Adobe Premiere Pro CC: Greenscreen, Captions, Proxies, Lumetri Color, Tips & More

1. Adobe Premiere Pro CC 2017: Greenscreen, Captions, Proxies, Lumetri Color, Tips & More PROMO: Welcome to our Adobe premiere Pro Sisi Tips and Tricks course. This course was designed for beginner level premiere pro users looking to transition into an intermediate user. As a professional video editor, I've edited well over 1000 video projects and have been fortunate enough to work with several production companies and agencies, editing content for TV feature films and commercials. In this course, I'll walk you through a lot of the practices I used daily as a content creator. In this course, you will learn how to complete tasks in Premiere Pro, such as working with green screen footage, the proxies workflow for handling high rez content using the Loom ITRI color window, creating close captions, as well as several other lectures that include lessons on masking and tracking. Secondary color correction. Ramping, slow motion footage. Adding glitter affects removing background, audio noise and more. Also, we've included a downloadable folder that includes footage, music, presets, audio and several light leak overly files, which we will teach you how to use to make your videos look even higher. End. Thanks for checking this course out, and I hope to see you in there 2. 02 Green Screen Keying Part 1: Alright guys. So let's dive in. After you've downloaded all of the assets, you will see that you will have an assets folder in the Assets folder. There's going to be a footage, folder, music overlays and a couple presets that I made so inside. The footage for this first to Tora will work on Green screen King. So in the footage folder, we have green screen one. Now, this is just a raw clip layers panel important and resize it that has a green background. Okay, with Premiere Pro Open will go to file new sequence. We will show a sequence that's the exact same as our footage. And in this case it is 10. 80 at 23 98 frames per second. We will call it Green Screen Key. And if you don't have a preset like this, you just go to settings and kind of match mine here. So custom, 23 square pixels 1920 by 10. 80 Progressive scan and previews set to ace to 64 1920 by 10. 80. So we'll go back to here, choose our preset and go toe. OK, now we haven't sequence opened and we will command tab over to our finder window and we will click and hold on are green screen one command tab over to premiere, and we will drop it into our project panel that will import. And now we have our sequence and one file inside. Let's go ahead and grab our footage. Bring it down into our sequence. Well, press the plus button on your keyboard to zoom in, and we'll just listen to this again in here. Work with the layers panel import and resize images Remove backgrounds for transparency. Okay, so that is what we are working with now in Premiere Pro. There's a few different keying plug ins. I find the best one to be the ultra key, which is in video effects and then inside King. And that's this one that's already selected here. You can do the same kind of thing with the other ones, but this one has a lot more options and does a very good job. So let's choose the ultra key. We will click and hold it, and we will drop it onto our footage Now. If you don't have the effects panel window, you can go up to window and then selected here and the same with the effect controls panel , which is right there in our effect controls panel. We will scroll to the bottom and we will see our ultra key here. So let's bring our footage and make it a little larger by grabbing each window and stretching them bit. Okay. Now, in the ultra key plug in, we have key color. So right here, this is the color picker or color chooser. So we will click it and then this is going to sample whatever we click on as the color to key so we can choose a little bit of a brighter green. Or we can choose more of a darker green around the bottom here. So I've done quite a bit of keying in the last 10 years or so, and I find the best way to key is by doing it on the darker spots. And I'll show you both examples moving forward. So let's do it on the darker spot down here. Okay? Now you can see it's removed all the darker green areas and then these air a little more bright, so those haven't been fully removed yet. So down on the mat generation. We go down here, we have a few different options here. Now, thes settings are gonna be different, depending on the green screen, brightness and a lot of other factors such as the footage you're working with. So for this case, we will leave transparency about the same 45. Now, to show you what that would look like at a different setting up at 80 it starts affecting the subject, and below that, it starts bringing back detail into the green. Set that back to 45. And instead what we're gonna do is work with the pedestal. Once we've selected the doctor spot, we get this and then we'll go to the pedestal and we will click and drag and do it until the green is completely gone. Now, this is a pretty good key right off the bat, and that only took a few seconds. We can clean it up just a little bit, but before we do that, I will show you the other example. So let's reset here. We're back to the original green, and what we want to do now is click the color here, and that will choose a brighter spot now it did remove quite a bit of the green. It will be more challenging to get rid of this green because it's darker, so we should be able to remove all of it with this footage. But depending on the footage you have, it's always best to key with the darker green. So what we'll do is we'll restart it. We will choose the darker green. We'll go down to pedestal, and we will remove it. And the idea is to put in a number that is just past where you don't see anything like, for example, you do not want to put it all the way to 100 even though it's still all the way. God, because at 100 there's gonna be some other weird things that happened with your footage on the edges or on the actual subject, for example, so for this on the left hand side, it was just a little bit more so. We'll go up just until we get rid of that stuff, which seems to be around 60 or so, so we'll just keep it at 60 okay? And the next thing we want to do is go down to the bottom part, and we will see Matt cleanup inside Matt cleanup. We have a few different options here, and the softened one is something I use on every single key that I do. And what that does is it will just soften the edges just a bit, and that helps blend it in and make it seem like a better key when you eventually put the background in. If we go too much, it's going to start cropping in on your subject, and it will give you a similar result as the choke. So the choke just basically cuts into the footage without softening it. Whereas the softened one softens the edges a bit, it's It's like a soft edge blur, but you don't want to go too much. Otherwise, you lose some detail. For example, in the caller here, in this case, I think around 17 or so is good. So that's the basics on King. And then we can go into the spill suppression, and you'll notice that on the side of the subject here, there's a bit of green spill that was reflected from the light coming and bouncing off the green onto the subject's face. so to clean that up a bit, we could go to spill and we're going to do is just set it up to 100 now. It doesn't do too much. There is still a bit of green, but you'll be able to remove that later on in one of the secondary color correction lessons that we do later on. To show you an example of what it is doing, though, will go to spill and we'll set that zero and there's quite a bit of green and we'll drink it all the top quick, and then you can see what it's doing. Another thing I like to do is play with the Loom A here so it's defaulted to 50 and if we were to bring that a little lower, you'll notice a little bit more detail comes out on the hair and ear area, so it's bring that all the way down to zero and then back 200 you can see what it's doing. So I think around 25% is perfect for this. The next thing we have is color correction now with color correction. This is in the ultra P plug in, but since we've already keyed the green, it's only going to affect just this because Green doesn't exist. So with saturation we can increase how prominent it is, and the hue will cycle through a bunch of different colors. Now you probably don't want to use that. And then the luminess is a great way to increase the brightness, which will blend skin tones a little better. And it will clean up some blemishes and whatnot. So with the luminescence, let's bring that up, too. Let's say 108 or 109 And this is a great example if you're going to eventually be putting white in the background, because this brains of the footage and that will blend better with the background. 