can't reach the Skip button. So I need, I think I need this bit to be... "...all limits are inside your head." That feels a bit better, let's have a look. "People can jump so far and do all these..." Come on, computer. "...jump so far and do all these awesome tricks." "I realize that there's no limits, all limits are inside your head." That could be okay, I might change it later on when we do some... - cutting to the action, but... - "...awesome tricks..." "I realize that there's no limits." "All limits are inside your head." That will do, I feel like I've kind of got it. I hope that was useful, and not painful to watch. Probably was a little bit of both... but I do find sometimes... because I've already pre-made all these exercise files... that it seems like really easy to do... you're just like, " Ah, just add this, and do this, and it looks great." I spent ages trying to get the course material right... and mess around with music, and play with timing. Even though it's not quite right, but it's good enough for now. All right, that is it, let's get on to the next video. 113. Cutting the video to match your music in Premiere Pro: Hey everyone, we're going to do some cuts, or action... we're going to do some glitch effects, where we... let's have a little look at it first. So you can see those first two bits, we're going to do this kind of like... Jump Cut/Glitch effect, then we're going to change the cameras. I'm going to show you how to add markers, and try and match it to the music. Let's jump in. Depending on how you finished up the last video... you might have just decided to catch up and use the one that I've got. If you've got something that resembles vaguely what I'm up to just carry on. There's no-- you don't have to have it perfect... but if you did want to kind of catch up... it's in your "Exercise Files', under 'Project 5'... 'Project Files', it's called 'Picking Music'. Now it might come up and say you're missing files... and you want to go through and see if you can locate them. Remember, there's a video way at the beginning of this course... on how to re-link missing footage if it's gone. Often you only have to do one of them. What we'll also do is do a 'Save As', instead of-- we'll keep picking music... and in your 'Project Files' we'll call this 'Parkour V2'. So we've got the kind of like slow motion jump... and then goes into slow motion. Actually let's check the speed of it. Also note, if you zoom out far enough, you try and right click something... it kind of doesn't give you what you need. It's too far out, and you can only see this basic overall selection. If we zoom in a little bit... then you right click it, and you get a lot more. That might have happened to you already. So just needs to be zoomed in a little bit, let's go to 'Speed'. This one is set to 100%, which is already slow-mo. I'm going to slow it down even a little bit further, go to 80%. I just want it to be extra slow but not too far... because I don't want to be able to see the jumpy frames. That looks all right. Now I want a couple of cuts. I've got to make sure that this is kind of... where I want it to be for the first launch... because then I'm going to slice it... on different kind of Bass drops in here, let's have a listen. That seems about right. We can obviously adjust it later on, but what I'd like to do is... I'm going to kind of listen to the music, and try and work out... where there is kind of like a Bass drop, listen. There's some weird other music going on, let's figure out who's that. It must be this person. Yeah, you can see, kind of these guys appearing through. "Inside your head." Cool, so we can... we can do one or two things, basically I want to drag the back of it... and maybe fade it out. So holding 'Command' on a Mac, 'Ctrl' on a PC, just to add my keyframes. "All limits are inside your head." One, I feel like there's another one. You can kind of see it in the Timeline there. So I'm going to have nothing selected, and go 'M'... and I'll show you a little shortcut... watch this, I can hit 'Spacebar' and just tap 'M'. So I've got nothing selected, clicked off... and I'm going to go back and just tap 'M' a couple of times on my keyboard... and it will do it as it plays, let's have a look. "It's all inside your head." So I just tapped those as it went through. They're probably not going to be perfect... but it's a good place to get started, these little markers... because what I'd like to do is do a little-- it's called a Jump Cut. It's a mixture of a Jump Cut and a kind of a Glitch effect... where I want to slice out a bit, you saw at the beginning there. So what I'm going to do is grab my 'C' on my keyboard... I'm going to cut it, and what I want to do is... let's just see what it looks like. Back to my 'V' key to kind of drag this up a little bit... and then snap it back, just move, remove the sections, let's have a look. It's not big enough, so I'm going to drag a big chunk out, more, drag along. Watch. That's the kind of thing I want, so I want to go... kind of like lurching through the air; you normally do things like this... kind of like jump cuts to either show passing of time... and ours is kind of more of an effect than it is a proper transition. So 'C' key for my little slice. I'm going to grab my 'V' key. Drag it along, a chunk, to get the same kind of timing as before. Just see how this feels. There you go, seems all right. If you get it wrong, which you will, you won't get it to the right timing... is you just spend a little bit of time dragging this back and forth... dragging that out, dragging this bit out. The Snap key at the moment is actually becoming quite difficult. So we looked at how to turn it off before, the 'S' key on your keyboard... where is it, up here, let's click in here, where is Snap? Snap to Timeline is, there it is there, so under 'Sequence'... 'Snap to Timeline', sometimes I only know the shortcut. The 'S' key, it's off at the moment. So it means that when I drag this it's not going to try and snap to that. Just remember how to turn it back on, remember the S key. I liked my jumping, I got it, like, that was total fluke... I feel like I got those two beat changes. There's another one there. What I might do for this one is actually switch to the next shot. So these things here are basically just Jump Cuts. Next one we're going to do is a called Cut to Action. So we're going to switch to when he's actually on the other side. So there's two cameras, there's somebody... you can kind of see him down here, is that the person? No, this is that. There's somebody just off screen here... where they've recorded the other side. So basically at this cut I'm going to drag him up... and I'm going to add my other bit of footage. So it's in here, so under 'Footage'... and, where is it, there's one called 'Superman Grass'. So I'm going to double click it, I don't want the audio... so I'm just going to drag-- let's do a little pre-edit. My poor little computer is not really handling this. You can see, it's getting bigger in here, a little bit more complex. We're playing around with the speed, which it doesn't like. Mainly for me though, my computer is recording this for you... which is stressing it out. So basically kind of where I feel-- because his hat falls off about there. Let's have a look over here. Kind of looking for the same kind of part, we'll have to mess around with that bit in. Oh, I've got the Timeline selected so I'm going to undo that. I have my Source Window selected, so the in point... so he's going to do his little roll, and I'm going to move on. In this particular video we're not going to go any further than this... we're just doing this first chunk. So that will work for me, set this on here. Probably what I want to do as well is, let's play around with the timing of this. So zoom out a little bit, right click it. Speed Duration, I'm going to speed it right up. Actually I'm not even sure, I can't remember what I picked. I'm not going to go back into full... like 50%, remember, will get us back to like real life... but I still want it to be faster... but not maybe 100% because I still like the matrix-ey effect. Let's have a little listen. Yeah, that'd be kind of cool, right? You can keep rolling on for this. Then we move into our next shot, I imagine... but that's all we're going to do for the moment. So this one here, if you know the name of this kind of cut... where we just kind of do this... the slow-mo transition is kind of cool... but this kind of-- it's like a Glitch effect/Jump Cut. I don't know what the official name for that one is... but this one here is definitely a cut on action... because we are cutting from this bit of action to that bit of action. It's the same thing, but different cameras. It's pretty cool, like a little transition, right? To get yours something like mine, it doesn't have to be perfect... you might find a different way of doing it. Again, just kind of showing you my process... so you get an idea of how to do some of these things. All right, let's get into the next video. 114. How to clean up your timeline in Premiere Pro: Hi everyone, just a little short video on tidying up our Timeline. We're going to go from this messy thing we've created, to this; beautiful. Deleting all the unused tracks and just shrinking down the audio. Just to make it a little bit more manageable... let me show you how. Just a little Segway; Segway is the word? I don't know. A little extra thing, just to get us reset... because our Timeline is starting to look pretty messy, right? Remember the Tilde key or the Grave key. Got lots of audio tracks, some of them we don't need... video tracks we don't need. Some are big, some of them are small. It's just a nice way of now and again to go... let's reset, it's getting looking pretty. So what we're going to do is, first of all... delete the audio tracks that I don't want, these two. Now let's decide -- I've decided I don't want those, so I'm getting rid of them. I've got a Saved As version from earlier, so I can go back to it if I need to. I've got these empty tracks though. To clear up the empty tracks you need to right click on this side... kind of near, where this is, just anywhere in this empty area, it's a bit weird. Not that side, this side. So you right click, go in this one that says... look for the one that says Delete Tracks, with an S. Delete track will kind of do what it sounds like, you might want that... but you can right click any of these tracks... and go to the one that says 'Delete Tracks', with an S... and there's this other option to say delete all empty audio tracks... and video tracks, let's click 'OK'. Just kind of tidies it up. You can add them back by right clicking and saying 'Add Track'. Just a nice way of tidying things up. The other thing you can do is go up to this little spanner. It doesn't really matter if you're in the big view or the small view... but go into here and just say, let's just 'Minimize All Tracks'... and just tidy everything up, look at that. We'll make the things bigger, that we need, and things smaller if we need them... but anyway that's our little, kind of-- added a little bit. If you want to get rid of these markers... we can go up to 'Markers', and let's just go and 'Clear All Markers'. Where is it? 'Clear All Markers', because I don't need them anymore. That was just a good helpful, getting started bit, to try and time the music. All right, that's it, you'll learn to get back to work. Just a little tidy up exercise, back to work. 115. Introduction to B-roll & how to add it to our video in Premiere: Hey everyone, it's B-roll time, we've talked about it before... but in this one we'll go into a touch more detail... because what I want to do is I've got this kind of first visionary look... looking at the city, close-ups, and then I kind of just jump into the street... and what I want to do is have something to help carry the transition across... between those two spaces I'm going to use clouds. So we're going to try and tie it together. We're going to slow down the clouds... we're going to color correct it a little bit to try and blend it in. We'll talk about places to get inspiration for B-roll. We'll talk about what B-roll is, again, let's jump in. So just a quick recap, B-roll is not your A-roll. A-roll is the main focus of the film, so at the interview, let's say, or... yeah, the kind of the main focus of it. B-roll is any kind of thing that supports it or just supplemented to it. It's not absolutely essential for the course. It just helps make a cohesive story. A pretty good example of this is... the "Miss Donut." Let's have a little look at the interview, so this is the main-- "We work, well we live and work here on Maui." "We opened our store about seven months ago." So there's an interview, her discussing lots of things... she's asked lots of questions... but then the final edit, which is not my edit... let's have a listen, it's the same kind of dialogue... but let's have a look at the video. "I'm Madame Donut, and I own Donut Dynamite, with my husband." "Well, we live and work here on Maui." "We opened our store about seven months ago, in the town of Waikuku." So you can see, it is-- the interview's underlying it... and they do cut back and forth from the interview throughout this... but there is a ton of B-roll. I'm just kind of scrubbing through it so you can see it... but that's happening all the way through it... but then they cut out to this supportive material B-roll. So in this case it helps tell the story. I use it quite often to cut out my bad edits. So I'll be trying to do a whole length of dialogue... and I'll just mess it up. -"Absolutely... - Watch and work our way through step-by-step." "We'll start with the techniques that you'll need..." So instead of having a really bad cut where I kind of go "um"... I cut out the um, instead of doing another cut... I just put it over the top of... kind of an example of what we're doing. Here's another example, so me talking, always great faces. So me talking. "...on mobile, on tablet, and on desktop." - "We'll build four sites..." - See there, I just cut to... like I drew this on my book to kind of have some B-roll to go over the top of it. So I shot my own B-roll, I am not good at B-roll... and I really want to get better at it. In terms of inspiration for B-roll... check out-- the two people that I'm trying to kind of lift my game with... is a guy named Peter McKinnon... and Daniel Schiffer. Both of these guys, they seem to know each other... but their B-roll is amazing... and I just want to take some time out soon and kind of-- this one is a B-roll challenge that Peter did. You can see, it's kind of telling the story about-- around where he lives. B-roll. Same with Daniel, he... Wow's this. So go check out them, they've got lots of stuff on YouTube. I've got links in your Links to both of the YouTube channels. Go subscribe to both of them, tell them Dan Scott sent you... and let's talk about the reason why we have B-roll in this particular exercises. Mainly because there's a weird transition between this guy... doing the whole looking at the city, thinking thing, to him walking. I want there to be a bit of a better transition across. Some sort of passing of time because he just kind of appears on the street. The reason we're doing it is we don't... we're going to go out and find our own B-roll... which is not ideal. We're just one of those projects where we need to find some of our own... because this particular... we just don't have much footage in our cut down version. So in our-- where is it, Exercise Files, we just don't have a lot. There wasn't a lot taken of actual B-roll. There's a lot of him jumping around, which is cool... but not a lot of actual B-roll. So in here, you can see, we've only got a few, not a lot. There's some walking B-roll, which is cool, we've already used it... as opposed to, let's see this, the Madame Donut one... check out the B-roll in this one, we've looked at it before but look at... Part 2 B-roll, look at that. That's just one of the sections of B-roll. So yay for them. We had so much good stuff to go through and edit this one with. So yeah, some projects will come with lots of B-roll... some will come with very little. Because we don't have a lot of B-roll, remember... and we-- I still want to find some... we're going to have to find something generic. What I did was, decided on some clouds. He's kind of like looking up at the clouds, and he's walking. Bit of a connection between them. Clouds are easy because nobody can really tell... if it was shot on the same day or a different day, at the same place. I went through and found a bit of clouds that... kind of resembled what was going on. I was looking at kind of the scenes in here... to make sure the day wasn't too different... and then grab these, like he was looking straight up. I downloaded it, and I've got it ready in your exercise files. It's actually-- you should have already imported it. It's under Footage, and it's this one here. So I want to open up a gap. I don't want to mess with my timing... because I spent a lot of time in getting the music going over here. So what I'm going to do is, this Lamp 4 for me, is particularly long. So you're working on your own one... just find a space in here that's not the jump... because we spend a bit of time trying to time that. So I've got my clouds, what I'm going to do is I'm going to need another-- what can I do? It's going to be easiest to add another track... so that we can match it up and then sneak it in. So we're going to right click anywhere on this right hand side here... we're going to say 'Add Track'. Make sure we're doing it for the video side... and then I'm going to go, you... and I'm just going to trim it up. So I'm going to slide along, make sure my S key is snapping. I've turned mine off in the last video, remember. So if you want-- it's not snapping anymore, tap the 'S' key... and that's just kind of how I'm going to go. - "...blowing my mind that some people can jump so far." - Awesome. Couple of other things, I want to match it a little bit nicer... the clouds are probably moving too fast. I want to kind of retain the slow-mo that's going on in this first bit. So I'm just going to slow it down, I'm going to lift it out of the track. So when I mess around with it, so right clicking it, 'Speed Duration'... it's maybe half the speed. It's going to get longer. I'm just going to tuck it up at the end there. Not particularly worried about what's actually on screen, let's have a look. - "...blowing my mind that some people can..." - Nice. The other thing is, is that it's quite different in terms of the light. So this one here I'm going to have to select on it... and try and Color Match, or Color Correct... for these other videos, so I'm going to select on it. You might just find that there are actually... a different part of-- there's quite a long clip... actually, now it's all very similar. I forget that. Let's have a look at some color correction. So 'Basic Correction' under 'Lumetri Color', I'm going to go... start at the bottom and just kind of try and match it up. Really needs to get brighter. I bet you Exposure is going to be the best one for this one. It feels like a better... blend across them. We're going to use some Luts at the moment to kind of... put something across of them all... to try and tie this one with this one, with this one. Get them kind of close... but then we're going to use some sort of creative Lut or Look... to kind of blend them together. So a quick little look at the clouds... let's turn the Basic Correction 'on' and 'off'. That works for me, but let's go and try and tie them together with a Lut or Look... if you remember what those are. We'll do that in the next video, let's go. 116. Color Grading with downloaded LUTs in Premiere Pro: Hey everyone, we are jumping back into Luts and Looks. To recap it and to show you how we can use it... to blend in some footage, the one we have... that's not really part of this whole scene... plus lots of these bits of footage. They're all shot at different times of the day. So we want to add a bit of consistency. So that's before, that's after. We'll look at some free ones and we'll look at some paid options for Luts. Look up tables, let's get in there. So great use of our Lut or Look... is to try and blend in, like this B-roll that didn't come from the same scene... and to be honest, like the whole thing is a bit-- the lighting changed quite dramatically throughout the day while they were filming. So there's a lot of bits that we need to kind of stitch together... to try and add consistency... because we're kind of starting with the sun setting, and then... jumping to when it's kind of a lot earlier in the day. So a Lut's going to fix that. Let's do a couple of things. I want to show you a little shortcut, oh, not a shortcut, a tip. Watch this, if I make it bigger nothing really happens... but watch when I make it a bit bigger... oh, a little bit bigger, you can see the thumbnails appear. That can be really handy when you are just trying... to jump through the Timeline and just work out where you're at... because I keep forgetting where the clouds are; so there it is. The other thing we're going to do is... we're going to apply our Lut to an Adjustment Layer... because we are good like that, you have to cut that bit up. So we do it, click on the little-- make sure you're on your Project Window. Go to the turned up page, we're going to make a new Adjustment Layer. We're going to click 'OK'. We're going to leave it, called Adjustment Layer. I'm going to apply this over the top and stretch it out. Now you'll find, working with Adjustment Layers... when I move my arrow, can you see... it actually selects the next thing underneath it. So you got to be very specific and select your Adjustment Layer... otherwise it's not going to work. We'll do it to this first bit just to see it. So with Adjustment Layer selected... We're going to install our Lut. You can do it, the official way is under 'Basic Correction'... you install it here, click 'Browse'. I like to install it under 'Creative'... and put it with the Looks, they're the same thing. The difference here is I can play with the intensity, which I like. So I'm going to go into here, I'm going to click 'Browse'... and I've downloaded some for us, so just went to the internet, went... "free instagram luts." I know I use that word free too much, I'll talk about a paid one at the end... but let's have a look, under 'Parkour', let's look under 'Graphics'... and pick one of them, and click 'Open'. You kind of see it applied there, I can play around, it's called Hefe... I can lower it down, raise it up. You don't see it in the thumbnail, if you're wondering why... it's because Luts aren't meant to go in here really, they work just fine though. So you can decide on how much you want... and because it's covering everything, everything should... get this kind of consistency across it all to tie it all together... which is really nice. It's probably a little bit high... I'll go back to the 100 that it was set at, seems to look nice. One thing to note about Luts and Looks is you can... only have one in it at a time, which is really weird. So if I want to go through and pick a different one... I have to kick Hefe, and put in Hudson. So it's kind of one loads at a time, you can see, Hefe's gone... which is a real big pain. This might be-- in the future this is a request that a lot of people have asked... Premiere Pro for, and there is a way of kind of... putting in more than one, there's a bit of a hack but it's way too hacky... like mixing with the code... but they might actually just turn into a feature in the future... which I believe they probably will. I'm going to go back to Hefe because I liked it. The other thing to note is that Hefe will only be around for this project. If I save and close it and open up a different project... it's not going to have Hefe in there. There is another hack to kind of make it persistent through all projects... but again, hopefully just be a feature that Premiere Pro releases soon. Now in terms of paid Luts and Looks... you are going to find a lot more Luts around because it's more generic. Goes into lots of different programs, not just Premiere Pro... whereas the Looks, which is essentially the same thing... but the word that Premiere Pro uses, it's more specific for Premiere Pro. You can look at things like elements as part of their subscription... they've got lots of Luts. Luts, and Travel maker Luts. The cool thing about having something like this is you can click on them... and kind of preview them, and watch the little video generally... This one doesn't have a little video... kind of has them over here, you can kind of see... rather than having to load them all in, go to Browse and load them all in... you can kind of get a sense of what you might use. Another place you'll find Luts is... often videographers, famous people on YouTube that talk about film... they will have their own Luts... like this guy here, Peter McKinnon, we talked about him earlier... I've made a link for you at bringyourownlaptop.com/peter.. and no referrals or anything here, just, I like... his style, and I like his Lut pack. It was 15 bucks, I use it a bit. The big thing to remember though, with these Luts, from anybody... is that they will make a good footage great... but if you've got bad footage it's going to make it less bad... but it's not going to bump it up to great. So it depends on what you're starting with, depending on the effects of some of these. If you do go visit Peter, let him know that I sent you because... mainly because I'm a fan boy... and I want to do something with him professionally one day. I'm not sure why I added professionally... what else I'm going to do with him... maybe I'll give him a kiss, just on the cheek though. Anyway let's look at what we've used our Lut for. We've used it here to add a bit of consistency... across all the different shooting times... and because we've mixed up the time... we've put stuff before, this was shot at the end of the day... this was shot obviously earlier in the day, we can tie it all together... plus our random clouds fit in there a bit better. One last thing, I can't help myself... let's click on the 'Adjustment Layer', don't judge me, let's go to 'Vignette'. This also ties together the different screens... our different shots, because... you can see I’ve added a black border on the outside to this, and to this... and also out of just interest you might notice that... it affects the dark parts a lot more than the light parts. Have a look at, see this one here... you can't really see the vignette on the white stuff... but it affects it quite heavily on the darker parts... it's just part of the vignette. And I'm going to pretend like it adds consistency across them all... but really I just want to do vignette. All right, that's enough, oh, one last thing, lots of last things. If you can do the effects on and off, to see where we ended up... because we've done stuff with vignette and creative... and basic and color correction, potentially... you can't-- you can turn them on, all individually on and off... but it's often easy just click on the 'Effects' button... and it will turn everything that you've done in here off. All right, now that's completely it. Kids don't do vignette; see you in the next video. 117. Cinematic Bars Letterbox cinema effect envelope in Premiere Pro: "When I first started..." Hey everyone, this video, I am going to show you... how to put these black bars, top and bottom. They're totally fake, they are just here to add a little bit of cinema effect. Some people call it black bars, letterbox, the envelope, cinematic bars. I think I've already called it that... but they are just black boxes that go into the top and the bottom. Purists hate them, because it's fake, it's not real cinema, so be careful... but because it's just me and you... I give you full permission to play around with them. If you don't tell anybody about my vignettes... I will not tell them about your black bars. Let's jump in and I'll show you how to make them. So we're going to need a new layer, or a new track. So I'm going to right click anywhere... in this kind of random dark space over here, 'Add Track'. We're going to find our Essential Graphics panel. If you can't find it, 'Essential Graphics'... and with nothing selected, just click anywhere... hit the little turned up page, click 'Rectangle'... and we want to snap it to the top. Make sure it's set to 'Pin to Video Frame'... so that when we do, like align it to the top, it snaps to the top... and then just drag it out so it covers, at least goes out the sides there. How big should it be? There's some actual Math you can do... to get kind of a real mock, but there's more than one size. I'll talk about why they're there in a second. Let's just jump in and actually make them. So I figure, if we're faking them we can fake them any size we like... but there is some Math to work out the official sizes. What I want to do is make sure it's not too big... because I don't want to have to re-crop too much of my footage. So I've got this one, I'm going to duplicate it... right click it, 'Duplicate', so I've got two of them. This one here is going to snap to the bottom... and there's my black bars. I'm going to make sure it covers the entire film... - and there's some... "...blowing my mind that some people can... - "... jump so far." - Cool, huh? Adds a really cool effect. Now just remember, like I said at the beginning, you'll get in trouble... like there is so many websites saying... "Do not do this, stop adding black bars."... but if your output is YouTube there's nothing really stopping you... and it's effect, so many things are effects... but if you're at a conference with other videographers... you don't mention the black bars. Let's talk about why they're there in the first place. So a cinema is just a different size screen. So most cinema screens are a different ratio. There are these kind of crazy, there it is. It is 2.35 : 1, I should know that off by heart... but it's really wide, you can tell your TV is not that shape. So when it gets onto your TV... that's it at the cinema, and this is what it ends up looking like in your TV... because there's none of this area. Now the other thing to note is that... they don't just crop it themselves, they shoot on cameras... using special cameras and lenses... to be able to capture that really wide cinema style footage... and you might be working in that industry... but for me I end up with lots of stuff... that's stock library from online, stuff I've shopped myself for my camera... so I add black bars. One thing though with the black bars... is that you are cropping, there's stuff underneath it... but it's best to probably add these. If you do plan on doing it, do it right at the beginning... because you are adding it at the end... you might have to reposition lots of videos... and it's easy to do once you're kind of doing your rough cut. So in here you might decide, actually, with this selected... 'Effects Controls', 'Position'... I'm going to just drag it down a little bit, for that whole video... just so that, that part's in there, because you just... yeah, you might as well throw them in the beginning... so that you are editing for the right composition. So that is cinema bars, or the cinema effect... or the letterbox, the envelope, or the black bars, the fake black boxes... whatever you want to call it. They look cool, I give you permission to use them... but note that if I do see you out in public... and you point at me and say... "Hey, there's that guy, there's Dan... he said I could use black bars in all my footage"... I will deny it, 100 flat deny that I said that. So just be aware it does offend some people, not me though. - That' awesome... - "...blow my mind that some people can jump so far." All right, I'll see you in the next video. "I realized that... 118. Class Project 9 – Parkour: You're like, gulp, it's the video with the orange writing in the Word doc. "He's going to make us do a class project." Yes, I am. We've got to a nice place in terms of the tools to learn... in that Parkour kind of commercial/documentary... and I want you to take it further, so let's just scrap what we've got so far. You can continue on with it if you've kind of modified it. but if you're following it exactly like mine... let's make a new project, because we want everyone's to be slightly different, right? These are things we can use for our portfolio. So a new project, import all the footage that we have. You don't have to use it all... and remember, if you want to get the full set of footage... you got to go to Edit Stock... but you can just use what's in this course, you don't have to go out and buy anything. You have to edit the interview. Now we interview-- you notice how... instantly I went and changed the kind of order of the interview. You can do the same, let's get that kind of done first... generally helps me, it's up to you. Now I'm going to give you some specifics to do... but I really want you to look at this job and go... "How can I make this a little bit different?" It doesn't have to be-- like you're not being hired by the client. You get a little bit of scope to do some... doesn't even have to be crazy, it can be sensible. Maybe just a different angle, I've gone for like... quite a, I don't know, there was that big kind of like drop of the base line. You might go be something different, just have a little think about what... just have a little thing about what you might do... like what you could bring to it to make it a little bit... strange, or unique, or different, because we get to play... because it's just practice. I want to be prescriptive about a few little things to be in there. So you need to add text. There's an, Above All is the company really that hired the filmmaker to make this. So we need either the beginning or the end. In your 'Exercise Files', in 'Project 5', under 'Graphics' is their 'Logo'. There's a couple of options that the company uses. So include those somewhere in there... big, small, beginning, end, lower thirds to practice that. I want them to be animated. That's the guy's name, and he is a Parkour Athlete at Above All. So you choose your music. In terms of B-roll I want you to use, find something else to use. You can use the clouds as well, but I want to find you-- see if you can sneakily work in your own fake B-roll footage. You might shoot it yourself... you might get it from a free website or a stock video website. Everyone's going to be reviewing each other's... and we'll be able to see when that footage is... if we can spot it, so see if you can integrate it in. Color grading will help with that, integrating it in, give it a look. Make sure that it ends with that... Edit Stock video, where is it? It's under 'Footage', it's this last one here. It's called z-- mine's not ordered by name, there it is there, zEnd Credit. That really needs to go at the end. Thank you, Edit Stock, for sharing, and when you are ready to share... describe what you've done, be interesting to see... how you did it, things you fixed and adjusted... problems you had, same as the last one. Make sure you review other people's work, just see what they did... and comment on their work... we're looking for a bit of community spirit. Comments, high fives, "That's really amazing," or... I think, me, you know, if it was me I'd try and do this a little better. Make sure the tone is right in terms of criticisms. We all want to get better but we don't want to make each other cry. Same thing as before, upload a link, either way you want to... and make sure you share it online. I'd love to see what you guys are making using the #premierepro. Drop it into the Facebook or LinkedIn group... Twitter or Instagram, do them all. All right, that is your project. Yeah, I will see you once you've finished; bye now. 119. Getting started making a how to video in Premiere Pro: Hey everyone, this next section, we're onto a new one... is, we're going to start looking at how-to videos... specifically screen recordings. So things like-- I do a lot of them, obviously... I show people how to use software. So I record the screen, kind of do how-to videos. Yours might be something like how to use my website... or how to use this government agency's website to upload files to the system... or something like that, some sort of how-to video... specifically around screen recording. Now, if you are thinking, "I'm not doing that," don't skip it. I've said it a few times, because we cover lots of things in here... that will apply to the general kind of video editing world... whole frames and green screens, and all sorts of zooming and moving. So we're going to get really good at keyframing and moving things around. Another thing that I want to mention is that... Premiere Pro is like a Swiss Army knife. It does an amazing amount of things for video... in terms of the whole screen recording, it doesn't do the screen recording part. I'll give you a quick demo, this is not like how to do a screen recording. You'll have to Google that, "how to record my screen". I'm going to give you a teeny tiny hint into it. We're going to do more-- focus more on the editing of it. This also brings up another point, that Premiere Pro is... kind of a, the Swiss Army tool, does lots of things... and in terms of screen recording editing it's not specifically designed for it. So it's a little bit clunky, clunky is not the word. There are other specific bits of software... that focus purely on recording and editing screen, recordings... and that's what I've ended up using because they do so many of them. So I use something called Camtasia. Check out the link in your Links folder. it's bringyourownlaptop.com/camtasia It's a paid product. You have to be doing this pretty all the time to want to go out to Camtasia. Even me, I'm using this other bit of software... I have to combine it in Premiere Pro... with this kind of, like live head talking stuff. I fix all the audio in Premiere Pro. We're going to assume the rest of this section. You're not using any other software... we're just going to use Premiere Pro to do everything... and it does it-- does it perfect. That is it, I'm going to play the final product... that we're going to be actually creating. It's just a mock product I've made for you guys... just so that we can test our skills, I'm going to play that now. Actually instead of actually just playing the whole thing I wanted to talk over it... because we'll do a bit of talking head stuff which we've done before... but then we'll cut to our screencast... and the thing is, with this screencast it will have a dialog. We zoom in, but we kind of move around... can you kind of see the keyframes down here... so that we can really show how good this tutorial is. We're going to mix 4K with HD... so the headshot is shot in HD, this is shot in UHD... so that we can zoom in and get it really crisp and clear. I'm going to show you how to do voice overs. I know there's this random guy that I have mentioned. We're going to pretend-- we're going to do green screen with him... and pretend that's me talking... and he's going to kind of narrate... anyway, he's going to talk down the bottom here... it's just a for instance... he doesn't actually match my voice. We'll show you how to freeze frame and kind of do interesting things... plus you'll learn how to mask a pug, very important skill to have. So that's going to be our how to screencast video, that we're going to make. Let's jump in and start making it. 120. How to record screen capture for Premiere Pro: Hey, let's talk about how to get your screen recording. This course is focused on what to do with it afterwards, in video editing... but I guess I want to just give you a little head start... if you are getting in down that kind of route of how-to videos. Basically you need to-- the short answer is... just Google "how to record my screen on my..." Mac, is either Camtasia or QuickTime. I'll give you a quick QuickTime demo in a second... because it's quick and easy, and it's already installed on a Mac. On a PC... I have friends that record all their how-to videos on PCs... and they're either using CamStudio, OBS Studio, or Shortcut. I'll leave links in the Links folder... or the Word doc that I've got in your Exercise folder for those. There's just so many different ways of capturing it... like on an iPad, or an iPhone, or Android... I just, I do various captures on those... and I just go to the App stores and just Google "screen recording software"... and pick the one that's free, and has the most stars... that's generally how I gather it. Let me give you a quick demo of the QuickTime one while we're here... and then we'll get into actually doing some editing. Let's talk about screen recording on a Mac. You're going to use something called QuickTime... you can either go to your finder, have nothing selected... and go to 'Go', go to 'Applications'. You'll find QuickTime in there... or often I just use my quick launch... go to 'Command-space bar', and just type in "quick"... and it should be the top result, just click 'Enter'. QuickTime wants to open a video... you're like, "No, I don't want you to open a video." I'd like you to go to 'File'... I'd like you to go to 'New Screen Recording'. Nice and simple. Down the bottom here I want to record the entire screen. You can just do a little bit, pick the microphone. Now you might be doing voice over later on so you can pick 'None'. That's one thing Premiere Pro does do, it will record your voice... so you can voice over this later on, which we'll do... but I'm going to record using my microphone... I'm going to get to save to the desktop when it's finished. You can set a little timer so it's a little bit clearer... and you can show mouse clicks, it's pretty cool. So I'm going to click 'Record', '5 seconds'... it's going to do a little timer down here... and it's going to start recording; all the pressure. So this is my screen recording. It's going to be about how clean my desktop is, and you're thinking... "Does he just dump it all in a big folder like everyone does?," let's have a look. Does everybody have this folder, 2B Sorted... and if you're really unlucky you might have 2B unsorted 3, 4, 5... and then when somebody's looking, you just dump all your files in there. Do I do that? I'm not telling you... because that's going to be the end of my screen recording. And to stop it you hit that button there. Now on my version of Mac, this-- you need to leave that alone for a minute... and it will appear on the desktop, that's annoying. Wait, wait, wait, there it goes. So now I've got a little QuickTime video, I can double click and hit 'Play'. It's inception, where it's playing the video, plus my microphone... and now that file is ready to come into Premiere Pro, so I can start editing. So whether you've recorded it on something using a PC, your iPhone, your iPad... or on a Mac... let's say you've done the recording... and we're going to start editing it now in Premiere Pro. All right, I'll see you in the next video. 121. Combining live video with screen recordings in Premiere: Hey everyone, in this video we are going to create a new project. We are going to combine our Talking Head and our Screencast. One is HD, and one is 4K UHD. So we're going to scale one of them up, or one of them down. We'll do some basic audio correction and color correction. Great face, Dan; let's get started. To get started let's go to 'File', 'New Project'... or click the button, we're going to give ours a name. We're going to call ours 'Pug Photoshop Tutorial V1'. I'm going to stick mine in my 'Exercise Files'. I'm going to put it in 'Project6-Screencast'. I'll put it in the 'Project Files'. Cool, let's click 'OK'. Now for whatever reason... my workspace is set back to the kind of default essentials. So we're going to go to 'Window', 'Workspaces'... and go to the one called 'Unicorn'. You might be able to see yours along the top there... but let's go to 'Window', 'Workspaces', 'Unicorn'. That was just over there, wasn't it, okay, but we're already set up. We're going to import our footage, so let's double click this area here. Let's go into our 'Exercise Files', 'Project 6'. I want to bring in the 'Audio', 'Footage', and the 'Graphics'. Those three are bins. One of the files is a Photoshop document with layers. I'm just going to say 'Import' them all as just one merged layer... that's what I want for the moment. So now I have kind of two parts... there's a part, well, there's a few different footage... but let's have a look at these two Pug options. I'm going to order mine, but instead of by Frame Rate, by 'Name'. So I've got 'Pug Screen Recording', which is basically me doing the tutorial. You can have a little watch through that, you should. Get familiar with the footage... it's a bit ridiculous, just me, doing the example. Also have a look through Pug Talking Head now. Just pause the video, have a listen to both of those... especially the Talking Head... because there's a couple of different versions in there. We need to kind of resolve into the best one. Hopefully you've paused it, and you're back. So we got both of those. The thing is, with those two, is that if I scroll along here... so Pug Screen Recording, and this one here, if I scroll along... one of them is 4K, or in our case, it's UHD... and one of them is shot at HD. So you got to decide... "Am I going to go 4K editing, or am I going to stick to HD?" So one of them has to be stretched. In my recordings, often I will stay at the 4K... mainly because there's a lot of quality... in these frame recordings that you're watching right now... that you might appreciate, when I zoom in you can actually see stuff. So I'll get the editor to zoom in now. Okay, all clean in crisp letters. Lot of other tutorials online, people are using HD... and when you zoom in, just doesn't look as good. So what I'm going to do is, start... I'm going to base my sequence off this high quality version... and I'm unfortunately going to scale my Talking Head up. It's going to look a little bit crappy, but... I don't have a fancy enough camera to shoot 4K... and I'm not prepared to go and buy one just yet. Just makes everything hard. So we're going to right click our 'Pug Screen Recording'. Right click it, let's make a 'New Sequence From Clip'. Let's give it a name, it's going to be the same as our... same as our kind of project... I'm just going to call it 'Pug Photoshop Tutorial V1'. There it is down there. It's not terribly long, I'll just keep that nice and short for us... but what I want to do is, in front of this, I want to put my Talking Head in. Now what I want to do is, I-- you probably had a look at it, and there's a couple of different versions. So what I'm going to do is do some pre-editing. Some rough cuts up here in the Source Monitor. So I'm going to double click the 'Pug Talking Head'. Not the words, because that renames it, double click the icon. In here I'm going to-- I'll show you what I do, so I hit this... and I can tell I did a clap there. Hang on, block your ears, there's going to be some loud clapping. So you can see where I felt like I got a good take. So basically I go like this, then I go back to the next big chunk... and then, watch it. "Do you, like millions around the world... wish there was a better way to mask your pug in Photoshop." "Well, good news; I've got a tutorial for you." That's going to be good enough. You might like one of the other ones, that doesn't matter for this tutorial. So pick the one that you liked through it. So I'm going to go back to 'Audio', because it's easy to find the beginning. Back to 'Video', and I'm going to use my left and right arrow... just to get the-- so I can find where I begin. That seems like a good enough spot, hit 'I' on my keyboard. I'm going to hit 'L' a couple of times. "Millions around the world wish... they had a better way to mask your pug in Photoshop." "Well, good news; I've got a tutorial for you." Okay, so... I like how I look off to the side... so as soon as I make the little eye switch... about there, that seems like the end of it. So I'm going to grab that, I want the audio and the video. So I'm going to grab just the center of this. I'm going to move you along, going to grab you, drag you in. And just see where this goes, we're going to start doing a rough cut. Actually, before I do that I'm going to scale it up. So I'm going to right click it. Remember, you remember now, it's 'Set to Frame Size', and... "Do you? Like millions around the world... wish there was a better way to mask your pug in Photoshop." "Well, good news; I've got a tutorial for you." Let's do a rough cut for this one as well, so-- It's pretty easy to do this one... because you just need to jam it right up to the... wherever the waveform starts, we're going to drag it down. So, there's probably going to be a little bit of a pause. I click this, delete it, backslash ' \ ' key, so it all fits in. - All right, this is... - "Good for you." There's a bit of a long-- too long there. So this is not rough cut anymore... I'm jumping straight into, like a final edit. - Don't do that, Dan, just wait, just get it roughly in there. - "... my tutorial." That's the end of that one, 'C' key for the cut, oh, for the Razor Tool. 'V' key to select. That's kind of the basics done. Next thing I will do is do audio correction and color correction. You've done that before, so if you're in a hurry in this course... you can't be, because you're at like a hundred and something video... but if you are, you can just skip ahead... I'm just going to show you what I want to do... because it's very obvious... just seems to be a difference between the two. I'm going to go to 'Essential Sounds', 'Dialogue'... I've selected both of them by just dragging a box around them both. Loudness, Auto Match. Try and balance him out a little bit, that one came down, that one went up. Let's have a little listen. "...tutorial for you. All right, this is the pug..." - Now, I lower my... - "Well, good news, I've got my..." I lower my voice here, and it doesn't match... but I think I do that on purpose. - "...to have forbidden drama." - So I'm going to leave that. Let's do color correction, let's get our Playhead to a great spot. Great face, Dan. Let's go to Essential Graphics, no, Lumetri Color. I'm going to do 'Basic Correction', and I'm going to cheat, just hit 'Auto'. It's pretty nice. Do I want to do more? Probably should, but... don't do it, don't do it. A little bit. I never do it on this stuff, I promise, just on this stuff. So we have got that done, that done. We should do a transition, I'm not going to... you'll notice, in my tutorials I just do, just a hard straight cut. So transition of sorts, but really just cutting and starting the next one. So that's our tutorial, kind of ready to move on... to the zooming in and out, throughout the screencast. So let's do that in the next video. 