3. 03 Green Screen Keying Part 2: if you find that you can't get a good key because the green screen wasn't lit Well, for example, the top of this here was really bright in the bottom. Here it was dark. Then what you could do is you could hold option, duplicate your footage here and with many of two different keys. So on the top one here we can go and type in crop, and we can crop the top footage on the top area here to 50%. And then on the bottom, we could do the same thing. But on the bottom part, so 50%. So what that does if we turn off the top layer, we have the top area here. And if we turn off this layer, then you can see that this is what we have. So by doing that, you can get two different keys. Okay, so on this top layer, what we'll do is we're gonna tell Turkey and we will key out the green down here and then do an independent key of that. And then on our bottom layer, we will do another key of the brakes, and then we can do a cleanup of that as well. No. Then we'll turn it back on. Now. In this case, the result will be the same. But when you're working with green screens that are tougher to key by splitting the areas into the bright mids and the darks, you can actually get very, very good keys by using multiple different keys on different layers. All right, so we don't need this 2nd 1 So what we'll do is we'll delete that on the bottom. We will. We will get rid of our crop and we'll do a quickie it once more. We will soften it and then go to spill suppression again. Get rid of our spill on the side of the face and bring the illumined down to 25 to introduce a little more detail on this side here. The next thing we will do is put in a background. So down here in our sequence, let's bring this to the second layer and we will go to file new color. Matt, well, press. OK, We'll bring this to white or any other color. You want to choose press. OK, give it a name. And then up here in the projects panel, we can see that it create a file, this white solid. We can now put on our first layer behind our footage, and then we will stretch it so that it's the entire length of the footage. And just like that, we have a perfectly key green screen replace to, ah, white background work with the layers panel import and resize images. Now there is something weird going on the bottom there, but that's just because we're at half so at full. You won't see that work with the layers panel import and resize images. All right, so very easily. We can go to the white here, double click it and make it red if we want. You know, we can just go through any color. We want very easily bring impacted green, which really doesn't make much sense. But you can do whatever you want. You could even put other video clips in the background images text, and you can notice here there is a little bit still left here. There's a little speck here, so let's go and clean that up. We'll go to your pedestal and we'll bring that to 72 see if it goes away and Yes, it did. Okay, so that is how you key green screen, and we will see you in the next lesson. 4. 04 Lumetri Color Part 1 Basic Settings: Okay. Welcome back. Now, in this lesson, what we're gonna do is talk about the loom ITRI color panel and what that does in Premiere Pro. Now, this version is Premiere Pro Sisi 2017. And some of the older versions do not have Lumet tree color. This just does a much better job, but color correcting your footage and it just has everything you need from getting a little more creative with. Let's in looks. You have your curves built in color wheels, secondary color correction. You could have been yet. It's really, really powerful. So let's dive in. Okay, So we have our footage here and we will click on the green screen one here and, well, close up our ultra key and the emotion tab and the opacity so that we have more room down here. So when we start to move something around here, then it will show up in our effect controls on that clips, for example, to bring this down and you can see that this popped up. Now it's important to understand that because we're doing this after the key. We're not affecting the green. If we actually bring this on top of the key, then what it will do is it might give you some issues with the keying, so you always want to color after the key. All right, so let's go back to our footage here into our limit tree color panel. If you don't have that, you can select it here by going to luminary color. Now, inside the basic correction tab, we have several options. You can apply a Lut. There's some defaults here, or you can bring some custom ones in yourself and a let is. Basically, it's called a look up table, and what it does is it's the modifier between two pieces of footage. So if you shoot in a format, for example, such as log to it will look very de saturated. There's not gonna be much definition or color in the footage. And when you shoot in those types of formats, it's meant to apply a look up table filed to it and a lot of higher and cameras shoot in long type formats, so they would need to have let's applied to them in order to bring back the definition. And in most cases you'll get better skin tones and dynamic range in your footage and some better color. Now, in this case, we're not working with a format like Log to. So if we apply one of these, it'll blow the footage. But I'll show you an example of that. So if you're working with footage in a long time format than right inside Premiere Pro, you can further work with the limiter color panel to do some great color grading right inside Premiere Pro. Let's set that back to none. And further down we have the white balance. So we have our another color picker here or color chooser. And the idea behind this is we want to tell Premier what is white in the footage so it can auto correct your footage for you. Now, keep in mind, this white background layer is on a different layer, so we do not want to select that. We wanted to like something on the subject. If you had a lot of white inter footage such as a street sign or something like that, it would work well. But in this case, it's not gonna work that well, but we will try so we could go into the white here on the teeth and you can see that it didn't do a great job. But if you had a lot of white on your footage, then that is a quick way to auto. Correct. Until Premier, what is white So further down we have the temperature of your footage, whereas blue well on the left side will make your footage more blue. And on this side will beam or orange. So basically, daylight is on this side, and indoor lighting is more on this side. So depending on how your footage was shot, you can play around with this to get better color in your footage. So in our case, let's set this to zero and we'll see if we can get better skin tones here, so that makes it look a little more colder. And this makes it look like the subject has a tent. Okay, so a little warmer might be nice. Now, the tint I don't often use, but you can remove a little bit of green if you want by going that way, or incorporate a little more green if you'd like going the other way. So depending on what you're going for, if you're trying to make people look a little more sick than could do that. Now, the next we have exposure. Now, we brought this down to minus 0.5. So let's reset that back up to zero. So what we can do is we can brighten up the footage. And again, it will only affect this subject and not the white, because the weights on a different layer and the green is no longer there. More recon. Dark it up. Okay, so we can increase that just a bit if you want. I think 0.1 is better. Then we have our contrast. What we can do is cool that we have to show you what that does or all the way down. All right. And now keep in mind that all of these settings will be completely different for every single clip you work on because of the footage having various differences in color and brightness. Okay, so it's set color to 10. Now, highlights will be just the bright spots in your clip. So in this case, somewhere around eight, I think looks good. Basically, what that does is blows out a little bit more of the break spots, which I think evens out the skin tones just a little more. Now the shadows will be all the dark spots. So if we want Teoh, show some more detail in the dark areas, such as the black T shirt or in the dark spots of the hair. We can do that, but if we go too much, then it will also introduce him grain into the footage. So we don't want to go, I would say more than 20 or so. In this case, I think zero is fine. Next, we have the whites, which are similar to the highlights. They will affect the white areas or the brighter spots in the footage. So in this case we will just leave it to zero. And the next option we have is the blacks here that will, of course, affect the darker spots in the clip. So if we want to crush the dark response a little more, we can do that by going towards the left here, but for us, we'll just keep it at zero. Then we have a saturation setting here, so if we want to bring that up to, let's say 107 or 1 10 it'll introduce just a little bit more color and sure, the exaggeration of that. That's what that does, so I never really go more than about 1 10 and that is the end of the basic correction options. 