122. Zooming in to a screencast recording in Premiere: Hey everyone, in this video we're going to do... lots of zooming around to our tutorial. Moving a bit, zooming out, resetting, lots of keyframes... and if you might be a little freaked out by the layout... don't worry, we just reset this to be helpful. If you're like, "Oh man, that looks way too hard"... don't skip the video, it's just a reordering of the workspace. It's meant to be helpful, you don't have to do it... but we're going to learn all the tricks and tips for zooming in and out... moving around footage in Premiere Pro. Let's get going. First up let's make sure it's proper... let's get our sequence outside of our footage... and at the beginning here we don't need to do anything. It's when it starts in here, whenever I start doing a screen recording... doesn't matter really what I'm going to do next... is I make sure there's an establishing shot... which just kind of shows you the whole screen. So when we do zoom in you know exactly where you're at. So let's get a listen to it. "All right, this is the pug in question." "Let's remove the background and mask them out." - "First thing... - I'm waving my mouse around... waving a mouse around is a no-no as well, I do it less... but I still wave it around, you can see... it's zig-zagging all the way around, be a bit more precise. So we're going to move down at... mine's a little different from yours, about 14 seconds 17 frames. Basically when the mouse moves over down here... we're going to, just before that so we're going to go back a little bit. I'm going to start zooming in; why just before? Is because we need to set our keyframes so we need to go 'Effects Controls'... make sure our 'Pug Screen Recording mp4' is selected. Now even if you're not changing the Scale or Position... it's just a habit just to get into doing both of them. So that kind of sets it there, so I want it to stay exactly where it is... and then in a little bit I want to zoom in down here. So I'm going to zoom in, I'm reluctant to use the Scale and Position in here. I do a bit of both, I lie. When you're new it's better to probably... just do it over here by dragging these things. What we also want to do is maybe go from Fit, down to 25%... because there's going to be a lot of zooming in and seeing the edges. So what I want to do is scale it up, so I want to zoom in. I'm just dragging it to the right... and I want to drag it across. Now this is where position, you might actually... double click it to move it across. What you'll notice is that it automatically puts the next keyframes in. I'd like that actually to be turned off, I don't know how, I can't figure it out. There's no way of turning automatic keyframing off... as far as I know at the moment... if you do know, jump into the comments and let me know.. So basically it starts here... and then zooms into this, let's give it a little preview. "...the background and mask them out. First thing we need..." It's a bit fast, so you'll get the habit of how far apart this should look. - "Move the background and mask them out, first thing we need..." - Cool. That works okay, it's maybe a bit long. Still a little bit short, so I'm just dragging a box around these two... just to separate the two keyframes out a little bit... - and just get... - "Move the background and mask them out, first thing..." The biggest problem you're going to have with any animation... doesn't matter if it's... how-to videos, is automatic keyframing, I talked about it a second ago. Basically it just means, like you... say we just go on, "Ah, I want to move it around"... but we haven't noticed where our Playhead is... we just left it there, we're like, actually, just going to move it here... maybe a little above, there you go, perfect. What you've done is you've created this third keyframe, which is fine... but it's going to do this, it's going to go to this one... then that one we originally created, and then this third one. - So it's going to do this wiggle, watch. - "...the background and mask them out." "First thing we need to do is..." So, just got to be careful when you are doing this... to make sure, because you've got automatic keyframing on by default-- I'm going to undo it... and just make sure I'm right above that keyframe to make edits... and the best way to do it is to hold the 'Shift' key... while you're dragging your Playhead, it will snap right above the keyframe... then make your edit and say... "Actually, I want to be there, and I want to be a bit further in." So it's not going to generate another keyframe... because I'm at the right time. Let's have a little listen. "Let's remove the background and mask them out." "First thing we need to do is rename the background to something appropriate." - "I am lazy..." - Okay, so... it's not the best tutorial ever... but I double click it, and I don't actually tell you. "First thing we need to do is rename..." And about here is where I need to move up to the screen, so I'm going to-- Now what your tendency is... is actually just to kind of drag it over here now. It's my new keyframe, you're like, "Awesome." This is great; when did that appear? Let's go-- there it is, it appears there. You end up doing things like this... I've got all these keyframes that I don't need. So what we need to do is delete them... and about here... when it appears... appears about there, I need to move it up... and instead of just dragging it up this way... because what it's going to do is-- watch the Playhead-- watch this-- it goes across here. "...background and mask them out." - "First thing we need..." - As soon as it gets there it's going to start moving. So what we need to do, instead of kind of coming along... and just dragging it, this new keyframe... we need to do our kind of tabletop... where we pause it for a little bit and then start moving, pause a little bit. I call it a tabletop because you can look... at this view down the bottom here differently. So make sure your video is nice and high, this can-- this is-- I'll give you a few tricks for doing screen casting. So make this bigger so you can see the thumbnails. Also right click in here and say, 'Show Clip Keyframes'... 'Motion', and we'll use 'Position' or 'Scale'. What it will do is show you the little tabletops... that's why I call them tabletops. So it's paused, it's doing something between these two... and then we need it to pause for a while again... and for how long? We'll set our keyframes... because I want this to be exactly the same as these. So it kind of just duplicates them by clicking these little keyframe buttons... and then we want to move it, so now a bit by here. Double click it, move it along, that is a better move. Now scale hasn't adjust-- hasn't added itself there automatically... I'm going to add it there just for a bit of OCD balance. Doesn't really need to be there because we're not scaling it... but it's a good habit to do both of them. "So we'll move the background and mask them out." - "First thing we need... - Waits for a bit. - "...rename the background..." - It moves over here, appropriate. I am lazy, and we-- there you go. So you can see that new little tabletop there. So just right click, 'Show Clip Frames'... 'Motion', and I'm putting 'Position' in here. I'm not really adjusting these, I'm just showing you they're there to give you... you know, you should have lots of these everywhere. If you don't have any of them... let's say I get rid of these, I just select these by accident... you end up with stuff like that, you do not want these. That's not a tabletop, not a good one anyway. So you want all these like ups and downs. That is a scary site, I love pugs... from a distance, not really close. Next part; the next thing I want to do is I wanted to... before I kind of click 'OK', I wanted to-- I like to go back to that establishing shot just so you can see... because we have to zoom in again, and I like to come back to... often a full screen of the whole bit of software. So you can kind of then zoom in, so people know where they're going. If you do too much of this moving around zoomed in people get a bit lost. - So about here... - "...appropriate... So what I want to do is I want it to not move... between this last part, and where I'm up to now. So I set two keyframes, the beginning of our little tabletop... then after a little bit of time I'm going to move it around. We'll get it back to the full screen. Now you can, Scale is easy enough one, you know you can hit 100%... and then trying to guess this, like I know it's 920 x 1080... but you'd be like, "What is it?" You can just hit 'Reset', see this little button here, Reset Parameter... go back to kind of how it came out of the box. That kind of resets the stage back to where you were... you can do it for both of those. So let's have a little look. - " I am lazy..." - It's a teeny tiny tabletop. Not much is happening. - " I am lazy..." - Position's not moving at all, just a teeny tiny bit. That's why we've set it to... well that's-- it's doing a lot of Scale, but we didn't set it to Scale. Scale will be, well, not very exciting going on, just small scale changes... but down here we're using Motion. It's not perfect down here... I just find it a little bit helpful for people that are new... to see the, any teeny tiny movement because it only moves it up a little bit. You get the idea. If you are lost and let's say just the last bit is bad... you can just select the bits that are bad and hit 'Del'. Often it's easy just to start again, to start again you click on these guys. It says, "Would you like to continue?" "Yes." Just turn off the little stopwatches, and that starts again. I'm going to undo, because I quite liked how far I got. We're going to do the last bit, but we're going to add another little tip... when you are doing this kind of animation. This Effects Controls thing, you can zoom in and out... or just use your, if it's blue around the outside, your ' + ' and your ' - '. What I want to do is rearrange my workspace to best utilize what we're doing. So to do it let's start dragging things around. So I like my Timeline, I like to be able to see it... but I need to see this little bit... I'm going to shrink this as far as I can go... where I can still see my tabletops, that works all right. Audio is not as important anymore... it's all about getting enough space in here. I'm going to grab the 'Effects Controls'... because that's the other one I'd like to see a nice long kind of version of. So I'm going to click, hold, hold, hold, and kind of move it around... and I'm going to get it to go there, and that will join it... with this one, I want it to be just above it. It's a bit weird. Drag it around, if you get in the wrong place... just drag it back out again... drag it back in, I want it to be this little icon... and I want to make this bigger so I can kind of have that nice-- it's just so I've got this nice big area to work in... same with this, I can grab that... and go down as small as it can go, within reason. My Timeline probably needs to be a little bit bigger... this big, and just find your-- your monitor is going to be different from mine... so you're going to have to figure out what kind of works. 'Program Window', 'Source Monitor'... let's go to 'Fit'. The other thing I haven't-- that I don't need... when I'm doing screencasts is Lumetri Color... all these Essential Graphics, often. So I'm going to click on this... actually I'm not, I'm going to click on this little stripy Burger menu... and let's go to 'Close Panel'. This one here, 'Close Panel'. I'm sure there's a closed panel group in there. I've got rid of them all, and now readjust. I like my audio there. Everything else looks okay. Can that get a bit bigger? That feels nice. That's going to be my layout... so I'm going to go to my 'Window', I'm going to go to 'Workspaces'... and I'm going to 'Save as New Workspace'... and this is going to be my screencast. Screencast is a word that gets used quite a bit... with this type, this style of video... where it's casting your screen. Now is that more useful for you, or is this too new? It's up to you, I quite like this way, you might hate it... you like everything back where it was... but you can now toggle between Unicorn... actually when I go to Unicorn I need to go 'Window', 'Workspaces'... 'Reset to Saved Layout', that's how we kind of started. Now I can go to screencast, unicorn, screencast; cool, eh? So let's be on screencast and do the last little parts. We're playing along, it kind of resets, let's have a listen. "I'm going to call it Layer 0, then in your..." So I want to zoom in to... where I start talking about the Properties Panel, about there. So let's go to my 'Effects Panel'. We're going to set both of these... so that I've got my beginning of the table-- taking long, a little bit. I can adjust them or I can set them here. Doesn't really matter, and adjust that afterwards... and I'm going to zoom, and position... and this one here... zooming, position. You can hold 'Shift' while you're dragging any of these. Did we talk about this earlier? I feel like we did. To kind of get it to go lots, we did with, I think the swipe up. So it works for all of these as well. I'm going to scale in. Don't need to hold Shift to scale in. Cool, about-- actually where do I want to go, zooming in the wrong bit. Properties panel, zoom out a little bit. Let's go to 300. I very rarely drag it in, I'll normally just type in either 150... and I'll reset that... or I'll go to 200, or 250, or 300... just so there's some consistency throughout the zooming... but you'll find, often... yeah, those measurements work just fine, so I'm going to go to maybe 250... and I'm going to double click it, move it around. I won't be able to see this. - So I've got my little tabletop, let's have a look. - "Zero." Then in your property, it's a bit fast, so grab this guy. "I'm going to call it Layer 0." Then in your Properties panel, down the bottom here there's a button that says-- and before I click the button, my secrets-- Sneaky voice, I'm going to, again, set my keyframes... just to hold them so it pauses between here, then about here. I'm going to zoom out and I'm going to go back to the full screen... and for the magic; ready? - "There's a button that says, Remove Background." - No way. - Yes, yes way. - "Look at that." And you can get a sense for it. I can tell that's pretty quick because I've decided that one's a nice move. "...remove the background and mask him out." "First thing we need to do is rename the background to something." So after a while you get a sense for like... okay, this will probably just be a bit bigger to match other things. - Depends on how much you're moving. - "...it says remove background." No way, yes way, too good. So that is-- it's me, double 'all right'ing. What other things can you do? The other thing is easing, we've talked about it before. We're going to be cheap, and just select them all... and right click one of them. 'Temporal Interpolation', and we're going to ease in, then we're going to ease out. - Let's give it a little play just to see. - "... background and mask them out." First thing we need to do... "... rename the background to something appropriate." I am lazy, I'm going to call it Layer 0. Then in your Properties panel, down the bottom here... there's a button that says Remove Background; no way. Yes way; cool, eh. You'll notice our tabletops have become table humps... let's call them hills now. They've been smoothed over to give-- to represent the kind of easing that we've added... the kind of, a little bit of inertia, a little softer movement... that has softened the edges of it. So like a visual representation of easing. And that is how you zoom in and out of screencasts. If you are unfortunate like Jason-- I love you, Jason... who's my editor, he has to do it like a hundred and-- we're up to 120 now... so probably 140 times, oh, it's going to be big. Lots of zooming, lots of moving. The one big thing for me, and when I'm teaching people is... the Auto Keyframing, it's a pain in the bum. So whatever you just... - "...happen to be playing here, and you're like... - I wonder if I could just..." - Actually, let's do it here. Let's just move this across, watch my keyframes... double click it, I move it, just does weird stuff, watch. - "I am lazy, I'm..." - ...because I've accidentally added a keyframe. So you just need to be very careful where you are adding keyframes. Hold 'Shift' and drag the Playhead to get to the top. So that's kind of like the best tip I can give you... plus you should have lots of these double collections... these tabletops, and now hills. All right, let's get on to the next video. 123. How to add a voice over to your screen capture in Premiere Pro: Hey everyone, in this video we are going to take our original kind of screencast... delete all the audio, pretend like we're going to do the voice-over separately. So we'll delete it and we'll show you how to use Premiere Pro... to record straight into the Timeline... and kind of combine it in with your screencast. Now there's a few quirks to it, but basically you click that button... and it will start recording... but let me show you the quirks in the video now. To get started let's go back to our old setup. We're finishing doing the zoom, so when I am finished I go back to my Unicorn. If yours doesn't go back to kind of how it was... remember, click 'Unicorn' or 'Editing'... go to 'Window', 'Workspaces' and just 'Reset to Saved Workspace'. What I want to do is, we're going to duplicate the original, because... actually don't really want to remove it because I've got a good voice-over... I'm good at just doing it as I'm recording... but you might find that really difficult, you just want to voice over afterwards. So we're going to duplicate it by right clicking 'Duplicate'... this one here is going to be called 'V2'. So I've got two versions... I'm going to open up V2, close V1, because it can get confusing... and I'm going to delete the audio here. Do you remember how? I want to get rid of the audio but keep the video. You got it, you right click it, and you say 'Unlink' and you delete that... because what I want to do is actually record it while it's playing. You don't have to do that, you can maybe just write out your dialogue... type it out, that's a really good way to do it so you've got a bit of... structure and clarity, and less ums and aahs. I'm not going to do that, you might just write out your dialogue... we're not going to bother doing that for the moment... I'm just going to show you the voice-over. So what we'll do is we'll kind of get at the beginning here... and it's this little icon here, Voice over Record... look at that, little microphone button. Before we do it just need to make sure... we've got the microphone plugged in properly. So go to Premiere Pro, and on a Mac go down to 'Preferences'... and then go to 'Audio Hardware', there it is there... and on a PC, it's under 'Edit'... you'll find 'Preferences', 'Audio Hardware'. There we go. So my one-- input is the microphone, output is the speakers. Premiere Pro does something really strange... where it will, as you're speaking... will play your voice through your headphones or your speakers... and it's just really distracting. You probably won't know what-- it's hard to describe now... but start doing it in a second, and you'll notice like, "Man, it's weird." So often what I do is I'll record, so I'll pick my microphone... I've got a couple of different microphones that I'm using, I'm using this one... and the output you can put into-- let's say I'm going to put it into my monitor... and turn my monitor down so I can't hear it. That's just a nicer way of doing it so I cannot actually hear myself talking... or you might plug some headphones in and pick those... pick anything you like. So microphone setup, and output, let's click 'OK'. Basically we just need to hit this, little 'Record' button. So ready, set, go. Kind of gives you a better lead in, which is cool. First thing we need to do is we need to go down to our Layers panel. We need to right click it and we need to say 'New Layer'... give it a name, click 'OK'. So I'm recording this demo, of myself recording this demo. That's it, I'm going to hit 'spacebar' to stop... and it just throws in my recording there, cool, huh? I'm going to go back, listen to it... and it just, actually I can't hear it at all, why not? Because I went and changed my headphones to be going to my monitor... which doesn't have speakers, or at least turned them down. So you're going to have to toggle between this. You'll figure out a better way. What I do is I have headphones just plugged into my computer... and I put them on when I want to listen to it... and take them off when I'm just using my microphone. Let's go back to 'Audio Hardware'. I'm going to say I want to hear this now through my computer speakers... or through my headset, that's what I've got. Let's have a listen to me, this panel, we need to right click it... and we need to say, 'New Layer'; nice. Now with my microphone you can see, I've only got one channel. So we've talked about sound recording in the course... where I'm going to have to make them go Mono... but it's all right, that's this particular microphone's quirk... that's how you record your own voice. Again, it's really good if you want to write yourself a dialogue. A couple of things I want to show you... is where everything works, or ends up. So I have done two versions... one version was a practice, you didn't see it because I was recording this demo... and I did it badly so I re-recorded it. You'll do the same thing, you'll re-record lots of takes. It saves a couple of audio files, now there's two. This one here is not being used... if I hover above this one, I select on it, hover above it... it tells me that this one is audio1_2.wave Wave is like an mp3, it's just a lot bigger and uncompressed... really good quality, quite big file sizes, for an audio file. Nothing compared to our 4K video, but anyway. So I don't need this one. So there's two things you need to do. Figure out exactly what you want to do... you're like, "I like this one, so I'm going to..." This one's going to be my Pug Dialogue. You might end up with a few of these, so you might have a Dialogue A. You might have another one that's B, C, D, but this one here I don't need. You can just delete it from here, but it is still on your computer... clogging up the hard drive potentially of stuff you're not going to use. So to find it, is right click it and go to this one that says 'Reveal in Finder'. On PC it will be something similar... will it say Finder in Windows, I can't remember what it is. Something similar, look for the same sort of space, and 'Reveal'... and will actually show me where on my hard drive this stuff has been saved. So I don't need you, gone. The one that I ended up using was called _2... so I didn't need that one either, so I'm going to delete that one. You'll know if you've deleted the wrong one... because you'll go into here... and it will have question mark, and say, "Where did it go?" I'm going to offline it, and actually don't want it... so I'm going to select the icon, hit 'Del'. It's a nice way of tidying it up at the end. That's a really helpful tool for anything. So you've got footage in here... you're like, "Where the hang is this thing?" Right click it, 'Reveal in Finder', it actually takes you to where it is. I'm going to close this down. Last thing before we go is... the microphones that I'm actually using, the tech that I'm using is... I kind of half mentioned them earlier... but I thought I'd throw them into your Links folder. Those are the two microphones. That's what I've used for every course up until now. So if you've done one of my other courses that's what it is. This is what I'm using for this particular course. I'll show you the difference. I'm not-- am I happy with this new one? Yeah, I am, I like it, it took me a while to get used to it. So that's the one I used mostly. I'll probably still continue using Audio Technica AT2020 USB. Plugs straight into my computer, and I can record from that. The new one that I'm using is, the same company... but this one here is a headset one... more like what a Sports Presenter would use... and I use this one here, the single sided one. I just feel like after having two sets of headphones on... I like having one ear free, I don't know, it's a quirk... and I like it because I get to see my keyboard. If you are doing tutorials and you've got a big microphone in front of your face... it's hard to type on the keyboard, so that was the reason. A lot more quirky, this one here has to plug into something... because this is not a USB microphone. It has to go into something to convert it into USB, and I use this thing here. It's pretty common in the audio world. These are Focusrite things, I picked the number 2... I think number 1 would work as well, it's a cheaper version... but you plug it into this, and then that plugs into your computer. It's a bit more nerdy, if you're new just go for this one, it's awesome. If you want to be nerdy like me... and spend ages trying to figure it all out, use this one. Last thing as well is, once you've finished doing your recordings... just go through and set your preferences. Remember, 'Audio Hardware', set your 'Output Speakers'... back to what you normally kind of have them on... otherwise Premiere Pro won't change. All right, that's it, I'll see you in the next video. 124. How to reattach audio clip after you've deleted it in Premiere: Hi everyone, in this video I'm going to show you... how to re-link your missing audio. Boom, it's back; let me show you how to do it. So we want to get this video-- audio back. The last video, remember we made, we did a voice-over. That was just like a for-instance, "Hey, this is what you could do." What's happened for me is it's been another day... I've had my sleep and I've woken up... and there's no more undos, because I've saved and closed everything. So now I need to bring back the audio. The way to do it is, it's complicated... it's not complicated, but you're never going to remember. So just know that there's a video in this course you can come back to. So with-- you can get your Playhead... above the thing you want to replace, just above it... then you need to say, on my markers I need to mark this clip... and it will set your in and out points. Then you need to say, of this clip I want you to go and find... I want you to match the frame... it's going to go and try and match the original source. So it's opened up my Source Window and it's matched it here... with the in and out points, then you say 'Override'... and it will work, mostly. Mine work perfectly, yours might not... and if it's not, let's say that-- there's two things that could go wrong... and it's all to do with this Source Patching over here... so I'm going to undo. So what we're saying with override here, is we're saying... you can say, let's say audio, we'll talk about the audio first. If the audio ends up in the wrong place... it's because this patching here, is patching to the wrong track. So it ends up here, or say you don't need it there, you need it over here... up to you, you can do it purposefully or by mistake. Watch this, 'Override', it ends up on that track. So just have this wherever you want it to be, then click 'Override'. Now the other thing that might go wrong is your Video Patching. Let's say your Video Source Patching is this one here... when I hit 'Override', it's going to go to this third track here. So if I do the same thing... it kind of works, my audio comes back but my video is up here... you're like, "Huh," it's because of this. Now how do you get it, you could say, I want it to be V1... but let's see what happens when that does it. If you've done no editing to your video it works perfect... but you see what happens to mine, if I undo... I did all this amazing kind of animation... plus I've done some Lumetri stuff, have I done Lumetri? I haven't, but let's pretend I have, it's going to override it. If I have nothing selected, this little drop down button here is going to say... I want you to override just the audio... because I've got no Source Matching going for the video... click 'Override', there you go. They're not linked... they're still separate so you can hold 'Shift' and click them each separately... holding down 'Shift' and say 'Link' again, so that kind of joined back up. I put it in there mainly because I made a mistake... and because it's quite useful to know... and that's also good practice of the Source Patching... this mystical world of the 'v's and the 'a's. Hopefully I made it a little bit clearer about this whole... why I have all this kind of Source Patching, why it's useful. Now that I think of it, there's actually probably an easier way. I'm going to leave this in here too, so I'm going to get rid of this... and over the top of this I do the same thing. I do my 'Markers', I set the 'X' to mark it... then I make sure I go to my 'Sequence'... and let's go find-- match that frame in my source... and then just drag the audio part out. That will do it either even easier enough to mess with the Source Patching... then you can link them both up. Let's do that, 'Link', and 'Clear In and Out'... because those are ugly, and drive me mad. All right, that's a little bonus video when Dan messes up, and how to fix it... but for now let's get back into the regularly scheduled videos. 125. Pause Video Freeze Frame & Export Frame in Premiere Pro: Hi everyone, this video we're going to show you two things. First thing is, picking... like say a thumbnail for your video, might be for YouTube. You can pick a Playhead and hit the little 'Export this Frame'... and use that as your thumbnail; ah, one of the better shots of me. That exact same technique though, we can export that frame... and in our case we've got this video that ends... but I've got more audio, but I just want to pause the video... all the way over the top of it while this dialogue's happening... and that exact same thing, we're going to export a frame... the last frame of our video, bring it back in, stretch it over. It's pretty easy regarding just clicking, exporting the frame... but there are a few quirks so carry on and watch the video. Let's get started. So I want to add our extra bit of audio. That just kind of refers people to our social media that I didn't do originally. So let's go to, let's close down our Pug, Source, back to my Project... and under 'Audio', there's one in there called 'Outro'. I'm going to double click it... I'm going to set an in point, and just guess an out point... and then drag the audio in. You can see instantly our problem, hitting my backslash, ' \ ' key. - So let's check it. - "All right... our tutorial..." So it's the wrong level, let's just correct the-- 'Essential Sound', 'Audio', 'Dialogue', 'Loudness', 'Auto Match'... we're getting pretty good at that. So we've got it, the audio is ready, I just need to extend this out... because it didn't come with any video. There's a couple of ways of doing this... the easiest way is to find the last frame. Remember, how do I jump to the ends of key areas? Do you remember what shortcut on my keyboard... kind of like leaps along the Timeline? That's right, the up and down arrow. So I'm going to use-- I always hit the wrong one, down. Down has jumped to this gap here, and like we've figured out before... one of the quirks of Premiere is that it, it's kind of gone just past the last frame. So how do I go back one frame? It's just your back arrow key... so forward a couple of frames, back a couple of frames. So we'll find the last frame because that's the one I want to extend it on. So once you're hovering above the thing that you want to extend... what you need to do is hit this little icon here, the 'Export Frame'. If you are using a really old version of Premiere Pro with this course... you're going to find everything hard, this is one of them... but if you haven't got that on your screen, hit this little ' + ' button. You'll find it in here, and you can click, hold, and drag it down to here. So we've got it already, let's just give it a click... and in terms of the file format I find the best is png. You can use jpeg, I'll show you-- I have some problems sometimes with color, coming out of jpegs... png is a nice safe one. The other thing that's probably not ticked on yours is the Import Project... because at the moment we're going to save it, we're going to give it a name. Let's call it 'Pug Hold Frame'. I'm going to call mine 'Hold Frame V1'... in case we end up doing a few of them. Where's it going to go? We're going to put ours in our 'Exercise Files'... let's put it in 'Project 6'. Let's put it in 'Graphics', it's a good place for it. This one we're going to turn on... because otherwise it will export it, then you'll have to then go and import it. So you might as well save a step, and import it as you're exporting it. So in here, hopefully there it is, here's our Pug Hold Frame. We're going to put it in the appropriate bin... and there is the png. So I'm going to add it to it... and because it's an image this goes on forever... you can drag it out forever as long as you need it. I'll show you the difference between the png because it's... it's seamless, right? Playing along. Hidden changes, it's lovely. The time won't change, and anything else won't change... so you just got to be careful, I guess in terms of... what might be animating on the screen. You can see, I've kind of hovered above this the whole time, but I don't mind. Let's have a look at the difference between the jpeg and the png one. So I've done this one already for you... but you can see, watch the difference, you see the color difference? Sometimes it's really stark like that, like it's a real obvious change. Most of the time you don't even see it. So if you're using jpegs, normally they're fine... but if you do notice a color change just switch to png. Let's put our png back into place. So we've used it to kind of cover up audio... but you could see how you could easily use this... for picking, like say a YouTube thumbnail. So you kind of like scrub across and go... say that you want this to be the thumbnail for your YouTube clip. Just find it and just hit 'Export'. That is how to freeze a frame or hold a frame... and how to export a frame from your video, all in one go. All right, let's get on to the next video. 126. How to burn in a logo watermark onto your video in Premiere Pro: Hi everyone, in this video we are going to add this watermark here. Can't quite see it, there it is there. It's going to run the entire length of our video. We're going to make it slightly opaque, we're going to add a Drop Shadow. Super easy to do. Let me show you now in Premiere Pro. To add the logo I have some pre-made ones in our Graphics folder. So I guess it's out of the scope of this course, how to create logo and export it. So you-- if you're the Videographer you might ask... the brand to send you a copy of the logo... and you can ask for one of these options. So a psd, a png, an ai file... anything but a jpeg, jpeg looks bad, I'll show you why. So the trick here is just dragging it onto the Timeline. So let's say this ai file here, that's the one I'll tend to use... because I know how to use Adobe Illustrator, but a png is fine. So I've dragged it to the Timeline, you can see, there's my logo... just kind of sitting there, right over the top. So ai file's good. All these other ones are good except for the jpeg, watch the jpeg version. The jpeg version has no transparency, fills in the gaps with white. So trick is to find a format that has transparency... and png does, and psd often does, not always... you can turn it on and off if you know how to use Photoshop... but these formats are all really good. I'm going to use the ai file, just because. All you need to do then is get it in the right position. So in my case I'm going to double click it... move it down to the bottom right, get it the right size. Just dragging the corners, about there. I'm going to lower the opacity. So with it selected over here I'm going to go to my 'Effects Controls'. Lower the opacity, I'm going to twirl that down... and just lower it down. So it's there the whole time. Now I want it to run the entire length of my video... because it's a static image... like a whole frame we can just drag it over the whole thing. There's our little watermark, running the entire length. Now I want to show you a slightly different way. You might be thinking, "Why didn't I use the Essential Graphics panel?" That works, I'll show you what happens. So instead of just dragging it as a unit, or importing it and dragging it on... you can use the Essential Graphics panel, click on 'Edit'... click on this, so I've got nothing selected. I'm going to click this little turned up page... and you're like, "What about this one?" That works fine, there's nothing really wrong with this one... except some of the perks for using the Essential Graphics panel... don't work at the moment... but you might check this in your future version of Premiere Pro. Let's say I bring in the png, and import it. So it's brought it in the exact same way. When I select it over here... normally we get a lot of extra options, like adding Drop Shadow is one of them. So that's not an option in here. So that was one of the perks of using this, there's a few things in here. So it just lost a bunch of perks, so it doesn't really matter either way. One of the weird things for inserting it this way... is I inserted our logo png... and what it's done in my Project folder is that it's imported a second time. It didn't know it was already in my Project window. So you might just notice that, that it brings it in. Doesn't really matter, it's the same file twice. I don't think I've used this one so I'm going to delete it. So we've got one again. The other thing I might want to do is adding a Drop Shadow. So let's do it with this one, just double click it. Move it to the bottom right again. Scale it, I'm not holding anything down, you just drag the corners. I've got it the right size, now I'm going to add my Drop Shadow... because I lower the opacity a bit, can't remember what I had it before. Probably pretty low. This is like background music, it's always too bright. It's always brighter than you think it should be. You think, "Ah, my logo needs to be bright and bold"... and then after a while you're like... "Actually, it's too dominating," and it's it's meant to be subtle. Cool, so the logo is in let's add a bit of a Drop Shadow to it. Well, let's go 100% before we add our Drop Shadow. So adding a Drop Shadow, we can't do it with Essential Graphics... and it doesn't matter whether you've imported it... through the Essential Graphics panel... or just dragged it onto the Timeline like we did before, this effect will work. There is an Effects panel, and inside of here somewhere is a Drop Shadow. You'll notice that when I'm working I never know what folder to go into. I never spend my time going-- it's probably under here... then it's probably, I'm not even sure. So I just opened 'drop' up here, find it. You can't drag it onto here strangely, has to be actually onto the Timeline. You'll notice this one has a Drop Shadow... and you're like, "I can't notice anything." Let's zoom it up, uh, scale it up... can you see the Drop Shadow on it now? There you go. Undo that, undo that, and it doesn't matter which one you do it to... just drag it on, you got a Drop Shadow. To change the type of Drop Shadow, with it selected... go to your 'Effects Controls', and it's there as an effect... and I can say actually I want the opacity to 100%. I want to be very strong. The Direction is kind of top left, that's fine... Distance, let's make that a bit bigger. Softness, let's make it a bit softer. Maybe even more softer... because I'm going to lower down the opacity and I want it to be kind of visible. Can't really see it. Kind of a waste of time, but we know how to do Drop Shadows on it. Some logos will, uh, Drop Shadow can be seen there, there you go. Delete one of them, doesn't really matter which way you do. Add Drop Shadow, lower the opacity, it's pretty easy stuff. All right, that's it, watermark's done, let's get on to the next video. 127. How to remove green screen from video in Premiere Pro: All right, in terms of the green screen I found this footage here... I didn't shoot my own because I don't have a green screen at home. I don't do a lot of that type of kind of filming... I do more of the editing, so in this case we've got one that's watermarked. So in your 'Footage', double click the thumbnail, just have a little look. It's a guy that kind of looks like me, not really. There's no audio with it, it's just a guy. So if you are in charge of filming it though... the best results is when there's a nice clear definition... between the background and the subject of interest. I'm not sure that's the word for it... but in this case the background is a nice consistent green... which is going to make it easy for us. So what we'll do is we'll do it over here at the end of our Timeline... and then drag it over the top once we're finished. So let's edit-- the whole thing to our Timeline... and what we need to do is have our Playhead above it. Also, it's the wrong size, we'll-- actually I don't need to scale it up... because I'm actually going to make it... you saw at the beginning, that's quite small in the bottom right. So with it selected I'm going to go to my 'Effects Panel'. So remember the word was keying, right? So there is-- if I type in the word "key"... it's a very-- there's lots of different kinds in your effects of keying. Now the most common one that gets used is Ultra key. Ultra key. Just drag it on, it's pretty easy to use. With your track selected go to your 'Effects Controls'... and it's this one here, so we're going to scroll down so we see Ultra key... and the main work is going to be done by picking the Key Color. Doesn't really matter if it's blue screen, or green screen, or white screen. You just use the Eyedropper tool to randomly click in this green area... and it will remove everything that matches that color. You'll see, I'm not sure if you can see it on the video... but there is some frosting around the outside. So it hasn't got it all, so sometimes you need to keep picking a different green. Pick the one that's kind of closest to the person... because it's easy to remove this stuff... but it's harder when it's really close to his skin. Now I'm going to zoom in a little bit... just so I can see the area a little bit more. Where is it? The main parts that are problematic are in the-- this is the easiest part to see. Now when it's in this kind of Composite view... it's a little bit hard to see the definition. So what you can do is just say-- where it says Output... we're going to pick 'Alpha Channel', it just gives you a kind of a clearer... difference between the two; we're going to ignore the watermark... because this is a paid Adobe stock video. So this is just a good way to work... and you will switch it back to Composite when you're finished. Now there's a few things you can do to kind of make this thing work. Now lots of-- everyone has their own kind of tactics when it comes to keying... which kind of-- where they start, I always start with my cleanup... because what I really want to do is, I want... I'm not so worried about this, I'm worried about where it transitions from his skin... because it's going to be easy to mask this out in a second... but let's go back to 'Composite'. You can start to see, can you see this kind of green kind of goop around them? It's letting the background leak in a little bit. So what I want to do is, it's probably still better to look in 'Alpha'... and then go to this 'Matte Cleanup', and the 'Choke' I find is the most-- it's going to affect the edges the most... I'm dragging it all the way left, all the way right. Can you see, it just kind of like creeps in, gets rid of the ghosting... and what you might need to do now is come in a little bit... and then switch back to 'Composite'. You can see, if I go all the way in it probably sucks it in too far... but you can get this nice balance of-- the hair is always going to be the hardest... like any sort of masking... and the other thing to do is not spend too much time just looking at one frame. Once you've done it, and you've got it half good you move this along... because things are going to change... hopefully he's not moving-- the light source is changing-- not changing. That would be a real big hard thing to do... but you can see in here, it's pretty good most of the way through. You also need to be careful that you're not... trying to get it perfect against this black... when it's not going to be-- we're going to actually use them quite small... and use them on top of our footage... so we're not going to spend forever getting it perfect. We're going to get it into position and then get it perfect, perfect enough. I seem to always stop on the gray frames. Actually before we shrink it down let's have a look at... because these corners here are annoying. Let's go back to 'Alpha', so we can see them more clearly... and then 'Matte Generation' is probably going to be... the one we need to do to get rid of those edges here. So you just kind of, like-- I wish I could give you like the exact same hard facts... but it really depends on your footage... and if I'm all honest I don't do a lot of... green screen, so there's a lot of this... back and forth, nope, undo... back and forth, nope undo. Shadow, no, undo. Tolerance is probably going to work. There it is there, it's getting pretty good. Get close to it, and definitely the 'Pedestal'. Don't worry too much about what these terms mean... it's all about getting the right effect. Sometimes you get it and you might have to come back... and play around with other parts. If it does start wrecking it you can go back to maybe... the Choke is a little bit too hard now, that I've done these other things... can you see, kind of bring the edges back. So there's a lot of 'to'ing and 'fro'ing, really the best green screens... happen when somebody has put the effort into lighting the green screen. So if you are in charge of doing some green screen, at school or at work... just make sure you spend ages trying to get the footage - Where's our source? - trying to get this lit nice and evenly. If you've got really highs and lows all over the place... or any sort of dirt or wrinkles, oh, it's the worst. If you've got green screen and it's not a taut sheet... it's not pulled nice and tight... and you've got wrinkles everywhere, man, that's hard... but you'll have to go off and check how to do proper lighting. For me, I've done it a couple of times and it's really... you need lots of fill lights behind the person... and I've had real big problems when the talent is too close to the green screen... and there's something called, well, there's spill... it spills off the background onto the person, kind of reaches around... and bits of the edges of him become green. So that when you remove the green screen he starts disappearing. If you do have that... the thing you're going to need to do is, this one here that says Spill Suppression. This will start messing around with the edges of him... and try to gather some of that back... but it is just trying to fix broken stuff if you've got a terrible green screen... but you might have a terrible green screen. The last thing I want to do is I want to zoom out... and I want to put this above... and hit my backslash, ' \ ' key. So let's pretend this guy is talking all the way through this tutorial... and it's me talking, I'm going to trim it up. He's too big, let's go to 'Fit', I want-- he's not too big, he's actually probably the right size. Let's say I want him-- I want to switch these around. So that's an interesting thing, so I want the green screen... to be below my watermark. You'll see there, if I just dragged it on top it kind of just smooshes it. So what we really need to do is either add a new track... so that we can do some, you go there, you go there, some crazy old reordering... or do what I do and just kind of like drag you over there... you go up one, you come back across, there you go. So at least my watermark's on top of this man, there's another watermark. - Let's listen to him. - "I'm going to call it Layer 0... - then in your Properties panel..." - He does not match at all. Better imagine me talking. We can double click him and shrink him down... and just kind of have him at the bottom here. All right, that's it. One last thing to talk about... the other thing to consider is, when you are filming... if you are in charge of green screen make sure-- Well the other thing is... what's the difference between blue screen and green screen. No difference, it's just, you just want a really high contrast... between the person or the object, and the background. In this case this dude turned up in a blue shirt... so if you did a blue background or blue screen... that's a terrible idea because you're going to end up masking out his shirt. So if you are in charge of, you know, the people... say "Don't wear a green shirt, or green pants"... or if you're filming, say, plants... green screen's not going to work, because they're all green... you're going to have to do a red screen... or a blue screen, or whatever's going to be most high contrast... otherwise you end up with problems like this. Do you remember Anchor Man, have you seen Anchor Man? If you haven't, we'll watch the video together at the end... if you have you can skip along. Let's watch it together, we all need a break... we're getting towards the end of this video. It's funny, let's watch it. If you don't want to, skip along and I'll see you in the next video. "Happy St. Patrick's day to all of our native American friends." "On the big map-- where's my map? There's no map, it's just green." - "No, there's a map there, look at the monitor." "Oh God, Ron, where's my legs." - "Where are my legs?" - "Your legs are there." "I don't have any legs, Ron. I don't even know how I'm standing up." "No, Brick." "Your legs are fine, the color of your pants just... just matches the Chroma key behind you." "In 93, 93." "Relax." That's enough of the... ah, green screen and Anchor Man, ah, some of the best. Now let's get on to the next video. 128. Exporting multiple screencast videos from Premiere Pro to MP4: Hey everyone, this video is less of a follow-along tutorial... and more of a for-instance. Imagine if you were doing a how-to video, like we have... but that was in a really long series. We'll look at one of my videos, or my video series, how-to videos... that's kind of like 90 plus videos, what you can expect... how to export multiple sequences... and how your poor old computer might handle it; let's have a look. So one of the things that tends to happen with how-to videos... is there might be a chain of them, a big long list of how to do different things. You can include them all in the same project... as long as they're in their own sequences... because these sequences are just like their own, like little mini Timelines... or many videos that can be exported. So as long as you've got your bins in order... you can kind of put quite a few sequences in. I guess I want to show you one of my big projects... just so you get a feel for like... what it looks like in just a real world example. This is not in your exercise files... it's just something that I'd worked on previously... and it seemed to have a lot of videos. So it's this one here. First of all it's going to take ages to open... because it's full of all sorts of stuff. It's a little bit long time ago that I made it... so it's probably going to have some missing video, but let's just see. And I want to show you, I guess... because this thing's going to take forever to open... and you might be like, "Wow, why is mine so bad?" Yours isn't, yours is like mine. If you've got like 100 videos in the same project... the actual project can take a little while to open and close. It's flashing because it's kind of trying to open up a bunch of different sequences. It's still going... I might speed this up, oh, no, I think we got to the end. So look at all these things on the Timeline. It's missing this video because I don't want... to go and download it from my Dropbox... but this is-- the outro is still here, the music's still there, at least... and there's a lot of video that I haven't bothered to re-link for this tutorial... but there is just, there's just hundreds of videos. Let's have a little look at the project. So where is my project? Somehow it's squished into there. Project Adobe XD, so you can see what we've done with our bins. We've actually squished them all into, there's a video 1, it has an intro part. Because we have two different ways of separating our videos we do... sometimes we do a YouTube video version of it... like, "Hey, come check out my course," and then there's the actual course itself. So there's two different versions of that exact same video. There's the mp4 that normally gets imported, that we're missing. There's like a little intro thing, there's my Instagram logo... and again, and again, and again, and again... and again, and that's how we organize one of these massive projects. The reason I show it to you is because... often now what I need to be doing is I'll be working on it... and then I need to export this to get rendered... but I want my machine to continue running nicely... so I'll go and hit 'Command M'. So I've got this one selected, 'Command M'... and it's telling me there's some offline material... I'm ignoring that at the moment... it will pass it on to-- you pick your format... and you click 'Queue', rather than Export. Remember, there's nothing wrong... with exporting from Premiere Pro but in our case... we want version 1 to be done. Ours has a status warning because we're missing footage... but this is just a for-instance, then this one here maybe both of them. I'm going to hit 'Command M' on both of those ones... and it's saying both of those have problems, I'm going to say 'Queue'. Let's have a little look. It's exporting both of them. Poor old media encoder's having errors. So you can keep adding it to it. You can see what I do as well, I have a 4K version... but there are some places where I put my courses that don't allow 4K at all. So you've got to go for a lower version, it's a real big pain. That's what a big ugly project looks like. It takes a while to load, you've got loads and loads of different Timelines... and if I'm honest, on these big projects I need to thank... Tayla and Jason for a lot of their editing. I make the videos, they put them into production... and have to deal with these massive big files. Thank you, Tayla, thank you, Jason. So I'm going to close down that project and we'll move on, 'Close Project'. I guess I want to show you just because we've got two projects open. This one closes, takes forever. Everything about this project-- how many videos are there? I can't see it, but there's over 100. Yeah, stressful on the poor little machine... and this is not a poor little machine... this is a super advanced, as much as I could spend on a laptop machine... and it still struggles a little bit. Let's hope you're not doing hundreds of videos... and you might just have a couple... and you can select both of them and export them. All right, let's get on to the next video. 129. Introduction to new project using images: Hey everyone, it's time for another project. No more how-to videos, we're going to look at animating images. So we're going to make these two. They are starting with static images... but we're going to make them move, scale, and add music, let's have a look. So they're just obviously jpegs... static images we're going to kind of give a bit of life to. We'll do this one as well, bit of a travel one. A bit more upbeat music. Kind of look like they're moving, just a little bit. The cool thing about these is they're really quick to do... and for you as a videographer, often it's easier to take photographs... or at least get stock photographs. You might have some already in your business. It's way easier than going out and filming... and taking audio, and organizing interviews... because you might not have a budget for videos, cameras, and sound equipment. You might have a budget though for using your cell phone. It's also really good for some of those industries... that just don't do well going and 'video'ing... some of the more highly restricted ones... where it's just going to be really hard to go off and get good quality video... for your really strange unique area or potentially boring area... but it's really easy to go off and find generic happy people... doing happy things, using your products, because you probably already have them. It's really easy to get 4K... it's really easy to shoot stills in 4K than it is to record and edit in 4K. So I'll play this one out, and when it's finished... actually no, I'll stop it in a second... but this is what we're going to be making... taking your stills, getting a little bit of life, a little bit of magic. Let's get going. Sheep. You get a lot of sheep, it's New Zealand. 