5. 05 Lumetri Color Part 2 Creative Settings: in the next tab, we have the creative tab, and in here at the very top, you'll see an error that says, Look now, look is exactly what it means. It gives your footage a look, and these types of files are effective when you want to give your footage a more cinematic feel or make it look like old film footage or make it sepia tone. There's a whole bunch of different options here. So let's go until the look settings here and you'll see that there's a ton of time of default ones here just to give you some examples. Here. Let's go to Houston. A space or monochrome for a sell. Big s out blue intense matrix blue. There's a whole bunch of different ones here bleach, and by playing around with different ones here or bringing in ones that you've created or found online, you get some really cool looks. For example, if you're working on a short film and it's a dream sequence, you might want to use something to blow the highlights a little more and make your scene look a little more dreamy. Or if you're working on a project that has like a lot of fighting a lot of action in it, then you might want to make your footage a lot darker and a little more eerie. So in that case, you can choose one that gives you that look underneath. We have the intensity. We can either remove it entirely or add more to it. So in this case, let's try, um, sl Gold Western and let's bring that were way up there or way at the bottom, which is almost off. That gives you an idea of what those do for now we'll set it to none. Then we'll go down a little bit more now. We have adjustments here, so there's an option for a faded film. What this will do is it will fade your footage and we'll give you exactly what it says here . It will make it look like created film Sharpen. We can either soften your footage so it looks blurry or we can increase its looks very, very, very sharp. I wouldn't go that much, especially on people's faces, because it makes any hair on the face or pimples or, you know, lines in the skin. It really emphasizes all that I would only work with a sharpened If your footage is slightly blurry or out of focus, or if you're footage has numbers are you know words in it where you want to make them a little sharper? So in this case will just put it to zero vibrance. This is similar to pumping the saturation. So if we bring all the way on top, that's what that does bring other the bottom. You have this kind of black and wait dreamy style look. Okay, so I always like toe add a little bit of vibrance to the footage and then saturation the same idea I always like to add just a bit now, below here we have two color wheels. This is the shadows, and this is the highlight. So the dark spots in the bright spots. If you grab the middle here in drag it towards an area, then the shadows will start to turn to that color. So if you go to yellow, then you can see that's what that is doing and then the highlights or if you want to do the opposite, okay. And if you wanted to reset those, you can just double click and next we have the tin balance. This is basically the effect of these. So if we were to make your footage more like that and you can see what that is doing very slight, but this is more fine tuning between the colors. 6. 06 Lumetri Color Part 3 Curves Settings: next we have the curves. This is your typical curves levels you have your overall. You have your reds, greens and blues and just like the three way color corrector that used to be the go to color correcting tool in Premiere. Now the curves has been replaced by the RGB curves inside them a tree color. So if we go over to the effects and type in curves, you'll see that RGB Curves is now in the obsolete folder as well as all of these other ones . So basically all of the settings here can now be done all within one panel inside Dimitri Color. So it's very powerful to start with RGB curves. But I like to do is go to the very center and click there and make a point and then go up to this center of the box area, make another point, and then at this area as well. From there you have some pivot points that you can play around with, and if you bring this one up, then you're not gonna affect the ones down here instead of if you have just this, that if you bring this up, then the whole thing moves. So those selected we can do just the top parts and we can get some fine adjustments here. So let's go up just a bit on the highlights and we'll go down just a bit on the dark response and then overall will go up just a bit. Then what we could do is go into the red section and again make our three spots. Now, what we can do is remove some of the red in the skin or introduce a little more, depending what we want to do. We go into the green, and then I should clean up some of the green inside here, and then the blue. We could do the same thing. We can, you know, affect just the blue in the footage. All right, so obviously, this doesn't look that good. I was just showing you some examples. So to get back when you just double click, you need section and that will reset us back to our regular. And the next thing we have here is the hue saturation curve. And this is ah, great tool for isolating certain parts of the colors in your footage. For example, the blue in the shirt. If we make two spots around the blue and then a center one, we can push the blue or reduce the color of the blue in the shirt. And depending on what you're trying to do, this could be powerful for bringing back in certain colors in your footage, such as the orange on the side here so it's double click to re set. An example of isolating a certain part of the footage is selecting just the lips area and then bringing down everything else. So this technique would be great. For example, if you're working with footage of, let's say you have a lighter and it's lit, so there's a flame on top and you want the entire footage to be black and white except for the red flame. So this is a cool way to do that. Or, if you want, isolate like we did on a model's face, for example, just bring out the lips a little more while everything else is, ah, different color. So, you know, you could also bring just the blue in the shirt. Um, not if you want 7. 07 Lumetri Color Part 4 Color Wheels, HSL Secondary & Vignettes: next we have the color wheels, and I believe this is what replaced the three way color corrector notice. There's the shadows, mid tones and highlights so very similar, and you'll notice it also looks very similar to what we had in the creative tab at the bottom. So this is another way that we can isolate just the colors in the shadows. So, for example, the blues, we can clinch the blues of it. We can put the mid tones in the other direction, and we can also send the highlights that way as well. If we want. Now, of course, these air extremes just to show what they dio, I would not recommend pushing your footage to those extremes because it just won't look very good. But these air meant for very, very subtle corrections. And that's why you'll notice that it moves very slowly. So you're really precise with this and then beside each one for the shadows, mids and highs. We have a little level meter here so you can see what that does, and that just lets you push the highs a little more. Take them away, okay. And everything is reset Now. Next we have the h s L secondary. Now, this is secondary color correction and normally you would have done this in three way color corrector. But they have now included it in limiter color, which is fantastic. Now, this is very powerful. You can isolate areas of your footage very quickly and then change the color of that area. So, for example, let's go to the plus color chooser here. And what we'll do is we will choose the light green on the side of the face here that we were talking about earlier. Okay? And then we will select white black here and then enable it, and you will see that this is what the secondary color correction has chosen. Okay? And then, using meas weaken further isolate what areas of the frame we want to change. So, for example, we can bring