130. How to make images into a video in Premiere Pro: Hey everyone, in this video we are going to make this. Some background music, some images, some cross dissolves. Look at that. Making images into videos. It's a few little shortcuts, and tips & tricks in this video too. If you're looking at it and it seems a bit simple, hang around, there's a... couple little nuggets of goodness in there, let's jump in. So let's turn our images into video, let's go to 'New Project'... this one's going to be called 'Car dealership'. We've been asked to make a video... that plays on a TV that is in the showroom of a car dealership. It's going to loop over and over. So 'Car Dealership', we're going to put it inside our 'Exercise Files'... under 'Images', and 'Project Files'. We're going to click 'Choose', we'll call this one 'V1', and click 'OK'. I'm making sure my Unicorn window, just to kind of reset everything... go to 'Reset to Saved Layout', everything should look nice again. Let's bring in our footage, double click in the dark area. 'Exercise files', 'Project 7'... and we're going to bring in, there's nothing in Footage... there's this chunk in Graphics, and there's a chunk in Audio. So bringing in those two. Just keep things tidy. Cool, we're not going to drag our image to the Timeline... because it will create a sequence that has-- it's not quite right, it's creating the sequence that matches my photograph. In photographs, we talked about Aspect Ratios earlier on... remember when those blew our mind, and we were like, "Oh, 4 to 5." Instagram, man, that was hard. It's even worse for photographs, their Aspect Ratios are crazy. I've kind of listed out the basics. So normally photographs are done in inches... it doesn't really matter where in the world you are, for some reason... and you can see these ratios are 1.5 : 1, 1.4 : 1, they're just weird ratios. So they never match video. So what you need to do is create a sequence on your own. So it's a little turned up page, I'm going to create a 'Sequence'. We've done it a few times, the good default HD... and how do we know it's HD? I actually called the person in the showroom... and asked them what kind of TV it was... and he said it was an HD TV. So I made sure before I started designing it. You got to decide whether it's UHD or HD... I'm obviously lying, this is a made-up job... but you need to really make sure if you're doing something like this... you don't design it for the wrong size. So he read out the details, I checked online. Just get the make and model of it, just to make sure. I've decided it's HD, and I'm going to use this 25 frames/second. The sequence is going to be called 'Car Time... it's not Time Lapse actually, that's technically not right... it's just a Carousel... Carousel, is that close? If you've done any of my other course... you'll realize I can't spell, it's just not in there... it's probably bad, I'm going to say that's right. So we've got our Car Carousel... I'm going to delete that original-- I made a sequence. It's probably ended up inside of Car, there it is there, go away. So now we're going to add some of our cars to the Timeline. Let's have a look, so Car 1, we'll start with. You just add it to the Timeline... you'll notice that it's, in this case way too big. They're all going to be different sizes. We can't really use our trick now... I'm going to zoom in on my Timeline, we can't use our All Set trick... because it works, but it's got bars either side. It's like the anti letter box, anti cinema bars... because it's just the wrong Aspect Ratio. So what we're going to do is just scale it up a bit. So we're going to go to 'Controls', we're going to go to 'Scale'... and we're going to scale it up to-- I'm just going to drag it to the right. You kind of need to break it, right? It kind of just doesn't want to go, doesn't want to go... and then kind of starts launching... if you find that for yours, yeah, happens to mine too. Position, to kind of get it as good as it can be. So it's in scaled, and in terms of timing you're going to have to work out this. You might have to stretch it out if you've not got a lot of images... and you might have to speed it up if you've got loads. So in our case we've decided that it's going to be three seconds per car. So you can drag your little Timeline, or remember, what is it? It's a pop quiz, 300. I think it's usually the right one, you can drag it out. We can do a slightly different way... another little tip for you as we're going through. Car 2, drag it on... and the default is 5 seconds, but what you can do is you can drag it... use markers, or you can use this thing... we've used it before but for a different reason. So I’ve right clicked 'Car 2', and I'm going to 'Speed & Duration'. We've used Speed but Duration's in there too. They kind of go hand in hand, so I can say I want you to be 300. It doesn't really matter how you want to do it... whether you punch it into your Timeline... and then just work in multiples of 3, 6, 9, 12... and ours, very big, this size here. I just grabbed them from one of the free image sites, Pexels, I think. So again, we don't have to use the Set Frame... but just gets it down to something usable. That's way too big, you need to decide, do I need these all to fill... maybe, because it's in a really strange format, portrait... maybe I'll leave it like this, I'm not going to. I want it to be full screen. We're going to use some of these as like real kind of details. Break it. If you do find Scale is a bit weird... when you like just want to do a little bit... you can turn this down... and just this scrubber thing here is a little bit nicer to scrub with. So I'm going to get it so it covers the edges... and then position wise I'm going to get-- we're using Audi in this one. I have dreams of an RS4, sorry an RS6, I'm not sure, 4 or 6. Oh, it's tough decision... but we're going to use all these, like little Audi accents throughout it. Let's drag the last one on. Car 3, on you go, click it, right click. Duration, we're going to make that 300. This one here, same thing, let's set 'Set the Frame Size'. Needs to be a little bit bigger. So I'm going to use my slidy scale one. Just go up just a teeny tiny bit, here we go. So we've got the basics, it's kind of images playing like a video, kind of. Let's talk about some transitions and music... and I'll throw in a few little tips and tricks. So 'Project', let's look under 'Audio', there's just one bit of music already. You can go find your own if you like. It's a bit long, backspace key to see it all. Just drag it a little bit so it's a bit more manageable. Backslash, ' \ ' again, let's have a little listen. Ah, it's perfect for this kind of thing. I think it is, subjectively. Now let's look at the transitions. So let's go to 'Effects'... and have a look at-- have we-- I'm not sure if we've done this before... let's look at 'Slide', 'Push Pull'. Works, it's very common to use with images, I don't really like it... but here you go, easing's not beautiful for it, but hey-ho. One thing with Push Pull is that... by default it's going to go west to east. It's going to kind of-- the new one's going to push it over. You can go to 'Effects Control'... make sure you've got your 'Push' selected and go... instead of going west to east, you can go the other way. So it kind of does this. You can go top to bottom. You just got to make sure that the transitions are selected. So this one's going to be that. 'Effects', I'm going to add the 'Push' to this one. So it's in the middle... and this one I'm going to go 'Effects Controls'... this one's going to go, I don't know, where is it? We'll go back from that way. So one going that way, one going that way. It's all very exciting. One thing also, is the length of the transition. Say you, because this is going to be quite repetitive, right? So you want to learn some... how to do things repetitively tricks. So in this case let's say I want the push to be extended out a little bit. I can then, to make this exactly the same... as you can select on your transition... you see up here, it's a 118. I can click on it and just copy it all. So just 'Command C' on a Mac, 'Ctrl C' on a PC... then go into the second one, I've clicked on the transition... click in there, hit 'Paste', hit 'Enter'... and now they're the exact same size... but I hate pushes so I'm going to click on both of these and delete it... and add the default one. Cross dissolves in, cross dissolve in. Make them a bit longer. Working a bit faster here because we're getting better, right? Oh, it's the same, I drag it to the exact same timing. How about that? Down to the frame. I feel like this is a bit better. Oh, look at that. So, also the music, just be careful... not be careful, you don't-- what you don't want to do is the poor person in the showroom for this car yard... is to even-- to like-- Christmas time... anybody has to listen to Christmas carols... for like I don't know, it gets longer and longer every year. So they might end up turning your TV off... because it's playing this repetitive music, that's quite intense, or it’s generic. Adds the mood without it being too... overpowering. Unlikely to get turned off. So it's starting to get there, right? We've got some pans, got some zoom, some images... let's look at the next video, we'll add some extra spice to it... to make it feel more like a video, I'll see you there. 131. How to add fake pans & zooms to images in Premiere Pro: Hi everyone, in this video we're going to take our images, that go like this... where they just kind of fade across each other to a little bit more sizzle... where they actually move, and pan, and zoom when they're going. Ah, a little bit zooming, just a bit of movement... plus we'll do a bit of Color Grading as well to get them to kind of... not be so strong, the original one... there's very kind of high contrast between the different images. This other one we're trying to bond them together... a little bit more with some Color Grading. There's a couple of little shortcuts in this one here as well for images, so enjoy. To get our images moving around we're going to start at the beginning. With the first one selected, 'Car 1'... we're going to set a 'Scale and Position'... we'll do both of them, often, yeah, just do them both... and what I might do is, because these other ones are really close-ups... I might do the same thing for this, and just fake it. So what I might do is actually just start this one off really scaled up... and just find a bit that I like, I'm double clicking it. I might just kind of move across the front grill... kind of something like that to the wheel maybe. A bit of 'Quattro' in there as well. So I've got my first one, Position and Scale, and then... after this whole thing, how do I jump to the end? Can you remember the shortcut, hold the 'down' key, I always hit the 'up'. The down arrow key on your keyboard will jump to the gap... and what you'll notice is that it jumped to Car 2. Goes to the end and it assumes that you mean the next track... but I didn't, I meant, stay in this one but just go to the end... and it's going to bring in a little bit of a shortcut for you. It's handy, your Playhead, can you see it? When it moves along it actually automatically selects wherever it's at... even though you didn't click on it... which is, most of the time useful, lots of the time not. You can go to 'Sequence', and down here go to the one... that says 'Selection Follows Playhead'. You can turn that on and off while you're in here in Premiere Pro... just to say actually I've selected this one, and now when I hit down arrow... I'm still part of Car 1, hasn't jumped to the next one... and when I move my Playhead, can you see, it hasn't automatically selected it. It's up to you, there's some times where it's infuriating... and sometimes when it's awesome. So I turn mine on and off, depending on what I'm doing. You might be-- people can get really staunch on which one they really like... and they'll turn it off forever or have it on forever. So with it selected let's add another couple of keyframes. You can force them in and then make the changes... whoops, don't hit that arrow. Here we go, it just jumps back to the nearest keyframe. Don't click on those ones. So you can either put these two in... or you can make changes and they'll go in automatically. And how much change? it's at 98%, 98.4. It's surprising how much-- how little change you need, let's say we go up 10%... in terms of Scale. Let's go back and watch. It's surprising how much 10% changes it. Let's say we're trying to fake a bit of a camera pan... somebody moving with the camera. It's kind of moving along to kind of... rather than, it just looking like we're zooming. So we're going to go to something really small. So we'll go just 5% or 3%, so what was it? Can't remember, 98... let's go 93... and now have a look at it. Still pretty big though, right? It's pretty bad. 98 to-- I'm going the wrong way, 93, what Math am I doing? I decided to go backwards, anyway. Let's just leave it like that, 93. I've still gone 5%, but I've gone the other way. Yes. There's a little bit of Dyslexia in there, I think. Let's go to 'Position'... and let's change that as well, we're just going to do... a slight kind of movement across here... because we've got lots to play with, because we're zoomed in... so we can just do like a little bit of a move as well. I'm not even sure how much of that move I'm doing now. Terrible. So go to 'Position', and I'm going to go, you... actually let's go, you... yeah, that way a little bit. Cool, let's go back. Way too much, let's leave that for the moment. You're as frustrated as I am with my going-ons. Let's have a look at the-- one thing we need to be careful of... is making sure when we do make adjustments... if I do need to come back, I want to adjust this keyframe... make sure holding 'Shift' on your keyboard... or in our case we can use the up/down arrows... because it is locking into this end point. Let's work on the next one. Let's have it selected, and let's set Position and Scale. Even though we can't really see it yet because it's kind of transitioning... we're going to leave it as is, and just after a bit of time... at the end, so I'm going to use my down arrow... I'm going to set two new keyframes and I'm going to play with my-- I'm going to add a 5% this time, come on, brain, 52. I know it's not exact but... at least this is what I wanted to do, rather than doing it backwards. You see they're just nice, subtle change. Is the camera moving, is the image moving? That's what we're going for. It's Camera 3, so Car 3. The one thing I will mention though is... this Sequence, Selection Follows Playhead is per project. So if you turn it off now you'll have to turn it off in the next one... and the next project, and the next project. Go back to an old project and it will be back on again. It's pretty persistent, so it likes to... you set it for the project, not for the application, so this one here... we don't have much to play with. So what I'm going to do is... let's say I just want to do a Pan, I'm not going to do Scale. So I'm just going to scale it up a little bit... so that I've got some room to work with. So I'm going to do left to right. So I'm going to go all the way to the edge here. I'm going to set my keyframe for Position. I'm not going to worry about Scale... because I'm not going to change it over time. I'm going to go down arrow to get to the end. It's a little bit hard to write, I'm going to have to go back one. Even though that's the end I can't see it... it's that really weird quirk for Premiere Pro. I'm going to go back one frame using my left arrow... and I'm going to grab my Position, and just drag it that way. How much? That's probably too far, let's give it a little play. Yeah, it's way too far. So what we'll do is, go back one. Holding "Shift' maybe just to make sure you're on the right keyframe... and just going to go a little bit. One of the quirks you might have noticed is that... watch, that doesn't start moving until the actual change. There's an easy way to fix it. Basically what's happening is that... we're saying Cross Dissolve so what it is, is it's grabbing a bit of the car... and throwing it over this side, a bit of that car... and throwing it over the other side... but what I've said with my keyframes is, if I use my up and down arrow... on this gap here, for Car 3 this is where the animation starts... and without the Cross Dissolve, watch this. That's the full on beginning of this animation... but because I have that Cross Dissolve... and it leaps across, can you see there's actually this gap here... and that's the gap we're going to fill by just going, you... just dragging it to the front. You can kind of just drag it up to the inner bangs there, can't go any further. So you can just keep going further, further, further... and it will just stop there. Now in here you'll notice that it starts moving... on this side of the transition as well. So we probably need to do it for these other ones. I don't think you really notice it, these other ones. I notice that now that I'm looking, so I should go in... so with Car 2 selected I'm going to grab you and you. Close our Scale, grab you, drag it to the end. Same with these ones at this end, drag it this way. You get what I mean? We've got Car 2 selected... and with these transitions they actually leak into both these sides. So when I was being very careful before... making sure my start and stop was at the end of the clip... they're actually extending across. So let's do the same for Car 1, Car 1 just needs to go this way. So we've got them kind of going, it's looking pretty good. One thing I want to do is, these images, there's a real big kind of... photographic style difference. This one here, very strong black and white... this one here is very kind of washed out... that kind of faded film Instagram feel to it, really soft focus. This one here is a more classic brochure for your car photograph. So we're going to add a bit of color grading... just to get them kind of in the same sort of zone. So to add our Color Grade we're going to do it not to each individual clip... we're going to do it to something over the top that sits in this track here. Do you remember what it was called? It's a pop quiz. You remember, that's right, it's under 'Project'... it's under the new little item option, which one was it? That's right, 'Adjustment Layer'. I'm going to click 'OK'. I'm going to call my one 'Color Grade', let's go my spelling as well. I always spell it with American one, because that's most of the audience... but let's go with a 'u', it's one of the words I can spell. You might disagree, it's got a 'u' in there. Let's add it to our Timeline... let's stretch it out so it covers everything... and with it selected I'm going to do some, 'Creative'... I'm going to pick, I don't know what I'm going to pick. I know what I'll pick, I've already played around with this. I'm going to pick 'Noir'... and lower the intensity down... because I just want to wash out some of that really strong blue, it can be there... but I want to kind of match these other ones. So I'm going to do that, also do some of that faded film, I don't know. It's weird, we spent ages trying to get everything rich blacks and whites... and then all of a sudden we all now want to wash out the blacks... to make it look, I don't know, like the 70s or 80s... or my kids, as a photograph. Oh man, that's it. All my photographs as a kid is... all this kind of washed out gray stuff, rounded corners. Put your hand in the comments if you had rounded corners around all your images. That was a thing, that was white borders... I don't even know what it is now, it's faded out, anyway. So we've got some color grading going just to add a bit of consistency. I'm going to reframe just this once from adding a vignette around it. I can't, just a little touch there, go back to 0. That can be a way to kind of add consistency across. You might add noise, just some sort of way of binding them together a little bit. Before we go I'm going to set you like a little mini project. It's not going to be one that I put in our proper class projects... because it's just one I want you to practice with. I want you to add the other cars. So we've got three of them, add the other four. Do the same thing, 3 seconds, add a Transition... doesn't have to be Cross Dissolve. It doesn't have to be my Color Grade but just get the practice of using images... and figure out if you've got any quirks... and extend the music to kind of fit with it. You can go and grab more images from any of the free image sites or Google images. Just to kind of continue on the Audi goodness... but you don't have to submit this work, I'll know if you've done it... I've got my spidey senses ready to go... but you don't actually have to submit it... just your own little bit of editing practice. Once you've done that I will see you in the next video. 132. Adding lots of images at once to a timeline in Premiere Pro: Hey everyone, a simple video but some interesting things to understand... about adding lots of footage to your Timeline at once, especially images. The way that it applies them, does it put it to them alphabetically? Sometimes yes, sometimes no. How to really control how they go on... when you're doing huge, big image slide shows... that we're going to be doing in this coming project. "What is he even talking about?" Let me just show you. To get started let's make a new sequence, so let's click on the 'New Item'. So we're in our 'Project Window', 'Sequence'. We're going to use the same one as before, 'DSLR 1080, 25 pixels'. We're going to call this one 'Travel for New Zealand'... and this will be our... we're going to do a couple of options... let's say the client's not sure what they want... so we're going to do an Option A, Option B, you could call it V1, V2. I often call them Option A V1... and there will be an Option A V2, just as I work through it... and Option A is like a completely different creative direction. So that's the one I'm going to call mine. Next thing we're going to do is add our images. So if you haven't imported them they're in your 'Project 6' folder... under 'Graphics', under 'Travel', just go to 'File Import'. The ones I want, Travel, I want to grab them all and I want to add them. You just select them all. If you're not sure how to do that, right click the first one, hold 'Shift'... grab the last one and then just drag any of the thumbnails in... and they all pile up on the Timeline. Now one thing you'll notice is that they're all kind of hard... they all reasonably fit, we don't have to do any scaling. I just did that to save time; how did I do it? I used the batch feature in Photoshop. It's out of the scope of this course... but it's in my Photoshop Advanced course if that's something you want to do... or just Google "how to do batch," b-a-t-c-h, my accent... "batch export of Photoshop," and you can pick the size. It's a nice quick way of doing lots of images at once. So we've got them in, they're roughly the right size... but let's look at the way they were added. Another thing we want to do actually is... I want to make the thumbnails a bit bigger... because I want to make the video one taller... by dragging the top of it just, so I can see the thumbnails. It's just really handy to... in this setting to kind of see the thumbnails. So you can see the first one, if I hover above it... it tells me that this one is Aaron... the first one, and the last one is Tyler. So it edited them alphabetically. Now you've just got to note that it's not... it's-- there are some considerations when adding them. Sometimes they don't go in alphabetically or alphanumerically... and that might be that from-- for whatever reason... it quite often defaults to Frame Rate... in terms of the way it's ordering it... and it can default to any of these. So if you want it to be really specific... and to be in A, B, C, D, you got to click on the word 'Name'... you might have to toggle it depending on, see this little chevron here... to whether it goes up or down. The other thing to note is, it's actually how you select it as well. So if I click the bottom one, I click 'Tyler'... then hold 'Shift' and click the top one, watch this, if I add it over here... can you see the first one is now that Tyler... but the second one is weirdly back to Aaron. So, because I clicked on this one first, and then 'Shift' clicked at the rest... for some reason Premiere Pro goes... "All right, you mean this one first?," and then it goes... the rest of them alpha numerically. So there is just quirks for that sort of selection. So if you do want to be A, B, C... click on this one first, hold 'Shift', grab that last one. Other things you can do if you want to be a little bit more specific - so I'm going to undo both of those. - is you can actually hold down... the 'Command' key on a Mac, 'Ctrl' key on a PC... you can say-- let's say that I want to open up Travel, as a bin... so just double click the folder. I'm going to go to my little thumbnail, and now in this view... I'm going to make it as small as it can, that's as small as it goes... and you can say, I want this one, but on this next one I want probably this one... and you hold down that 'Command' key on a Mac... 'Ctrl' key on a PC, and you can be very specific... about which ones you want... and the way that you select them will be the way that they go in the Timeline. So I clicked - where is it? - Aaron, Kevin, Martin... but then I came back and picked Jasper. Let's add them to the Timeline, you'll see that-- you can't see anything. Aaron, Kevin, Martin, and back to Jasper, so you can be a little bit more specific. It's more to do with like, it just randomly dumps them on, and you're like... "How did that one get there, why is it that one around that way?" So just be careful, the way that you've listed them... whether it's Name or Frame Rate, and also the way that you select them is important. If you're following along just delete everything in your Timeline. We'll jump to the next video, we'll talk about... playing around with the default timing. All right, I'll see you there. 