this down because we don't want to change this. We just want to change just the green on the side. We can increase the side there. Then we can go out just a bit. And what we're trying to do is just isolate the areas there. If you want it, remove that. You can see there's probably a little bit of green here that it's picking up that I'm I can't really noticed. With my eyes. I said a little bit. Okay? And then we will Why didn't this stuff a little more until we've selected the area that we want to change. Now that we've done that in this case, we will remove this. Go back to color gray. We can de noisy area we've selected If we'd like, weaken blur the area we selected if we like. In this case, we are just trying to change the green, so we're not gonna worry about that. So now that we've isolated the area, we want to change, we know that it's green. So here is the green area down here in the correction area. And the idea is to select the middle part and move it away from the green, which will bring in these colors and ultimately change the color of that area and remove and fix the spill from the green screen. So move this and we'll pull it away there, okay? And you can see that it has solved the green spill over which is exactly what we want on the left. Here it's the same type of meter. This will push it a lot more and it'll do the same in the other direction. So I typically don't use that. And you know, the more you go, you get some results to the taste that you want. So in this case will just go complete opposite of green. Another example of the secondary color correction would be if we wanted to try to change the color of the shirt here. So what we could do is reset all of these, choose in the shirt and then isolate the shirt and then try to bring as much of it as we can into it. Okay, so another. We've isolated just this area. We can go back to color gray and then down in the correction area. We can reset it and either increase the blue or completely change it to a different color if we want. And this is again pretty powerful. Now, if you prefer to work with the mids highs and lows individually, then you can select the button here and then you can do the same idea as we just did. But on the highlights mids and shadows alone now in the last section. We have the vignette, and this will basically give you a white or black area around the edges. And because we're working with green screen, it's not gonna work that well. So what we can do is actually click on the white instead. And then we will add the luminary color effect to this by just simply going to the vignette area with the white selected. And then we can add a quick vignette to the white, and then you can find the midpoint. You can choose how around it is, and you can feather the edge to make it smoother or to have no feather at all. So in this case, I think 75 works the best with the roundness of around 13 or so the midpoint. Something like that in the amount of the feather. Just just a bit. Something like that. I came to see the difference. You could go to limit Terry color up here and click the effect, and that's the difference. And adding a slave vignette like that is a good, subtle way to draw the viewers eyes towards your subject in the middle. Now that covers the Loom ITRI Color panel Inside Premiere Pro 8. 08 Proxies Workflow Part 1: Welcome back end In this lesson, we will talk about the new ingest feature in Premiere Pro in How to Work with Proxies. So a proxy is essentially a lower quality video file that was created with the purpose of editing a real time so that your playback isn't choppy, went. You typically work with your full high reds, four K footage or five care above. If you find your playback being choppy than it could be. A number of reasons such as, you know your video card is outdated. Where a computer is not fast enough. But using proxies is a great way to get around the choppy playback and let's dive right in . Let's go to our finder window and we will bring in four K clip here into Premiere Pro. Now that we have a four K clip, let's go to file new sequence, Okay, and I've already created four K precept. But if you want to do that, you can choose one of the other options here doesn't really matter which go to settings and then changes setting so it looks like this and then save your preset. Once your preset has saved, you can select it. Name your sequence. Four K press. Okay. And then we will grab our footage and bringing into our timeline. And she pointed out something about relationships that actually takes this theory of who you spend your time with. You become like, to another level. Okay, so in this case, this is a four K video file playing in a four K timeline. So if we had a lot of layers of four K or just quite a lot of footage in this sequence, playback might start to get choppy. So what we want to be able to do is still work in four K, but at a reduced quality size. So the playback is much faster now. To do that, we need to create a proxy preset now have included two already. So if you go to the assets folder, you'll notice that there are two right here. You're looking for the e p r file. The 9 60 by 5 40 is for working with Uhd four K footage, which is 38 40 by 2160 and this preset is for 23.98 friends for second footage that 10 24 by 5 40 file is for working with D. C I four K footage, which is slightly longer its length, but it has the same height 40 96 by 2160. And again, it's for 23 98 footage. Now you can use these files if you want, or you can follow along and create your own. If you're working with other high reds footage such as six K or above, then you're gonna want to create your own free sent. And it's also important to note that 9 60 by 5 40 is a multiple of 38 40 by 2160. It's exactly 1/4 as big. Just like 10 24 by 5 40 is exactly 25% as big as 40 96 by 2160. And the way to figure that out is by opening a calculator, and you can simply do 40 96 divided by four, and I'll give you the lower quality version. Okay, so let's go ahead and open up. Adobe media encoder. When media encoder is open, if you don't see the preset browser window, you can just open that by going to precept riser here in the user presets and group section . If you don't see any presets, that's totally fine. All you have to do is right. Click, and then what we can do is create encoding preset, and then this will open up. Let's give it a preset name. For example, If we wanted to create the 9 60 by 5 40 version, we can name it something similar. So 9 60 times 5 40 and then for reference. It's good to always name the presets. What that meant for So this is for four K footage, which is 38 40 by 2160 and the frame rate is 23.98 and the format is H 264 That's great. That is a really great Kodak. And next we have based on preset. So inside here we have a whole bunch of different presets, and we want to do is pick something that it's very similar to what we're trying to create. So in our case, let's look for something that is 9 60 by 5 40 So I see one right here, 9 60 by 5 40 at 23.98 So it's like that. Okay, And now, if you don't have one, that's 10 24. That's no problem. If we want to create the 10 24 version again, we'll just choose something that's very close to it. Okay, and then below that, we have comments. We can add something. Mayor toe. Let us help us know what type of preset is if we want. For now, we'll just leave it blank. We do want to export video. So for the export audio section, if you're working with footage that needs to be sink to externally recorded audio, then you don't need to worry about this because the proxies you want to create are just video. If you are working with the camera's audio, if you are working with the audio in the camera, then you can leave this on for us. We'll just leave it off for now, then down in the basic video settings, this button here will maintain the numbers relative to each other. We want to make sure has a line through it so we can change them individually, and what we'll do is we'll change the 9 60 if we want to create the D. C. I four k preset. We will select that and type in 10 24. And again, How I found that number is by typing in 40 96 into the calculator and then dividing by four . If you're working with higher resolution footage such as a K, then you enter the width of the eight K footage into your calculator and divide that by four, or you could do five or six doesn't really matter as long as both of the same. And then you do the same for the height divided by four or five or six as long as you did both to the same. So in this case, we want to do the D. C I four k. So with will be 1024. Height is 5 40 We will be working with 23.98 footage. So that's what we want. Field order, progressive. Now, if you're