133. How to change the default duration timing for an image in Premiere Pro: Hi everyone, in this video I'm going to show you... how to change the default image duration... when we're working with lots of images, we'll change the default. I'll show you what the quirks are... when you are adjusting the preferences or the default... and also how to change it on the Timeline... and if we end up with gaps, how to remove those. It is 50% super-duper easy, and super-duper strange. Let me show you both. All right, what have you've left over from the last video... you probably didn't do anything, you probably just watched me fluff about. I want you to have a nice clean sequence... and what we want to do is... I'm not particularly worried of how they're going to get applied... just grab them all. So I'm-- I don't mind which order they're in. So just select them all, drag them into your Timeline... and what you'll notice is they're on a default of 5 seconds. So I use my up arrow or down arrow, just to kind of jump, you'll see... a little Timeline-- I pointed with my actual hand... just then onto my screen, not my mouse. You can't see my hands, okay, right there, look. You can see though, over here, is the different 5 seconds. So that's the default. So how to change them? Once they're on the Timeline, it's really easy, just select them all. So zoom out so you can kind of drag a box. Remember, whenever I drag a selection around them... you just kind of start in the no man's land. Kind of just click, hold your mouse and drag them over. Right click any one of them... and just go to 'Speed/Duration', we've done that a bit lately. So Duration, we're going to say you are '3'. Actually how long, I was playing around with timing. I wanted them to be about... 2 seconds and 10 frames, I'll show you why in a second. Let's hit 'Enter', you're like, "Great," that kind of worked. Now you can go through and click in there, and delete them... and you can get a bit of flow going... but you're like, "There's got to be an easy way," there is. So if I undo all of that, back to how it was... I've gone 'Edit', 'Undo' a few times. So I'm going to select them all again, the same thing, right click... let's go to my 'Speed/Duration', and back to-- you see it, don't you? You can see it there. So I'm going to 2 seconds 10 frames, and let's click 'Ripple Edit'... which does this. Yay, so that's how to do it on the Timeline. Now if I drag them back out again, the default is still 5 seconds. So it kind of depends on what you're doing. If you know that for the next wee while you need it to be changed... we're going to change the preferences. To change preferences, actually before we get started with preferences... this is going to do some weird stuff, if you've tried to do it... and you're like, "Man, that didn't make sense"... it doesn't, it's kind of strange. So, let's look at it. Remember, on a PC it's under 'Edit', and 'Preferences' is down about here. On a Mac, let's go to 'Premiere Pro', 'Preferences'... and we're both looking for this one called 'Timeline'. So Timeline in here, I'm looking for 'Still Image Default Duration'. I don't want it to be, remember ours was like 210. I want it to be 210, 2 seconds 10 frames. This doesn't work here, watch this... If I click or hit 'Tab' on my keyboard to get out... it's actually just put in 210 seconds, because it's... a little bit different from some of these other ones... I got caught out by this when I was... practicing this exercise for you. So in here I need to do some Math, either like... something like that gives me close to what I want. You could probably work it out better than I could, or frames. So there is 25 frames in a second... I want 2 seconds, and I want 2 seconds 10 frames. I like to pretend like that just came to me right then... but no, I had to practice that. Up to you, but set your Still Default... but look what happens, let's click 'OK', you're like, "Great." Cool; so I'm going to add these things, I'm going to grab you. I'm going to delete these ones... and I don't want those to be 5 seconds anymore... I want them to be-- selecting them all, adding them all... and if I have a look... they're all still 5 seconds, and you're like, "Well, I just... why isn't that happening?" It's frustrating. It's because, what ends up happening is... those preferences apply to everything in the future... because these were already imported, when I import them... they were kind of like labeled with the default. They can't be changed later on... well, they don't get changed along with the preferences... because you might be using them in other places... and they've got kind of default set to them now. So there are two ways to kind of circumvent this. You can either-- let's select them all, delete them... and let's delete all of these... and re-import them, then... it depends on what stage of the project you're at. If you can just re-import them, easy... because now they should all be 2 seconds and 10 frames. So there might be that chance though that you're not at that point... and they're all just in here... and you don't want to have to go and re-import them... because they're all over the place. So the way to get around that is... let's say that I want to change my default, 'Preferences'. I'm going to leave the actual preferences, no, we'll change it, you can just watch me. So let's say that I want to change it to... 'Seconds', I'm going to put mine up something really high, so that it makes-- I'll put mine up to 10 seconds. Obviously these haven't changed... they're still my two point-- 2 seconds 10 frames. What I can do is I can select them in here... and instead of doing it down here... down here, and I right click them and go to 'Speed/Duration'... won't change what's going on up here, they're kind of separated. Up here though if I change them... I'm changing the defaults for these ones up here. So I can say you are now, say 20 frames. Oh, what do we do? 10 seconds 0 frames. Click 'OK', so now I can add these down here and they are really long. These are 10 second blocks. It's up to you, either delete them and use the preferences... to kind of change it, or you might just never touch your preferences... and just right click them all... because you might have different paces for different things... and you just do it always, right clicking them up here and doing 'Speed/Duration'. That makes sense? Kind of three ways... you do it once it's already on the Timeline... forgetting about what the defaults are... and just right clicking them and changing them. That just changes these unique kind of usages of them. If you know, and you hate the 5 seconds, it is quite long... just go and change your preferences for all future jobs... and then either right click them in here to update them... or just delete them and import them again. Overly complicated, I know, I understand the logic why Premiere Pro does it... but it's-- there's quirks, that's why we got a course, keeps me employed. To tidy everything up, everything's got a bit messy... so what I'm going to do is... I would like them all to be the... 2 seconds 2 fra-- sorry, 2 seconds 10 frames. I'm going to change my preferences just for the future, to go back to... for me, because I'm an instructor I need to always go back to 5 seconds... just, it's a pain... but I need to kind of keep it close to whatever the defaults are... but you can have yours on whatever they are... but down here on the Timeline... I'd like you to select them all, right click them... and just make sure we're at least doing something around here. 2 seconds 10 frames, 'Ripple Edit', perfect. Nothing changed because mine are perfect. Last thing to do before we go is just going to add a backing music. So I'm going to travel-- sorry, close the bin called Travel... back to 'Project'. Close all that up, under 'Audio'... actually I'm going to import a bit of audio. It's one of the previous projects, so I'm going to open up the audio bin... double click in this area down here, go to 'File', 'Import'... go to 'Exercise Files', we're going to the 'Project 3'... and in 'Audio' here, there's a bunch of them, I want 'Back and Sides'. Back and Sides, kind of one of the twisty ones... that look quite cool for this one... and this is the reason I picked that strange 2 seconds and 10 frames... because I felt like it had a good pace with this music, let's have a listen. There's cross fading as well so it's not as a literal cut... but anyway that's-- that was my decision making. So we've got our audio, probably a little bit loud... actually, probably not... music can be just a little bit higher than vocals... because it's going to be in a similar sort of pitch... and because we're not trying to balance it with audio... I'm not going to lower it down much, I worry that it bangs against the 0, but... I'd probably still lower it just a teeny tiny amount. All right, that's us done, let's look at the next video. 134. Change & apply default transition to lots of footage at once in Premiere: Hey everyone, in this video we are going to show you... how to choose a default transition... how to change it, how to apply it to lots of images really quickly... changing all the default transition times as well. So we're going to do lots of Cross Dissolves... all quickly and automatically... and then really easily change it to this kind of like white flash camera noise. You imagine the noise, that's what I was going for anyway. Let me show you how to do that now in Premiere Pro. Let's start by adding the default transition. What is the default? If you go to your 'Effects Panel'... go to 'Video Transitions', and go to 'Dissolve'. How do you know? One of them has a little blue line around the outside. You might have noticed this earlier. That's the default, that's how you kind of visually see. Let's say we do like a Cross Dissolve, it is the most popular transition. So how do you apply it? What you'll do is, make sure you're between two gaps... I'm going to mute the audio track. So make sure, remember, holding 'Shift', snap between any of them... and then hit 'Command D' on a Mac, or 'Ctrl D' on a PC... you're like, "Didn't do anything," you're like "Why didn't it do anything?" Basically what it needs to be, it needs to be in between, which is perfect... and you have to have nothing selected, so just click out, then hit 'Command D'. Needs to know kind of both of them... or you can have both of them selected and hit 'Command D'. That works, just can't have one of them... which is the default if you're holding 'Shift'. Who remembers? Because it's a bit of a pain, right? You're like, "Oh, stop selecting them all then?. I'm like, "How do I just stop that?" Do you remember from one of the previous videos... how I stop this automatic selection? You're like, 'Nope'. I remember it but I don't know where it is. It's under 'Sequence', and there's this thing... 'Selection Follows Playhead'. Remember, this is per project, if I turn this off... it doesn't matter if I'm using the car carousel that we did earlier... or this one here, it turns off... but as soon as I start a new project it will turn back on. It's on all the time unless you turn it off... and it would be off for this project only. So now click off, and I can hold 'Shift' and I can jump between these things. Command D', or 'Ctrl D' on a PC... and you can start adding your defaults. How do you do it all at once? Just select them all at once, and go 'Command D', 'Ctrl D' on a PC. It's a handy one, that's why I said it a million times. It's a wonder note-down in terms of your shortcuts. One thing you will notice... we've talked about how to adjust this transition... I can't remember if we did the default transition... if we haven't, it's good to cover it again anyway just for our memories. So let's say I'm going to undo all of that so I've got rid of them all. I want to go through, go to 'Premiere Pro', 'Preferences'. If you're on a PC, remember, it's under 'Edit', 'Preferences'... and we're going to go to 'Timeline'... and you can see here, we've got our default video transition. 25 frames, in our case this is a second, let's say you want it to be longer. Let's say it's kind of a, and a half, so we're going to go 37. It's kind of like 25 seconds plus a half, that's close enough. So I want it to be a little bit longer. Click 'OK', now if I select them all and hit 'Command D'... they're just all a bit longer and moodier. Other things to note is that the first one is actually a Fade to Black. You got to decide, it's not actually a Dip to Black, it's more... it's fading through to the background... and because there's no image joining the beginning or the end... it just fades out to like nothingness. So you can decide whether you want to maybe just get rid of that... or I'll show you a trick... actually once we do a few more things to kind of loop it back around. So we've got here, let's do our Option B... and look at changing the default transition. So let's duplicate this one, and we're going to change the defaults... because I want Option A and Option B for my client. So we've got 'Travel NZ - Option A', let's right click it... and go to 'Duplicate', click it once. Double click it, open up. For some reason mine's not working today... normally just double click it and it changes. I'm going to go the long way... this happens to you, right click it, go to 'Rename'. It just won't do it, weird. Why won't it do it? I don't know. I like to leave this sort of stuff in the course... because sometimes you're like... "What if that happens to me?" Let's have a little look, click once, double click. Nope, not working; give me a sec. I'm back, not sure where I went wrong, I just closed it down and opened it up. I'll leave that in the course just because that might happen to you. Premiere Pro is reasonably solid... but don't be afraid to close it and open it again. So now I can rename it, click it once. I'm going to call this one 'Option B V1'. Cool; so I've got it open down the bottom here. What I'd like to do is do a few things. I want to select it all and let's change the timing... to something a bit faster, I'm going to do a kind of like... you saw at the beginning there, kind of like a camera flash. So right click it, 'Speed/Duration'... and you can see why now it might not go and change my defaults... because I'm not even sure what I want... because I'm messing around with different kind of creative ideas. So in this case I want the duration to be, I don't know... one minute-- 1 second, and let's go 13 frames. I'm going to make sure I do my Ripple Edit, so it all comes down. My little Cross Dissolves don't really work anymore. I'm going to leave them there... it's a little bit hard to delete all of the Cross Dissolves. You can delete them individually by clicking on them. What I want to do is just replace them, it's easy just go over the top. So I've got them all selected, we've got the timing different... let's go to our 'Effects'... and we notice before, that... under 'Video Transitions', under 'Dissolve'... Cross Dissolve has got the blue thing. So here what I want to do is Dip to White. Just set it as default and you just right click it... and set this as the default transition, get a little blue. So now our 'Command D' on a Mac, 'Ctrl D' on a PC... I've got to be down here, make the blue line... go around it all and then hit 'Command D'... You can see they're all Dip to Whites. What I might also do is go into here and change my preferences... 'Timeline' to... what is it? 'Video Transitions'. So there's video by any sort of transition... and I'm going to turn mine back to something slower... which was 1 second. Actually no, it needs to be more. I pick 12 frames, now select them all... hit 'Command D', 'Ctrl D' on a PC. Now I've got these kind of like white flashes. I'm trying to give it like a picture. I know it's not beautiful... I needed to find a second Option B to show you how to change the default. I use white flashes a little differently. I was trying to-- it seemed like a good idea... when I was thinking of the tutorial, like a camera snap. We probably need the camera clicks all through there and... I don't know, it needs to look more like a photograph but you get the idea. I'll show you what I do with white flashes. This is an example of how I do it. I like to kind of keep pace with the white flashes. I saw it on somebody else's tutorial, I was like... yeah, it's a good way of kind of like... white flashes, exciting music, let's do stuff, get creative. I'll show you, like, I'm playing, watch the transition. "The tools and features necessary to make it both beautiful and easy." - So, white flash. - "You'll learn how to easily enhance images... - correcting the light and color." - Large. "You'll know how to add, remove..." It's also like a visual cue, that I'm changing topic. "...mask and we'll combine images." - "Then we'll work with..." - Lots of white flashes, that's what I use. Really short ones, I can't remember how short they are... but that's what I was using white flashes for... and it's just a Dip to White, really fast. So that's going to be it, I'm going to do one last thing before we go. You can go, I'm just going to change the music... and I'm going to pick, it was in 'Exercise Files'... under 'Wedding', under 'Audio', it's the 'Blizzard's one. Kind of match my-- at least I felt like it matched my 'snapshot'ing camera thing. Let's have a little listen. Got a bit more of a pace to it. I liked it, all right, that's it, I'll see you in the next video. 135. How to get your image slideshow to loop in premiere pro: Hey everyone, in this tutorial I'm going to show you... how to get our image slideshow to loop... so that visually at the top here it will get to the end... and watch, you won't notice. Ready to not notice. Hey look, it just started again without you noticing. We'll also show you how to get it to actually play in reverse... inside of Premiere Pro, rather than just stopping at the end. Let's do both of those now. To get it to loop we're going to do it with option A. Let's make an 'Option A V2'. So I'm going to right click it, duplicate it... this one here is going to be called 'Option A V2'. So if the clients come back and say... "We love it, but we want it actually just looping on the TV... without any music, because it's driving us mad"... and because it's going to loop. So we're going to delete-- oh, make sure the right version is open, double click it. Close down these other ones just so we don't get confused. It's across on the wrong side. I'm going to unmute this, delete it... and we are going to get it to loop. At the moment it's dipping to black... so it's very clear when it goes back to the beginning here. Now you can't force a video to loop... but most players on, like most TVs... will have the option to loop just-- lots of them have it. If you're plugging into a computer, most players have an option to loop. So you just need to produce a loopable video... and let the player, like Quicktime here on Mac, loops easy. It's one of the settings in it... this says, "Would you like to loop it?" You're like, "Yep." But what we need to do is make the visual loop... not so obvious. So we want this to loop back and it's a trick. To do this trick there's two parts... first of all let's get it to play in a loop. So we can kind of get a sense of it. So we've got it shortened up to this. Now there's an option that we need to add to loop the playback... because at the moment if I hit 'spacebar' it goes to the end, watch what happens. It will stop. I want to take a loop around just to see what it looks like. So you hit this little ' + ' button. There's a bunch of buttons in here, the main ones... but the ones I want to add, is you click the 'Button Editor'... and say, actually I want this one; where is it? There it is there, loop. You just click, hold, and drag it... and say, "I want this to be part of my little gang here." I'm going to click 'OK'. So that's my little looping play button. Now if I get to the end, hit 'spacebar', look what happens. Starts again, so now it's really clear... these are cross-fading, and this last one doesn't work. So we are going to get it to loop by doing this, we grab the last one... copy it... put my Playhead over here to paste it, and basically we're going to fake it. So we're going to basically end with the last one... and then start again over here. Hopefully it will make sense. It's a little bit inceptionary, what's going on here. So first of all I need to get rid of the Cross Dissolve... because it doesn't automatically just join up and cross over again. You got to delete it and then reapply it... by holding 'Shift', having nothing selected... 'Command D', oh, our default is changed. I'm going to go change my default, I'll do it real fast. So I figured out what the original transition timing was... and then I right clicked that. Now I can go back to here, to the Timeline... make sure it goes blue around the outside... 'Command D', cool. So it finishes and then starts fading back into the first one... and then we'll loop back around, if I get rid of this. Basically we're kind of faking it, this one just stops... and because it instantly starts again over here there's no, like... no appearance of a loop, let's have a look. The timing is going to be a bit long, let's have a look. Fading, fading, fading. So if you ignore the Timeline it just continues looping. The only problem is it's double the length now... because it has to do this one and this one... and we can just halve both of them. I feel like we're getting into the weirds and complications here, but... you might end up doing this image slideshow like I do. So let's select it, right click it. When you are right clicking it... just right click it down in the thumbnail, in this lower part... up here when I right clicked 'Effects'... it was doing weird stuff, so just be careful where you're right clicking... and let's go and do 'Speed/Duration'... and instead of trying to work out the names... what I wish I could do is just type in 50%. That works for video, but not these stills. So I need to halve this, come on, brain. You might have watched that, and it'd be painful. I can't do it, I can't, I can't, so I'm going to do 30. Assuming 30 frames, and it should convert it to the half a second in a bit. So I'm going to do the same for this, right click this one, 'Duration'... type in my '30' frames... and because that Ripple Edit is on, it went and moved it down a bit. You might have to drag those across, and now... they are combined at the right time. So let's have a little look at our play. Fading, fading. Amazing image going on in the foyer of our... I don't know, travel agency, I guess. That's how to do looping, and we figured out some of the weird things... that happen if you break them off... and then try and connect them back up. They don't instantly kind of redo it. You hold 'Shift', get the snap between them, have nothing selected... Command D' to reapply it, and you're away again. All right, let's get on to the next video. 136. How to add scale & position for multiple videos at once in Premiere: Hi there, in this video, as you can see... the image is kind of like slightly moving... they're kind of scaling just a little bit to fake the idea... that they might be real, they might not be. I'm going to show you how to add it to one, then copy and paste it across all of them. So we can do it nice and quick. Let's jump in and I'll show you how. So to breathe a little life into these... I want them to kind of pan out a little bit... just feel like they're moving. Now I'm going to do Scale in this one, just kind of like change the size. Why am I not going to do Position? Mainly because there are just different sizes going on... and to try and-- there needs to be some consistency across them all... for Position to work. Let's have a look, 'Graphics', 'Travel'. You can see, they're different heights and widths, and I just don't... you know, Position, they're all so different... that Position's not going to work. Scale though, they're all going to go... be able to zoom in to the center pretty easily. So what we want to do is, you do it to one of them... and then copy and paste it across, so we've done this part a bit. So I'm going to click on this first one... and I'm going to go to the front of it, by hitting 'up'. So it's snapped to the top of it, I'm going to go to my 'Effects Controls'. I'm going to say, start the stopwatch for Scale... and I'm going to start high, so I'm going to-- I want to feel like it's moving backwards, so I'm going to start at about 103%. So a bit big, and then it's going to get a bit smaller, I'll go back down to 100. Now I've resized these images, so you might be starting it, I don't know... 50%, and going to 53. It will depend on the length and duration of your image depending on... because this is quite a subtle effect. So I want to go to the end of it... so I'm going to use my up key, no, down key... and if you-- yours won't work if you still got this selected... because if you go down you can see... it will actually jump and start selecting the next one. So I'm going to turn this off... so that-- because I want to keep-- I want to be in this gap... but I want to be selecting this clip... and I want to say, actually, now go back to, not to 107, to 100. This is going to half work, let's have a look. Can you see, it's just a real simple, it's only 3%, but it does move quite a bit. I guess I'd want it to feel like, is that a real image? I'm not sure... sorry, is that real footage, video footage or not, I want that. Sort of just subtle change. One thing you will notice though is... that it actually stops scaling when it gets past the mid point. So just like we had that problem with the Position, with the cars... remember, it kind of stops... but the transition carries on. So you can kind of just grab these and drag them to the outside. You don't have to hold anything down... you can just drag them to the edge until they stop... and it will be right on the edge there. So we've got our transition, we like it, now we're going to copy and paste it. So with it selected down here on my Timeline... let's go to 'Edit', 'Copy', or use your shortcut... and then select everything else, that's the same. So all of these are the same distance, I want to apply them all. These little half ones at the end here are a little tough because... I can't do the math in terms of how much that should scale. So I'm just going to leave that, not scaling. It's not a big difference between these little subtle ones... but I've got them all selected. I'm going to go to 'Edit', I'm going to go to 'Paste Attributes'. I just want to untick everything except for Motion. That's what I want to bring across, I'm going to click 'OK'... and hopefully, now, let's hit 'spacebar'. Look at that, all slowly moving. Are they real? Are they not? Anyway, they look cool, doesn't have to be just images. This trick works for them all, this trick works for video as well. Easy one, let's get into the next video. 137. Class Project 10 - Unwrapped: Holy Molly, we are at the end, well, nearly there. This is the final project, at least. There's a couple of other videos to carry on with. Just kind of what's next, and the shortcut videos... but really, this is it, this is the last project we're going to do. It's a big one, or a small one, it depends... there's a lot of creative freedom in this one. What you'll notice, in the Class Project Word doc... this one's called 'Class Project 10'... so have a look at the requirements in there... but basically there's only-- I've left it quite short... because I want you to be able to do what you want to do... using the skills that you've learned in this course. So use all the skills, use none of the skills, it's up to you. There's only two real main things I want there to be in... or things I want there, to be in there. It's the end of a long course, I agree. So there's two things I want in there, are, there is a voice over... kind of underlying voice over... and there's a website address to go to. We'll talk about both of those in a sec... but that's it, everything else is up to you. So I wouldn't-- if I was you I wouldn't be thinking... "How am I going to make this one thing amazing?"... I would go, "Let's do an option A, B, and C"... and follow a couple of ideas... and you might post all three... and get feedback from other students, and from other tutors... but yeah, there's a lot of creative freedom. Now when it comes to the footage... I've given you no video, no images, no music... that's all the stuff that you know how to go and find now... and you might decide that you're going to use only free video... or only paid video, because you have a subscription... or you might use watermarked video, because there's lot more of that around... and you don't have to pay for it, because it's watermarked. You might decide to use free images, paid images, watermarked images. That choice is up to you. In terms of the music, you might decide to have none... you might find something that you like. What else? In terms of the voice over, so what happens is... I wrote the dialogue, or me and a friend, a writer friend of mine, Dean... we put together the writing, and we got a voice over artist to do it. I performed one of them, I'm not a voice over artist... although the Kiwi accent is quite distinctive... let's call it distinctive. I've got a couple of other accents... because of the subject matter here... I kind of tried to find some different people, different countries. So there's Giovanni, who's Italian, there is Trish, who is Irish... there's Spencer, who's American... yeah, so there's a couple of different artists to pick from... and you might decide, with the voice overs... there was kind of like two different ones that got made, there was option A and B... because I wasn't sure which one works for this project, so you get to choose... whether you're going to use my version, option A... or my version, option B, have a listen to them both... and decide which one works for you... or you feel, kind of communicates your idea the best... or you might mix them up, you might use a snippet of mine... a snippet of Trish's... or a bit of Spencer's, then cut to Giovanni's, up to you. You might cut bits out, you're allowed to do that. You might just use bits and pieces. It's a long winded explanation, but I want to, not feel like... it's been quite restrictive up until now, so now you get to do whatever you want... except for including the voice over, and including the website address. Now when it comes to sharing this project... same as before, upload it, give us the url for the video... and if you share it on social media, make sure you tag us like before... but in this case we'll do a different hastag, it would be this one... unwrapped, use that hastag. Let's now talk about the project in general... just so that you get an idea of... yeah, expectations, or at least give you some sort of direction... in terms of your creative direction. Let's talk about the project. Before we actually carry on with that it's the next day... I'm actually editing my own video, and I realized you just watched me do this. I realize I didn't actually tell you where the files were. So I need to quickly jump in... remember, this is your class project, Project 10... and the actual files are in your 'Exercise Files'... they're under 'z Class Projects'. We haven't got into here much during the course... and I just thought, this morning when I woke up, I was like... "Hey, I didn't tell them, I should jump in and tell them, this is what I'm doing." So go into 'z Class Projects' and it's 'Project 10'. In here there's only actually one folder, with anything in it, and a few audio. This is the voice over. So there were two scripts, there was a Script A and Script B... and all four of us read both of them... so you can decide whether you like Script A. If you like that one better then pick the talent... or the voice over artist that you want to do the most. So that's all, let's jump back into the video. Let's talk about the idea behind this... to give you a bit of back story so that you get... so you can, yeah, kind of create the video around it. It's kind of a personal project of mine, it's only just getting started... and the basics are, it's reduced in waste, it's pretty clear. The long answer is a bit fluffy, because it's kind of new... as in, I haven't really formalized it yet... haven't got it really good clear about what it does... but let me discuss it so that you can get an idea for the video. Hopefully you can express it better through the video. So the long answer is, the one I coin a word... it doesn't need to be coined because it's pretty clear... it's not even there anymore, right? Unwrapped. Where I associate it to, is, I'm a vegetarian, and I love that word... and the fact that I can go into a steak house... and ask for a vegetarian option... and it's a word that doesn't carry a lot of baggage. I can say it to the proprietor, who loves animals, and eating them... and I can say kind of vegetarian option, and it's a word that doesn't say... I'm judging you because of your meat eating, just says politely... I choose not to eat animals... and you've probably got a polite option of Risotto that I'm going to have to eat. Restaurants are getting better, but I love that word... and I feel that 'unwrapped' could be that word. Now the voice over dialogue is pretty weighty. So maybe we were trying to do a little bit too much all in that one voice over... but let me give you a little for instance story... to help explain it as-- so I can explain it, as the client, to you, the videographer. So let's say that I go to McDonalds, and I say, I would like a burger... but I'd like it to be vegetarian, and Gluten free, and my Coke to be Diet. Non 'judge'y words, I'd also like it to be unwrapped. So that's the kind of feeling for it all. I'm looking forward to seeing what you're going to do. You might go a couple of options... you might try like a fluffy option, you might try a dark moody option. All right, that is your final project. I'm looking forward to seeing what you come up with. Yeah, go get started. Let's go save the world, one plastic fork at a time. 138. The ULTIMATE Premiere Pro shortcut list: Do you know what you need more in your life? Ultimate things. This is the ultimate shortcut tips and tricks video. I do it so that, you know, we've kind of covered lots of shortcuts... and tips throughout this course... I wanted to put them in a nice easy to access video... so you don't have to go back through them all. Also it's a really good chance for us to kind of just... really get clear about some of those shortcuts... and tips, and quirks of Premiere Pro. You will notice a few of the shortcuts are... a little bit more advanced than what we've covered in this course. I've kind of begun my Premiere Pro Advanced course... and I guess I wanted this video to be right for all people. So there's a few little extra bonuses in here for you, we'll call them bonuses. Also remember there's a PDF that you can print off, of all of these shortcuts... that will be in your Exercise Files. Yeah, let's get into the ultimateness. Let's start with some easy ones to get going. The first one that I use the most is the backslash, ' \ ' key. Just tap it on your keyboard, puts everything in the Timeline in view. So you can see everything at once. The cool thing about it is you can zoom in, say you are working very tight in here... if you tap backslash one, see the whole thing... tap it again, goes back into that exact same kind of zoom level you were at... but I never do that, basically this is what I do. I trim stuff up because of this giant soundtrack... and then I hit backslash again, just kind of fits it in appropriately. It's a good start, next one. The next shortcut that I found the most exciting... was the Tilde key or the back tick key, ' ~ '. I'm not even sure which one does it because sometimes I've got different keyboards... sometimes it's this, sometimes it's that. You might have to hunt around and see if you can find it. On my Mac it was up there, now it's down here, it will move. What does it do? It means wherever your mouse is, just tap it... and it makes it full screen. Super handy when you've got like really complicated bins... and it's hard to search and look through them all... just tap the Tilde key, it goes full screen... tap it again, it goes back, so wherever your mouse is. Full screen... Full screen Timeline, you can even combine it with a backslash; look at that. I made it big and made it fit in there, nice. That's the Tilde/grave key, some people call it the squiggle... or it's back tick, but it looks like that. Next shortcut, next one is holding down the 'Shift' key... while you drag your Playhead or CTI. It will, if you're holding down 'Shift', snap to useful things. You can see the gaps here, see my audio track down the bottom here. If I'm holding 'Shift' and dragging, it will snap to these. Gets even more useful if you have a track selected... and up here in my Effects Controls I've got keyframes. If I need to adjust these keyframes, dragging this CTI... it will snap to the keyframes... stop making all those random duplicates that are right next to it... close but not quite. Hold 'Shift', drags to the front, to the key frames and to the end; nice. This next shortcut is how to do a nice razor cut that show us the... "All limits are inside your head." There's a sweet jump, but what I want to do is chop a few bits out. So I'm just going to make sure my track is selected... and 'Command K' on a Mac, and 'Ctrl K' on a PC. Go to my next one, 'Command K'... next one... 'Command K' on a Mac, 'Ctrl K' on a PC. I'll do one more and then I'm going to magically delete some bits. By magic I mean just clicking them and deleting them. Another little shortcut is you can click the gaps and hit 'Del'... and it just toggles everything in. So I'm just clicking it once, hitting 'Del' on my keyboard. Not very short 'cut'ey, you say, let's undo those, get them back... and instead of just deleting them... is hold down the 'Option' key on your keyboard, if you're on a Mac... the 'Alt' key on a PC, hold that down and hit the backspace key. Generally in the top right, next to the plus ' + ' and minus, ' - '. That will both delete it and Ripple Delete at the same time, look at that. Not good enough, you say, let's undo it. Still not good enough, you say... let's say you've got footage and there's lots of gaps, hundreds of them... for some strange unknown reason. Select all the ones you want to remove, go to 'Sequence'... come down to 'Close Gap'. Hey, you're crying a little, right... because you've done this, we've all done it. All right, next trick, it gets better. How? You ask; the Ripple Edit tool. That tool that you should use more, you know it's there, you never do... is this one here, Ripple Edit, it's got a terrible shortcut, the B key... B for bad shortcut, that's how we'll remember it. We'll select it and instead, watch, I can drag this along... and the gap that's going to open up gets closed automatically. It will Ripple Delete it, you're like... "I use that all the time, don't tell me about Ripple Edit tool." All right, how about this one, let's go 'undo'... and instead of any of these tools here, nothing-- so no tools selected, I've got this clip selected and I just hit the 'Q' key. Look at that, it did it all in one go, no Ripple Edit, no clicking and dragging. Undo, watch that again, get it anywhere you want... hit the 'Q' key and it just trims it up. You can do the other way around... if you get to the end and you're like, oh, I want to just-- Let's say this one here, I want to trim it up a little bit. It's selected, I hit the 'W' key... which is right next to the Q key, which is handy. It's called the Ripple Trim tool, some people call it topping and tailing. Just got to make sure the clip is selected, Q and W, love those keys. Not to be left out, Q and W have a buddy, his name is E. If you look down at your keyboard, there he is, just to the right of them. His job is to do something called the Extend Edit to Playhead. So get your Playhead where you want it to be, and you click on the end of it... it kind of goes red, and you hit 'E', will jump out to wherever your Playhead is. It does not work if you have the clip selected... because it doesn't know where to end. So you've got to really be very specific and click on the end... it could be either end. I can click on this one, so it's red, and say 'E', and it will jump back to it. It also doesn't work, you can't click the ends... if you have any of these other tools. You just need to be on your Selection tool. It's the shortcut that I never use, to be honest... but I reckon it might make at least one person's day out there. Get it to the right point, click the end, click 'E', oh, good. Extend Edit to Playhead; next shortcut. To continue on our Timeline mastery... we're going to insert, let's put in some sheep... I'm from New Zealand, we love sheep. If you know nothing of New Zealand, you know Flight of the Concords... Lord of the Rings, and there's more sheep than people. I wish it wasn't true, but it is. What you do is, you're like, "Okay, I'm going to put it in there"... so I know it's that long and I'm going to grab this... and I'm going to extend you out... and you slip it in, you're like, "Yay." Today gets better, I'm going to undo all of that jugglery... and we are going to, as we drag it in... hold down the 'Command' key on a Mac, 'Ctrl' key on a PC... ready, steady, we can put it anywhere, put it there... oh, look at that, just opened up a gap. No messing around with, ah, man, Source Matching. Source Patching, the mysterious Vs on the side sent, to confuse us all. There's another way of doing it, that way I use a lot... this way is pretty good as well, let's say that... this one's been on the cutting block, we want to get rid of it. Replace with sheep, so what we can do is click, hold, and drag... and if you drag it up to your program window... you get some awesome things, like Overlay... or Replace, look at that. Just replace that one, same time, has the same animations, or transitions. There's other ways of doing it but that's just too easy. Let's have a quick look at the other ones... you can insert it before, let's insert it afterwards. Look at that, two sheep, we have millions of sheep. Have a little look, it'd be one of these things that you're doing all the time... and it's just nicer often just to look in here and do it, Overlay. Look at that, over the top, I didn't do... have to do any more of that mysterious Source Patching. If I were all honest, nobody really knows how it works... or why these should be different, anyway, next shortcut. I lied, one last little thing to show you, it's really good for... big stacks of images, there's just a whole bunch of images. There's always some reshuffling to be done... in this case I got too many sheep together... so I want you to be down here, and I can just drag it... and it does an Insert Edit, and kind of overrides that one... or I can use my fancy new trick... hold down the 'Command' key on a Mac, 'Ctrl' key on a PC... and it kind of pushes along, but... lift the gap here, that's all right, I can get rid of that, delete. Oh, there's a way of doing it all in one go. So just like before, drag it along... 'Command' on a Mac, 'Ctrl' on a PC, but also... on a Mac hold down the 'Option' key, so 'Command' and 'Option'. On a PC, it is 'Ctrl' and 'Alt'. Man, it's hard to do in my head at the moment. You can see them on the screen... look at that, there's a little switch-a-roonie. Puts that over there, gets rid of the gap, everything shuffles along. I can make this one go backwards. So 'Command Option' on a Mac, 'Ctrl Alt' on a PC... and it kind of shuffles that one over here and everything tidies up nicely. Now another shortcut, or at least another range of shortcuts. Let's talk about importing. So you might not know, you might know, you can just double click... in your Project Window, anywhere in here that doesn't have words. Double click and say, I'm going to bring in all of these guys. You don't have to go File, Import, or any sort of shortcut. I can import more, just double click the non have things in area. You can go a bit faster, undo that. You can actually just drag it straight up from your Finder window. Either Mac or PC. Just drag it, let's grab both mp4s, drag it straight to here. You have to kind of rearrange things so you can see it, but check it out. It creates a sequence and puts both of them in there. It's a great easy way to get started. Another couple of good hot keys, is look down your keyboard... J, K, and L, that's what I rest my fingers on... pretty much constantly when I'm editing. So L is going forward, it's playing, 'K' is stop... but the cool thing about is, if you tap 'L' twice... play it once, plays double speed. I do a lot of my editing... or at least checking of myself talking, using that speed. I don't mind that I sound like a chipmunk... but it's way better than listening to myself talk. You can tap it three times, one, two, three, a little bit hard to understand... but if you're just trying to kind of listen through something real quick... it's a good way to speed things up. 'J' is backwards. I use it surprisingly a lot, you can hit 'J', a couple of times backwards. Just to kind of get the Playhead where you need to. Useful if you are kind of jumping around like that. 'L' to go forwards, 'K' to stop. If you need to go forward one frame, because you need to find... like something that is, say just scrub it along, and you find a bad picture. All of my, like freeze frames, there you go, that's a bad one. Just trying to find something where I don't look as, like that. Your left and right arrows... so remember, I've got my Playhead selected down here... the blue arrow, just hit left once, right once. Just frame, I can kind of go back a couple of frames until... ah, there we go. Way more handsome. So just tap them along, it's really helpful as well... because weirdly in Premiere Pro... if you hold your 'Shift' key and snap to the end... it snaps to the next one, never this one, so you can go back one... that's what I do a lot. So dragging along, holding 'Shift', snaps there... goes, no, get back one, go back to this clip, watch. Back one arrow, look at that. If you hold down 'Shift' and do it, it jumps in sessions of five. So I'm just tapping my left arrow... holding 'Shift' key, and it goes into like bigger chunks... because you might find that useful, sometimes. Same with forwards, hold 'Shift', goes in lots of five frames. There we go, nailed it. So I'm going to reuse one of my earlier shortcuts, I want to delete it. Do you remember, I want to Ripple delete it. That's right, hold down your 'Option' key on a Mac and hit backspace... or 'Alt' key on a PC. Now listening to this one, I've got terrible audio. "Hi, my name is Dan." It sounds like I'm recording in my toilet, clearly not... but it does sound like that. So I'm going to add some better audio that I've recorded off camera. I'm going to hit my backslash key, because I want it to be full screen... and we're going to unlink it. You right click it, you got to 'Unlink', and then you delete one of them. You've done that before, right... but you can just hold down your 'Option' key on a Mac, 'Alt' key on a PC... and click off, click one, so I have nothing selected... hold down 'Alt' on a PC, 'Option' on a Mac... and you can just click one of them, hit, 'Del'. Another weird thing you can do with it, is with both of them selected... you can hold down the 'Option' key on a Mac... 'Alt' key on a PC, and just drag one of them. So you might just want-- don't want the audio at the end there... where you're kind of like doing stuff, but you want the visual still. They're still kind of linked. It's weird, I've used it once or twice... but at the moment, nothing selected... hold down my 'Option' key on a Mac, 'Alt' key on a PC, and delete it. One of the way you might do that is - I'm going to delete all this. - is I'm going to open it up in my Source Monitor, you might go... bring it in, brings them both... but if you drag just one of these icons, if I drag just the video... I can drag it to one of my V1 tracks... get the kind of the same result. If you just want the audio from it, just drag the little audio. Down to one of the audio tracks. All right, I want it, so this guy is gone... let's bring in our better audio, not amazing. I'm going to bring in my mp3, I'm going to drag it on. The next shortcut I want to show you is the-- we've used the left and right... just to go forward one frame, back one frame. The up arrow and the down arrow will jump to the next significant thing... that's happening in your Timeline. In our case if I go up one, it's jumping to the beginning of the mp3... and go up one again, it's beginning of this. It's really handy way to kind of like start scrolling through all of your work. Up arrow, down arrow, and like before, I go back one frame, weirdly. So Premiere Pro loves to get to the end... but go past where it needs to go, get back one frame. We're back where we want to be. If this doesn't work for you... say you've got something else on this other layer... which one do I want? That's the sequence, let's put that on there... and you're like, "I'm jumping up and down"... but let's say it's skipping. I'm going to make it do it. Watch this, it's not going to find this Dreamweaver one, watch, I go down and... why aren't you jumping to this one? Works on some of them, but not others. You kind of notice, already gave it away, it's any of these. So this is your Track Targeting. Kind of like Source Matching, except... it's not the same, just make sure... just make sure they're all on, that's generally a good rule. Does most of what you want. All right, up and down arrow. Next one is, I'm not sure if I've even said this one already. Selection follows Playhead, I think I did. Just means it's going to kind of jump to whatever is... the Playhead is above, that can be useful... but just know you can turn it off if you're like... actually just don't select anything when it's moving around. I'm going to have mine off for the second... I'm going to have mine off for the moment. Next one is Nudging. So we've done-- back and forward goes forward one frame, back one frame. So left arrow, right arrow... but if I hold down my 'Command' key on a Mac, or 'Ctrl' key on PC... and use the same ones, watch what happens to the footage down here. Left, right, I'll zoom in so you can see it. ' + ', ' + ', ' + '. With this selected I'm going to go 'Command' on a Mac, 'Ctrl' on a PC... left one, right one, just kind of nudges it along... and you're like, "When would you ever use that?" It is just helpful sometimes... because sometimes the Playhead kind of likes to jump to things... and in our case it's going to work really well. I'm going to zoom out, I want to grab this... and I can't even remember which one it is, but this is the good voiceover. I think it's this one. What you want to do is you're doing some manual aligning, right? You're trying to see when he starts talking, he, that's me... and I come in there, and you're trying to line these things up, right? Here I am. "Hi, my name is Dan." It's not quite right... but you can zoom in and then you can use your nudge... to kind of try and align the peaks of this. You can see the peaks a little bit easier by dragging this down. Fine, where I started saying "Hi... and I bet you this, has got to go left. So I'm holding my 'Command' key down on my Mac... 'Ctrl' key on a PC, just nudging along. There'll be things you need to line up... logos, brands, different waveforms, sound effects. - "Hi, my name is Dan, and I love..." - It's not the right one... but you get the idea. If you are still doing this manually, there's times where you do need to. Let me show you the quick way. So I'm going to delete both of these, because I have got both the bad audio. - Remember this? - "My name is Dan, and I..." The old toilet audio, and then I've got the good stuff. I'm going to put you over there, anywhere really. I'm going to select them both... right click any one of them, and say, sync, where are you? Synchronized, there it is, it's grayed out, why is it grayed out? I think it's on the same track. These guys need to be on different tracks. Select them both, right click, now I can synchronize... and it's going to say, what would you like to do? Let's synchronize the audio... because I've got the bad audio and the good audio... and hopefully it will do some Premiere Pro magic. Backslash, ' \ ', look at that, it found the right one, we were close. - There it is there, let's have a listen. - "Hi, my name is Dan." It's got both audio tracks going, and I mute the bad one. "I love animating infographics." There you go, it's lined it up automatically. So just make sure you're recording all the bad audio on your camera... and your good audio on something else so that it can match it up. Way easier than the manual way. So let's do a few tricks... let's get our Playhead kind of just before I start talking... and do you remember, the Ripple Edit was Q. Kind of trimmed it off, got rid of that, I don't need all this stuff. I can click this gap here, goes all the way to the beginning, find the end. "... boring data to life... - ... using After Effects." - Space bar. What's the Ripple Out, remember? 'W'. There's this little bit left here, you're gone. I want to unlink these, without using the right click, 'Unlink' option... because Unlink is there, and it's not hard... but man, this is big, and you're like, unlink, unlink. Here it is, every single time, maybe just me... but remember, if you hold down the 'Option' key on a Mac, 'Alt' key on a PC... click it once, delete it, let's move him up. We don't have to group them but it feels good. Let's right click it, search through it, find Group. Unmute this, and you'll notice over here, it's not quite loud enough. A really super easy shortcut for all dialogue; man, this is good. With it selected, make sure the audio is selected... go to your 'Window', find 'Essential Sound', grab it. 