working with you know, 29 30 24 25 footage, then you can change that. There. Aspecto issue is one now for the TV standard. If you hold the mouse over it, you can see that NTSC is for USA in Japan and Palace for Europe and Asia. Depending on where you are, you can select the appropriate one. Profile is main in the levels 3.1, and if you hold the most, you see what that does. It constrains, including parameters such as bit rate, range and maximum frame size. And because we're making a small frame size, which is 9 60 by 5 40 or action in this case is 10 24. So what we'll do is we'll actually rename are pretty said at the top. So because we're working with smaller resolution presets, 3.1 is fine. Then we'll go down below here, and the next thing we'll do is go to bit rate settings. We always want to do a to pass. It won't increase the file size. If you switch it from 1 to 2, it'll just increase the quality of your render. Okay, then we have target bit rate. This is defaulted to 1.25 With the preset we chose, I would suggest making this just a little bit higher, and that is the quality of your footage. At 1.25 it will be a smaller file size, meaning less megabits per second or played. But because the proxies were creating are much smaller. We want to increase the bit rate just a little bit. And then I always make the maximum bid rate just a little bit bigger than a target. So 2.5 is fine. That's it for now, and everything else is get. So let's press OK, and now you'll see that this has been created. Right now. It's still exists as a encoding preset. It's not an ingesting preset. Okay, so to create the files appear that dot E pr's you right click and then you go to export preset, and then you'll see down here that it will create an E P car. It gives you the same name. That's fine. Then you had saved, and then that fire will be created. Once you have those created, you can quit median coder and go back into premiere 9. 09 Proxies Workflow Part 2: Okay, so we're back in Premiere Pro now with our four K footage inside our four K sequence up here in the project panels window chances are if you're working on your own project with your own Fourcade or higher footage, you'll have multiple files up here. But if you're just following along, then you could just like the one file. If you want to create proxies for all of your four K files, then you'd select all of them. So for us will just like the one down here, you'll see proxy, and what we'll do is we will create proxies for those files. Or, in our case, the single file. The create proxies window will open up okay by default. H u 64 selected. That's great. And for the preset, you can navigate to the one you just created and that will show up here. So in our case, our footages uhd four k not D. C. I, which means it's 38 40 by 2160. So in that case, the free set we want to use is 9 60 By 5 40 you can either use the one you created or import the one that was included in the assets folder that you downloaded. Okay, below you have destination you could do next to Original Media in proxy folder. Or you can put it in your own custom folder. I would suggest to put it into the project folder. So everything is nice and organized in your main project, you would click OK, And then what's gonna happen is media encoder is going to automatically open up. And when it does down here, you can see the name underscore proxy. So that is a unique name that it's going to give to every clip that you create a proxy for . So now that it's done, this was only one clip. So if you're doing dozens of clips, it's gonna take quite a bit. So I would just leave it running overnight, and then the morning you'll have all whole bunch of proxies to use and to speed up your editing. So in this case, we just have the one created, and we could navigate oversee the green check marks. We can confirm that that is complete. I'll just select it hit, delete, and wipe that from media encoder command que to quit meeting coder And now that we're back in premiere, if we click on the plus button here, we can locate the proxies button here, which is toggle proxies, and we can click and drag into this section down here now. I've already done that down here, so it exists. But if you can't find it, then that's how to get it. All right. If for whatever reason you find that your proxy hasn't been attached, then you can right click, go to proxy and then attach the proxy and then navigate to where the proxies exist and attach them. So now that it's attached, if you click the proxy button, it'll highlight in blue here, and that means that the proxy is now working. It may not look like it did much here, but you're working at 1/4 of the resolution instead of using the original four K files. But the benefits of the proxy is because you're using the toggle proxies, and it's attached to the original file. Premier will still treat the 9 60 by 5 40 file as if it's an entire four K video format, meaning you can still scale and do anything you would normally do and treated as it's a four k file. And that's beneficial, for example, because if you try to encode files yourself at, ah, smaller resolution and you didn't use this workflow of attaching the proxies and you just replaced all the media in your timeline that if you went into your effect controls and scaled into the footage, for example, the scale would say 100. But the footage, because of the much smaller resolution render it would probably look something like that in your frame, even though it says 100% because the resolution is much smaller. So it's really great that Premier has this workflow and treats it as if it's still four K, even though it's a much smaller, you know, 25% the size. And to show you the difference of the proxy, we can go to, let's say, 100 50%. And with the proxy off, there's the four K image, and with the proxy on, it shows you the lower quality proxy. And then the best part is when it comes to exploring your final video, you can still leave proxies on. It doesn't matter, because at the rendering stage by default. It'll export the full rez wins, and it will ignore the proxies. Okay, so that is how you use proxies inside Premiere Pro. Now a couple other things to note. If you go to new project, you'll notice here that in the in, just settings you click on ingest. There's a few different options, so you can go to copy trance code, create proxies, copying, create proxies. And there's a few different options. So the workflow I just explained a few minutes back, I would suggest to do the way we did it. Instead of doing it on the import, I would choose to create all the proxies after you've imported all your footage and do it inside the project panel window. If you do it at this stage, it will auto create proxies for every piece of footage that you bring into premiere. And if you're working with different resolutions than this is not ideal, so selecting the ones you want to encode in premiere is, ah, better way to do it. I would suggest that, and another thing here is we have copies. So if you want to copy off all the footage off somebody else's hard drive and work on it on your own. You can choose to do it here. You can copy and create proxies automatically, and these are just a lot of cool options. You can transco the footage to a different format on import if you want. Let's say you're importing you know, 86 4 footage and you'd rather work in Apple Pro rez. Well, you can do it on import so automatically transport everything, and then primary destination will be where you want to save it so you can do it in the cloud or specific location for the preset. Once again, if you're choosing, create proxies and you want to add the preset that you created earlier or choose one of the ones available and then he hit okay than any footage you bring into. Premier will automatically start encoding in media encoder. 10. 