'Essential Sound', click I am 'Dialogue', I need to be-- If this is closed, open up 'Loudness', click 'Auto Match', watch what happens. - "... and bringing potentially boring data to life." - Look at that. minus, ' - ', because it's bouncing around in the right areas now. - "I love animating infographic." - The audio is not amazing... but it's better than the camera stuff, too good. I want to go through lots of other cool stuff in here... but you have to check out my Premiere Pro Essentials course for that... bit of Advanced as well... because man, this video is getting already pretty long. Let's get on to the next shortcut. Next let's do a little bit of tidying up. I'm not sure about you, but this thing is... it's messy, man, it's messy... especially when you're new, even when you're experienced. So first of all, backslash, ' \ ', look at that, fills it up. The other one is, there's this random area, if you can't see it... it's as small as it can get... you've got this like random important area here, you're like... it doesn't look very important, but you can right click in here. So right click in any of these V1s, probably works in A1 as well. Right click and go to this one that says... 'Delete Tracks', plural, just the plural one. You can say, actually I would like you to go and delete... any video and audio tracks... all that are empty, and watch this, ready? Watching, messy, messy, messy. Nice, just a clean track. You might have two video tracks, but it can be a little bit nicer. I can make this a little bit smaller, ah, so good. Another thing you can do is you've kind of expanded these out... and some of them are big, and some of them are small... and they're all over the place, you just want to go... actually, all you guys can you go to... can you just minimize and just be small; ah, look at that. Likewise you can go in here and say, actually, everyone be expanded. Just so that you don't have to go and do this whole fun game of like... "Oh, they got the right one, is this the right one?" Ah. There is a shortcut for it as well, hold down the 'Shift' key... and hit minus, ' - ' to make them small, and plus, ' + ' to make them big. Cool, eh; hold 'Shift', ' + ', ' - ', you have to actually have... a blue line running in here. So click anywhere in this, ' + ', ' - ', holding 'Shift', nice. The next one's not even really a shortcut but it's my gift to you... especially if you're, you don't use Premiere Pro very often... you end up with things like this, and you're like... "What is all this gray stuff, where did it come from?" It's probably because you hit your X key or your forward slash key... instead of your backslash key, and you're like... you've ignored it for ages and it works fine... Just right click in this gray area... and go to 'Clear In and Out Points'. You can use in and out points for good... but most of the time people accidentally put them in... and you just live with it, right click, 'Clear In and Out'. Next thing I want to show you is the hidden buttons. In your Program Monitor... there's this little ' + ' button down the bottom, click on it. There's a bunch of stuff that you might use... much of stuff you won't use, I only used one or two things out of here. Probably the most useful is this Loop Playback. To use it, it's kind of weird, you kind of hold it and drag it... and dump it into there, anywhere you want, click 'OK'... and now we can loop our playback. Why that's good is let's say that I am trying to do the timing for this... I want to sit back and kind of get a feel for it... instead of having to go all the way back to the beginning... you drag your Playhead, you've done that a million times. You can set an in point, which is 'I' on my keyboard... and then put an out point, which is an 'O', then turn that on... hit 'Play', kick back, I am actually kicking back. Just watching, just to get a feel for the timing. Who remembers how to get rid of this frustrating gray stuff? You remember, right click it, 'Clear In and Out'. Then it will just actually play the whole thing over. It will get to the end, my end actually is a bit there. Watch. - Go back to the beginning. - "When I first started doing..." Cool, eh; have a little dig through there, there'll be stuff that you use. If you're a multi-cam person that's quite useful in there. Toggling proxies if you're hard core, I'm going to do that. Turn it off, next shortcut, please. Let's look at adding a transition. so if I want to add a default transition, which is by default Cross Dissolve... I need my cursor, I can set my Playhead between two bits of footage... and it's not going to work... 'Command D' on a Mac, 'Ctrl D' on a PC, you're going to have nothing selected. Then do the exact same shortcut... and that will apply your Cross Dissolve. You can do it from all, select them all and hit 'Command D'... or, you just can't have one selected... you can have two of them selected, watch this. You two, 'Command D'. Now there is a shortcut for the default transition for audio. Constant Gain, I think it is. So again, between the two you just hold 'Shift - Command - D'. So that's 'Shift - Ctrl - D' on a PC. That will do your default audio transition. You can do them all in one go, select them all... and go, a weird one, just 'Shift'... and 'D' by itself, no other keys. Same for both Mac and PC. Really good if you are banging out lots of the same thing... with all the same sort of transitions... if Cross Dissolve isn't your thing, or Constant Power... you can go and change your presets, under your Effects Panel... find your video transitions, find the one you want. Let's say I'm going to be the Dip to Black. Just right click it and say, you are now my default transition. Select all these guys, 'Command D'. Now we've got... One thing I want to show you is this. It's another, less of a shortcut and more of a, saving your sanity... like why is this transition-- this one's in the middle, this one's not? Ah, man, I wish-- can I just-- why won't it go in the middle, you can force it. You can go, make sure it's selected, go to your 'Effects Controls'... so we've got the transition selected. We can say, no don't start a cut... I want you to start at the center, I'm going to force you to. It kind of freaks out a little bit but it works perfect... especially with a Dip to Black at least. Nice. Symmetrical. The little shaded line says... I can't really do it but I'm trying to do my best. Works kind of okay with the Cross Dissolve, not as well. With a Cross Dissolve, is the same kind of thing... you just force it to it, by selecting it... but you watch, it will just pause her... until it kind of starts going. She's kind of paused all this time and then launches into life... but who's going to know? You might. That is transition shortcut goodness. Next one is the scroll wheel on your mouse. Not everyone has one but if you do, it's that thing in the middle there. By default it does something really kind of weird. It just moves up and down if you've got a few tracks... but if you hold down the 'Shift' key, that's really good. Goes back and forth, kind of scrubs the Timeline... instead of dragging this ridiculous thing, so hold 'Shift'... to scroll your wheel up and down. You can hold down the 'Option' key on a Mac, 'Alt' key on a PC... and it zooms in, that's a real good one... and it's wherever your Playhead is, sorry, your mouse. So it doesn't really matter where that is... you can just go, I want to zoom into this bit. Make sure you're zooming in. So wherever your mouse is pointed it will zoom. That will work with pinching and zooming on a trackpad. It does at least on my MacBook Pro. This next shortcut is probably one of my most favorites. I'm not sure why I left it this late in the video... but if you're still around it's like a prize. So I'm working on this Wedding... and Wedding footage, there's so much of it, let me show you. So I've gone full screen, that's... remember, Tilde, or the uptick, that's not the shortcut... but I just want to show you all this, look, there's just lots going on, right? What I want to do is... actually give you a little bonus shortcut. If you want to close all these down in one go... hold down the 'Option' key on a Mac, 'Alt' key on a PC... and just click on one of them. Look, they all get collapsed if you've got a big mess of bins open. That is also not the shortcut. So I'm going to come back out of that, what I want to do is... I have no idea which bin this footage is... what it's called, what the in and out points are. So with it selected, tap your 'F' key on your keyboard... and it takes you to the Source Monitor, takes you to the in and out points... tells you the name, what codes you got, what in points, what out points. Just a real helpful one if you're like... "Where did this one, where is that one kept?" Shows you where it is, there's in and out points. I can make adjustments, grab it, know that I've used it already. That's the 'F' key, it's called Match Frame. Okay, this is like an impromptu tip/shortcut... because I was opening something and it's missing some footage. You've all done it and you're like... "Okay, cool," and you're like, "Okay, I can locate it"... and you spend ages just hacking around, this thing's a weird window. Just to make things easier, if you kind of vaguely know where it is... I know that it's not on my desktop... I know it's in this Dropbox folder somewhere, somewhere. Just click 'Display' - check this on, it's not normally on. - and just click 'Search' and kick back, and it will find the exact word. As long as you haven't changed the name, makes things and life easy. You can see there was three other graphics that it needed... but because they're all kind of in the same boat... or at least the same location, just linked them all. Great if you have to kind of move things off... to different documents or hard drives. Anyway, that's an extra little tip. Let's talk about Time Codes and Markers... let's say you're doing an Instagram thing here... and you're like, "How long can this be?" You know that it has to be, you've checked, Instagram story video is 15 seconds... type in '00' for the frames, hit 'Enter', jumps out. Hit 'M' for your marker, you know, that's how long it needs to be. So everything here needs to - select all of this. - come out to this, there we go, little visual reference. Another cool thing with your Timeline is... forget Instagram stories, and let's just say I get to the end here... and I need it to be another 10 seconds. What you can do is click, instead of doing Math, which I'm terrible at... I can just say +10 seconds and 0 frames, hit 'Enter'... and it jumps out, 'M' for a marker. You can even minus, not that I've ever done that... but you can, just type over the top. Let's go, -1 second, 0 frames, 'Enter'. Look at that, jumping around. Next shortcut, I'm playing this and I want to get a full screen look at it. Instead of watching it in the program even-- instead of watching it in the program window... remember we can hit that Tilde/grave key/squiggly back tick thing. We've used to kind of make it bigger but we can also... make sure your mouse is over the top of it... and hold 'Control ' first, both Mac and PC, and then hit the key... and it goes full screen, then we get to watch it. You have to use spacebar because you've got no controls... to turn it off, turn it back on... and when you're finished, hit 'Esc', it jumps back in, that's cinema mode. Hold down 'Control' and then hit that crazy key... that's somewhere on your keyboard. So we've done the marker thing, and I should have edited it in then... but let's say I get to here, I'm like... "Yeah, I definitely need a marker right here." So I've got nothing selected, hit my marker so it ends up up here... and a cool little trick is you can hold down... the 'Option' key on a Mac, 'Alt' key on a PC... and click it once and it turns into this strange looking thing. You're like, "What is that? I can drag it one side." Look at that, I can kind of like use a marker for like an area. I can say, actually I want all of this to be a marker. You can make it even better by double clicking it, and say... 'Needs New Quote'. You might be adding notes for a colleague, or just a reminder for yourself. Starts life as a regular marker but if you hit 'Alt' on a PC, or 'Option' on a Mac... you can click it and it turns into that little stretchy guy. Nice; next handy shortcut, I do this surprisingly a lot... is I've got some video, I just want to check it for a couple of things... I want to see what it is. You can drag it into Premiere Pro without actually opening it. You need to be able to see your Source Monitor... and if you just drag it directly from your Finder or your Window... straight into the Source Monitor... it does a cool thing, it means I get to play it and kind of look at it... but it's not imported into my project... because this actually has nothing to do with this project. I just wanted to see what the file was, I can check some stuff about it. I can do the things you normally can do in the Source Monitor. There's no audio, it plays just fine, I know what it is, I can then add it... and it will be brought into my Project Window... but at the moment it's just like this temporary thing. I do it quite a lot when I record my own headshot stuff... and I just want to check the audio and video levels... make sure it's all in focus without actually creating a project... and sticking it, I just drag it into the Source Monitor. If you go and open up something else in your Source Monitor... let's open something else... it's gone, we're just like it was never there. The next one is, you hold down the 'Shift' key... hold it down on your keyboard... and then you can hit the numbers, it can't be-- not the number keypad, if you've got it... the ones that are just above all the letters. Just kind of toggles through all the different panels. Now there's no real reason to go from the Program Window down to the Timeline. So hold 'Shift 3', kind of jumps down there. What is really helpful is, this whole thing... where you've got project... and there's Effects Controls, and they're all kind of small and squished... and they're down here and you can't get to them. It's handy to know that if I go 'Shift 1', I go to my Project panel. If I go to 'Shift 2', go to my Source panel. So I use 1, 2, 5, and 7. Those are the kind of ones that I end up toggling between... because they're all a bit strange. So hold 'Shift' down, toggle those top ones, there are other ones... and you might be like, "How do you remember those ones?" To be honest, I only remember those ones because I got this fancy keyboard... which I'll show you, I'll show you now, I guess. So this is my setup... setup? I've plugged a keyboard into my laptop... and it will monitor into my laptop, you got it. So this is the keyboard here, let me zoom in. The wrong way, honest, that was another project. Anyway, this is the keyboard, you just plug it in, and... there's a Mac and a PC version of this. It is from a website called Editor Keys. If you go to 'bringyourownlaptop.com/keyboard'... it will take you there, it's an affiliate link that I've got with them... but you can go directly to them if you would rather. They give me a small commission on sales. Yeah, it's a cool keyboard, now who's it good for? It's good for people that are brand new... that are only just getting started in Premiere Pro... and it's, it's just for, like... I'm finding it now, I'm not using it as much anymore. I've just got to a point now where, you know, I'm using Premiere Pro enough... and I know the shortcuts well enough... that I don't actually check the keyboard shortcuts anymore... but it was super handy for me to get from kind of like moderate to advanced... at least in terms of shortcuts... because it's just, like when you're waiting for things to render... or your poor machine to catch up you kind of just look on your keyboard... and you're like, "Oh, look at that, Match Frame tool." That makes sense, you kind of know where it-- you know what it does... but you just don't know what the shortcut is off by heart. They've kind of grouped all these things into cool colors as well. Kind of-- in and out points, you can see we've talked about... like the dumb Ripple Edit is B... but yeah, up to you, now I got this corded version. I got that one, not that one there, I wish I did. I went and just bought my own version... before I had any sort of kind of relationship... with Editor Keys, at least in terms of affiliates... and I cheaped, I wish I didn't... because Mark, Mark Brown, I think he's guy that runs it... he-- there's Premiere Pro options... there's all sorts of different video editing options... but I went in for this one. Actually no, I went for the corded version, it's not even there anymore. Oh yeah, there's a wired and wireless. A, I wish I went for wireless... and then, B, I wish I went for the backlit pretty version. Anything but the cheapest one that I got. You can get covers for different Macs, not for all of them... like they just-- they do a few for Surface and some MacBooks... but not all of them, it's up to you, kind of what you're using. Obviously it's cheaper just to get a skin... but anyway it was really cool. They do some other cool stuff as well, they do it for Photoshop and Illustrator... but yeah, how many keyboards do you need? It really depends, if you're going to be doing... a little bit of Premiere Pro every now and again... then the keyboard's probably not right for you... but if you are, like serious about it... or doing some regular work in Premiere Pro... whip out the old keyboard, save a few minutes every day, it all adds up. All right, ultimate shortcuts video over. On to the next video, our last video. 139. Premiere Pro Course Updates New Features 2022: Next software is Adobe Premiere Pro. Let's jump into the new features. The first new feature for Premiere Pro is taking a messy old sequence like these things are locked, these muted, these empty tracks, everything is scattered a little bit. Ready, three, two, one, tidiness. It's called simplify sequence, let me show you how to do it. Just as an aside, this is a little video from my YouTube channel. This one here is where I go through how to design a logo, so me drawing, showing my process of designing a logo from start to finish and yes, that happens at some stage. Anyway, let's look at the feature. I've going to sequence down here, it's a regular old sequence, nothing too hardcore. But there is tracks where it got away from me. This is up here. The only thing holding this track open is this one. See down here, often I will have music tracks where I'm trying to pick the music. I don't want that one, so it's muted. There is an empty track there. There's all sorts of junk going on. There's markers here that I don't need anymore. Simplify sequence is, have your sequence selected, go to Sequence, and then Simplify Sequence. You can join a bunch of stuff on. Basically, what it's going to do, it's going to create a new sequence that's important called -Simplified. You can decide, do I want to close the vertical gaps, so just basically these tracks here. Do I want to get rid of empty tracks? Why not? Let's turn off clips that I've disabled, anything that's offline. Any particular labels here that you've given it, I don't want that. Move sequence markers. That's my little guys there. There's a bunch of different options, so you can work out what works for you, but let's click, "Okay." Look at that. Before, after. It's just a way of tidying it up for yourself. But often it's great. When you're sending it to someone else to work on it, you're like, here is my super professional sequence that I want you to work on. You can see here, here's my super project file. Nothing is in bins, don't tell anyone, but at least I can quickly and easily simplify my sequence. Tidy it up, get ready for sharing with other collaborators. You can get to it as well is you can just right-click the sequence that you want. Right-click and go to Simplify Sequence. It's in here somewhere. Just got to remember, it's not turning up the original, it's still here. It's created this other one called simplified. I've got two because I've already practiced this video and I forgot to delete the old one. Anyway, a nice little upgrade for Premiere Pro. The next upgrade is more of a backend improvements type upgrade, but the actual tool itself, the speech to text, came out in an update recently, and it just flew under the radar of most people. I bet you don't even know this exists, and it's worth showing because A, it's got better in this version, but B, it is a fantastic upgrade to Premiere Pro. It is transcribing and captioning. Basically, I've got this bit of transcribing speech here. Creating your very first logo can be. I don't want it transcribed. I don't want to transcribe well. I'm going to select on this and hit the X key just to set some in and out points, because I don't want to do the whole thing. You can do the entire thing, it's a little bit long. With it selected, I'm going to actually go to my Window, Workspaces, and I'm going to switch to the Captioning workspace. First of all, you can click, transcribe it. It's going to turn it into text, which is fantastic on its own. I can say transcribe in and out points only, just so it doesn't do the entire thing. You can mess with different settings, but let's have a little look. It is done, let's have a little look. Now, creating your very first logo can be pretty overwhelming. I remember it well when I got started, the kind of vastness of the Internet. It is good man. I have only used that a little bit in last few months, but it is good. Especially, I'm not American, initially some of these things are designed for the American market first. I've got lots of ums and ahs. My accent is easy enough to follow, but it's not perfect. Man, it is good every time I try it. If you've ever experienced auto-generated captioning transcribing before, it can be really bad. But this is being really good, as you can see. It didn't pick this in particular, it just works. Let's pick one randomly. That took probably less than a minute. I sped it up in this video, but I actually transcribed this whole 29-minute clip, and it took about 12 minutes for it to process, which is pretty sweet, and it gets better. You can get this automatic transcribing done, which you can export, do what you want with, but I want to use it to generate captions. You can just click on the generate captions. I'm not going to go through it all here. Let me can just click it, see what it does. It's created a captioning track for me, and let's have a little look. I haven't changed anything, so have a look. Now, creating your very first logo can be pretty overwhelming. Look at it. Captioning. I remember it well when I got started. I'll turn my audio off. But look, captioning, automatically done, really good. You can add subtitles. If you're thinking, can it do that? It probably can. It does everything that I need to do. Anyway, that's been upgraded in the 2022 feature. The backend is just become better, the backend stuff. But if you haven't seen the frontend stuff, that is a pretty cool feature that came out a few months ago. Thank you, Premiere Pro. Another small but tasty upgrade is this is the old version of Premiere Pro. If you are using scopes, this vector scope in particular, to do color grading, or in this case, you can see my little color card here. It is a little small and white. What they've done is they've done this. They've made it colorful. Look at that. You can see the hints of the colors that are being shown, especially, when I've got my color card up. Where is it? There. You can see it moving around, and also you can double-click it. Look at that. It zooms in real close, which you couldn't do in the last version. If you've got all those scopes up like I have, you can zoom in on that. That's the key area right there. The skin line and all those colored dots. YUV vectorscope has got a couple of little upgrades in Premiere Pro. My friends, that is it for the 2022 updates for Premiere Pro. Onto the next video. 140. What Next after Premiere Pro Essentials: Holy moly, you made it to the end. Well done. This was a very long course and a lot of work for you, so yeah congratulations. You should be really proud of yourself. I'm proud of you. Not many people make it to the same [inaudible]. Also thank you to the editors who put it together, Jason Hummels and Taylor Coleman. After I record, they go to work in Premiere Pro, cutting this all up and getting it ready. Also to Stephen Butler who you might have run into either him directly or one of his amazing teaching assistants throughout the course, so thank you, Stephen Butler. Let me know that you've made it this far and not many people get here. Just let me know in social media. here will be my social media's appearing and just let me know. I've just finished Premiere Pro Essentials, and then appropriate emoji, hit exploding emoji or happy love emoji, probably both. What next? The next course for you is probably Premiere Pro Advanced. That course flows directly off from this one. It is not for advanced people, it's to get people with the kinds of skills you have now, to the advanced level, that's why it's called Premiere Pro Advanced. Check that out as well. Other courses appropriate for you with your new video editor status is probably Afterfix. I've got a couple of courses on that as well, check it out. I've also got courses on lots of other creative tools. Depending on your career direction at the moment, you might want to upskill Photoshop is advanced and Essentials for Photoshop, Illustrator, and design. There's a UXWXT1, Visual Studio Code, Dreamweaver; there's a lots of them. Check those out. They might be the next step for you. Another course. Another step for you might be to go and check out the Bring Your Own Laptop Show. It is a YouTube series that I do. Here's my channel here. Look for the playlist Bring Your Laptop Show, and it's a little bit more lighthearted, entertaining, hopefully, look at design, at least the design that I do, [inaudible] this tutorial like we've done in this course. Check that out there. Also, follow me on social media if you haven't already. It's how I announce the next things I'm doing. Ask for your opinion about what should go into them, light courses like this, so check those out. Those are already [inaudible] on-screen. On-screen again. You know them already from the course. Also, if you enjoyed this course and you can think of a way to share it with a friend or a colleague, I'd appreciate that. Friends telling friends is how my courses are growing. So if you can think of any way to tell people how great it was, please do, and that is it, we are done. This is the emotional goodbye time. We've spent a lot of time together. Maybe a little hug or awkward hug. But yeah, you should be sitting there really proud of yourself. Not everyone makes it this far. It's a lot of work and I appreciate your time and effort. I hope to see you again in another course real soon. I'm going to wave and we'll do a bit of a [inaudible]. Bye.