10 Tracking & Masking: Okay, welcome back. So in this lesson, what we're gonna do is talk about masks and tracking inside Premiere Pro in previous versions such as CS six, Masking Track, he wasn't available, and you could only do that in programmes such as after effects. But they've recently in the last couple years brought that into premier. Let's go into our Footage folder. Let's find our track clip and let's bring that into Premiere. Once inside will create a sequence and this footage is 10 80 p. So we'll go to 10 80 p. We'll call this track footage. You can name it whatever you'd like. We will bring our footage down into the timeline. We'll zoom in just a bit and we'll watch through what to see what we're working with. So let's put the timeline curse at the very beginning, and with this clip selected, we will go up to the effect controls and inside opacity. For now, we'll just close the limit your color cause we don't need that anymore. We'll bring this over and we will click on the stopwatch because we don't want to create any key frames. Then you'll see above here there's a few different options here, so we can choose that and it'll make a circle mask. We can press the square to make a square mask, or we could make a custom one with the pen tool. Then afterwards, you'll notice that there are a whole bunch of other options here, such as mask, path, feather, opacity and expansion. We can invert it, and you have four options here and then some extra options here. Just by using the mask in the opacity, you can cropped the footage in any way you want. This gives you a lot more flexibility than using the crop effect, for example. Okay, so it's doing the mask and we will create a new one. For example, if we just wanted to keep this area right here, click and hold, make a couple busy eight points to form a circle, and then we will click and hold on the very 1st 1 to complete it. And then just make sure that the Anglos how we want it, and then we could find adjusted if we want the circle. Here is the feather. As you can see, the mask feather is adjusting. That is how soft it gets into the outside and then the one below. The little circle part is the mask expansion. So to give you an idea of what that does, we can bring it up more so you can see it's fading into outside the mask by using 107.2 mask feather. Okay, let's undo that because we don't want a feather. We just want this and with that selected, and we're at the beginning of the timeline we can now track. So now, because this footage has a perspective change, we can see here at the end. There's the tracking methods, so if we click this, you'll see a few different options. So position scaling rotation is defaulted, and that means that it will track perspective. So that's what we want. If you're footage, doesn't have any perspective, change or any rotation than you use position. If it doesn't have much perspective change, then you can use position in rotation. So in this case we will use the position scaling rotation, and then beside this, we have four options, so this one will track back one frame. This one will track backwards. This one will track forwards in the single track forward one frame. So to give you an idea, we'll click that once. And then it tracked ahead one frame and with the mask selected, you'll see exactly what it's doing when we hit the play button. So when we hit the play, it will track Ford and track our footage based on what we've selected. Okay, so now that it's done, we cycle through the footage here, you can see that the mask path follows it perfectly. We have a perfect track from there. If you want, you can invert it, and then that is a quick way to remove things in footage. Now, if we did have a white layer in the back, for example, then you'd see that through it. Because we've essentially cut a hole in the footage with by using a mask and then inverting it or without inverting it. You can see that we've just selected that. Okay, so it's clear the white through that back down and try something else to this footage. We're gonna click on the mask and delete. It will go back to the beginning, and now we'll try and effect inside video effects. Inside, Blur and sharpen will grab one of the blurs, so we'll try this one. The Gaussian Blur will drop that on over here. You'll see that under this effect, we have the same mask options. What we can do instead this time is why don't we blurred this this part here Out. Okay. And because we're using an effect instead of the opacity, the rest of the footage will still be there. But this time, we're only blurring the area in the mask. Or if we inverted it, the area outside the mask. Okay. Now, with the mask here selected, it will show up. We can go down going to blurriness and increase that quite a bit so you can see exactly what it's doing. And then what we're gonna do is track the footage for it. So in this case again, we want to do position, scale of rotation, Okay. And then we will track Ford. And this should take a little slower than before, because it's a larger track, but it's so should go pretty quick. Okay. And just like before you can see exactly what it did. It tracked that area pretty well. If you wanted to invert it, you can isolate certain parts of your footage by doing it this way. So, for example, if you had footage of a crowd of people and he wanted to isolate the face of somebody, you could do it this way and the mask in track options work the same for any of the other effects in Premiere. 11. 11 Organized Editing With Labels And Markers: in this lesson, we will talk about organized editing with labels and colors. So to start, let's so to start. Let's just wipe everything we have here. Except for the sequence, we will give it a different name, and then we will go to our footage folder and we will bring in a bunch of clips. And I believe our sequence is 10 80 these air four K clips. So when we bring them down, it'll ask us if we want to change the sequence or keep it so we will keep it, and then instead. But we'll do is scale each 1 to 50% because HD is half the size of four K, then we will copy. It's like the other clips, right? Click go to have paste attributes. And then what we want to do is select motion, because that's where the scale is. Press okay? And then all of the clips will be scaled by 50%. All right, so right off the bat, you could see that the clip order is different. So if you wanted to bring in the clips from 1 to 5, then you just select them in that order and then they would show up 12345 But in this case , we don't need to wear about that having them in a different orders. Find to create color labels. It's gonna premier preferences, and we'll go to label colors. And I've already created a whole bunch here. So best take slash interviews. Air read. Good take slash b roll are blue, may be useful, is great, not usable is black and then a few other ones. This is totally up to you. And what do you want to do for our purposes? Will just create it this way so you can name it and then choose the color that you want to associate with that title. So once you have your color labels set up, you can right click on the Clip Goto label, and then you'll see all those options here. So if this clip, for example, was maybe useful, we would send it to maybe useful. That would be great if this clip was a really great take. For example, we can right click that Goto label and choose best. Take that now it's red visually that stands out, and this clip, let's say, is unusable we don't think we'll use it at all because let's say it's out of focus. For example, we're gonna label and not usable. Then it will appear black on the timeline until very quickly. In the timeline you can visually see which are the best clips, which are good takes, which are the effects shots, which aren't usable and which might be usable. So it's very important to practice organize editing because it can save you a lot of time. Another thing you can do is organize with markers. So with the secret selected, let's say, on this clip you can press em on your keyboard and it will create a marker right here. Or if you have the clip selected and press M, it'll create a marker down there. And if you hold option or alter on the PC, it will change the marker and you can drag out each one. Why this is so great is you can add titles to each marker. Let's make another one over here and make sure the clip isn't selected. Otherwise you'll make a marker on the clip, and that's not what we want. So with the clip not selected but the timeline cursor that where it is press M, then hold option rolled and drag each part out. And then with this marker selected, you can right click and go to edit marker And then up here at the top, where it says name, you can give it a name. So turning in, screw with fingers you had okay, And then that will show up in here. And then with this one over here, you can either select it right click and go to edit marker, or you can simply double click the marker. You can add another title such as circuit board, and then you can see very quickly what that clip is. This is very useful. If, for example, you're editing ah, film and you have various takes, for example, close ups, mediums and wide shots or masters for all the close up shots, you could title this close ups and then you know all the takes of the close ups here, and over here you could have all the wide shots and then with all the wide shot takes you have, you can visually see that these were the wide shots right here and that this is our best wide shot we have. This is our second best and so on. So with this, it allows for very, very organized editing and that will save you a ton of time. 12. 12 Enhancing Footage With Lens Flares: in this lesson, I'll show you had to add a lens flare and animated. So let's locate the lens flare clip will bring that into premiere. Okay, we will. Right click and go to properties. See that this is a 10 80 clips. We will create a 10 80 sequence. We will name the clip and then we will bring that down. This is what we're working with. All right, So the first thing we'll do is create an adjustment layer. And to do that, you can't have be down here. Otherwise it won't show up. You need to have the project window selected, and then you can create an adjustment layer. Then you'll bring the adjustment layer down here. And basically, what this does is just, ah, holding layer for effects, and anything below will be affected. So let's say you had five clips in a row. You could put the adjustment layer up there and then every clip below it will have effects such as any color correction you add onto this clip or blurring. And then if you have additional clips on top, the clip on top will not be affected. So for now, we'll just have the one adjustment layer in the effects panel window appear will type in flare. We'll grab the lens flare and place it on the adjustment layer, and this is what it does. Footage. Now I'm gonna undo that, and we can do it onto our footage, but I'll show you the benefits of having on the adjustment layer in a sec. So let's remove it from there by going into the effects controls into leaving, the effect will bring down the lens flare back onto our adjustment layer so it doesn't exist here. It only exists on the adjustment layer. Now the benefit to the adjustment layer is, let's say you had multiple clips here with the adjustment layer. You only need add one lens flare and then it'll peer over both clips. No matter you know how long this is, as opposed to a having toe, add the lens flare onto all the footage. This is another great way of adding global effects, such as color correction to all of your footage at once, just by adding it to the adjustment layer on top. Okay, so let's do it. Dad will go back to here and do men so with the adjustment layer selected will go into the lens flare and we will bring the flare center just to the edge of the screen. And then we'll bring it all the way to the top there, okay? And then we'll go to the beginning of our sequence and we will hit the stop watch, which creates a key frame right at the beginning on our first frame of the footage. Then what we'll do is press the down arrow on our keyboard and then the left arrow, and that will bring us to the very last frame on the adjustment layer. And then what we'll do is Anna, meet the lens flare from the top to the bottom. So with those two key frames, it looks like this, and that doesn't look too real right now. So what we want to do is blend it a little more. We want to bringing up a bit, maybe change it to a different type of flair, like 35 that will blend it even more. Okay, and now we could try that and you'll see that now. It actually looks very natural, as if the camera moving is causing the sun to hit the lens in a different spot, causing a lens flare, and by adding or official lens flares like this, it can really enhance your footage. 13. 13 Duplicate Frames & Through Edits: Welcome back in this lesson, I will give you some tips on some extra features in Premiere that you may not know about down here in the sequence panel window. If you click on the little wrench, you can see down here that there is a couple options here. One is show through EDITs, and the other is show duplicate frame markers. Right now I have both on, and what that will do is, let's say, I held option or Altan the PC and dragged this clip to make a duplicate. You'll see that the color at the bottom is the same on both, so that's telling me that those clips are identical. So again, if I were to click and hold, those three clips are the same now to give you an example, if I delete one of them and bring this one too. But half, you'll see that now. Onley. This portion of the clip is duplicated because I removed the second half of this clip. So now this portion exists only once, and this portion exists twice, and when the through edits is selected, when you cut your clip by using the razor tool, those little triangles will show up, which means that is a complete clip. There are no frames missing there. For example, If I were to delete that part there, the little triangles will not be there. That means that there's a jump cut there to show you a bigger example of that to jump. So having the through edit option on is a great way to know where your eclipse meat and if they are missing frames or not. 14. 14 4k Footage in HD Sequence: All right, so in this lesson, I want to talk about the advantage of working with four K footage in an HD sequence. All right, so in our footage folder, let's grab our four K green screen one clip, and we will bring that into premier Now. This time, instead of creating a four K sequence to match the four k video file, we're gonna create a 10 80 p timeline. So with my company, we normally shoot everything in four K and the majority of the time we deliver our content in HD. Doing this has a really great advantage, and I'll show you right now. So let's grab our four K footage. Bring into our 10 80 timeline and it's going to say, Do you want to change the sequence settings? And we're going to say, Keep existing and you'll notice that what happened was we have now four K footage in a 10 80 timeline. Self, naturally, it crops in, So let's go to motion and we will scale this to 50%. And now it fits perfectly. All right, so let's watch this clip back as is, and she pointed out something about relationships that actually takes this theory of who you spend your time with. You become like to another level. Okay, so at a certain point in this footage, we can make a cut. For example, let's try pointed out something about relationships. It actually takes this theory. Let's go back and we'll grab our blade tool. We will chop it right there. And on the second clip, we will zoom into, let's say, 85%. They will click on the 5 40 up here in the position, and we will drag it and bring the clip up. So what happens is so at the beginning of the clip here it's the full screen wide, and then when he gets here, it's gonna jump in as if we used a second camera. But the benefit to this is her eye line is always straight to camera, and we lose no quality because we're using four K. So that is a huge event. So sure what that looks like. And she pointed out something about relationships. It actually takes this theory of who you spend your time with. You become like to another level. The benefit to that is, if you have multiple takes and you want to mess them all together instead of having just a bunch of jump cuts, you can jump in and out of close upto wide shots, and especially if you're working on a green screen, you can move the person to the left side on the wide shot and then on the close up, moving on the right and it'll make the video much more engaging. 15. 15 Ramping Slowmotion Footage: Okay. In this lesson, we'll talk about ramping slow motion footage in our footage folder. We will grab our slo mo clip one, we will bring that into premiere. We have a 10. 80 p timeline created and our footage is 10. 80 p. So we will bring that into it and we will watch that back. This entire footage is slow motion. So if we wanted this clip to play fast and then ramp all of a sudden too Slow motion in premiere. We can do that by going over to the side here beside the clip and bringing this up a bit and then going to the beginning of the clip where you see the effects little square, the very very start and right clicking on it and then changing the selection from opacity or whichever it is on to time remapping speed. And you could bring us up a little more if you want. Right now we have this single line in the middle. And what that does is control the speed of the clip. If we do that, for example, then the speed is twice as fast. Okay. If we bring it all the way down to, you know, 45%. Then it's very, very slow motion. Okay, so let's undo that. And now we're back to this spot here. If we want it to play at regular speed and then ramp, the way to do that is you want to find the point where you wanted to start the ramp. So let's say right here, right? Does the dog touches down So right there, So withholding command on the keyboard, we will click reading the line, and then this blue marker will appear if you grab the marker and then extend it right, nothing has happened yet. It's still playing the same. But when you grab the beginning here and bring it up to, let's say, 200% we get a curve here. So now this is what happens. So let's exaggerate this a bit, too. Let's go to there and we'll go up to you. Let's say 2050%. So if we select one of the markers, we get this middle part here, so right now it's transitioning in a linear way. It doesn't really have a ramp to it, so we select the marker here and grab the top of the blue here, the little circle and drag it. You'll see that it'll round the edges a bit, and then we'll get a nice, smooth ramp to it. Okay? And then to exaggerate more, we can slow this part down, Teoh, you know, 40%. Okay, so you can notice it starts to ramp over here. But we wanted it on the touchdown. So what we want to do is place a timeline cursor where that is, and then adjust the curve to roughly, you know, the start of the ramp that if you want, we can even know. Exaggerate that a huge amount. Then again, bring that further that way. All right, so that's how you ramp in from your pro. 16. 16 Recording Voice Overs In Premiere Pro: okay. In this lesson, I will teach you a very quick way to record voiceovers inside Premiere Pro and down here in your sequence. It has a little microphone here. So all you have to do is press the button there and then it will automatically start playing. And then you can record your voice over and then hit space bar once it's done. And this could be a very quick way to create voiceovers for your edits or to create a temporary voice over so that the person who is professionally voiceover it can hear a reference. So let's go ahead and try that. This is a voiceover for the Premiere Pro course. Okay, And then if we go back there for the Premiere Pro, of course. Okay. And it did cut off the beginning. And the reason was because if we go into voiceover recording sessions, it has a pre roll of three seconds and a post role of two seconds, so that just allows you a little bit of time to get prepared after press the button, even change this to zero, or you can check it off if you want, and then what you'll have is an audio file in Premiere Pro, and you could move that around as if you recorded it outside of Premier Pro. 17. 17 Make Your Subject Thinner: All right, welcome back. In this lesson, I will show you a quick trick on how to make people just a little bit thinner. Sometimes you're working with footage, and the client isn't happy with the way they look. So this little trick is a way to potentially make the client okay with the clips, so you don't have to You not use it. So let's grab some footage. Let's grab. How about the green screen? One key. We'll bring that in. So let's say the client gets back to you and says they don't really like the way they look in this. Instead of just throwing away the clip, an option you can do is click on the footage going to the motion area. Under the scale properties. You, you'll see there's a uniform scale, so it's uncheck that, and then you can change these individually. We could reduce the with, which will give the fact we want. You know, this will make them appear thinner, but you don't want to go too much, but you can get away with about 5%. But if you do it this way, then you will lose some of the edges of the frame. So instead, scale up the ah, the height. So 105 this way they will look a little taller and a little thinner, and this might result in you saving that clip in the client ends up being happy with that footage. 18. 18 Enhancing Titles with Backgrounds: all right In this lesson, we will talk about how to make titles better or text on screen better by incorporating a different background element. Let's grab our title clip here, and we will bring that into Premiere and then we will create a color matters. Well, let's say we'll make that blue so we'll bring the color Matt down here and we'll bring also the clip down. The next thing we'll do is we'll create a new title so we could go to title. New title defaults still will call this the Nature Show or whatever you'd like to call it. We will tape in here than nature show. Change it, Teoh bold, and we will center it and then we will place that along the entire thing here. This by itself is pretty boring, and this by itself is, you know much better. So having an element in the background definitely helps. But to make it even better if you blur the background image and make just a autofocus background texture. If you have a lot of titles, you need to place and you have some wide footage to work with. This could be a great way to increase the production value of your video edits by blurring the backgrounds and then, you know, adding your titles on top of them. 19. 19 Creating Glitch Effects: in this lesson, we will talk a bit about adding glitch effects to your footage to create some cool looking effects that adds and production value to your edits. Let's go to our Footage folder and let's grab clip or two. Let's bring in. I think the slow Mo Klippel work. So let's go to Premiere Pro to bring that in. Let's drop that in our 10 80 p timeline. The next thing we can do is wipe this body here. We don't need that. Okay, let's go back to Finder. Go into our music folder, will bring in the music file, and we'll place that below the audio. And then we'll drag this part down here so that the wave forms show up much larger. We'll zoom out and then we will lower the volume just a bit and then go to the part of the song that has the beat in it. Okay, so we'll drag the beginning and then bring this to the beginning. OK, we will zoom in again and we don't really need the end of that so we can cut it there and then do it the end. And you know what we have is the slow motion clip of the dog running with the fast paced music. So now we want to do is with nothing selected. We want to play the clip and by pressing M on the keyboard, we want toe add markers any time there is a beat, for example, the bass drum or the snare drum in the music so we can identify where we want to add glitch effects, too. So I'm gonna hit the space bar to play, and then I'll start hitting em on the keyboard where when the beat comes in, Okay, we did it on the snare drum three times. Right there, There, right there. Okay, What we want to do next is let's duplicate the clip above. Let's select the clip, hold, option and drag it up to duplicate it. And then what we want to do is zoom in right where the marker is and cut the clip and then delete everything before it. And then on the keyboard with your right arrow, count two frames or so and then make a cut can zoom out, go to the next spot, zoom in, cut right on the spot, delete before it go to right, make a cut, zoom out and do the exact same for the 3rd 1 Okay, to eat the end and what you have is three spots that you can now add effects, too. All right, So the first thing we'll do is we'll try the 1st 1 So on this clip, let's go up to video effects. And let's try black and white. So we'll add black and white. Then what will try is wave work, Okay? And we'll reduce it. It will stretch it out of it. Okay, so we're getting a weird, wavy effect that's black and white. We can also blur that part just a bit. Just a bit. Okay, Okay. And then we will zoom out. We'll go to the 2nd 1 and then we'll do the same idea to these. Maybe on this one instead of black and white will go to color correction and we will go to tint, and then we'll drop it just so the color comes out just a bit. Maybe we'll throw the equalize on. Okay, Then we will go. Teoh warp again. And Okay, so just like that, and then in the 3rd 1 once more will do the same thing. So wave warp. Okay, color correction try. Channel makes a momentous messed with the colors. We don't wanna go to crazy, though. Okay? And then as a last one, what we can try to do is style eyes, and we'll try Ozick and then we'll add, you know, we'll take a look a little just slightly blurry. So the result is when we play it. If we extend this a little bit on each one, try it again. This type of effect is used in music videos a lot because of the music. Of course, by doing this, you can add some really cool effects that work with the music you have. 20. 20 Using Light Leak Overlays: in this lesson will teach you how to use overlays to enhance your footage. We've included some of our overlays from one of our full packs. You'll find them in the Overlays folder inside. Here. You have six files here, so let's bring those into Premiere Pro. Let's bring them into a folder called Late Leaks. Then let's bring in some other footage. Okay, we'll grab the lens flare clip and the title clip. We will bring both into our sequence, and then we will grab our late leaks. We will also bring those in onto a top player. Then we will remote these air four K late leaks and feel free to use them in any other projects you have. When you're working in HD sequences, just scale them down to 50% and then copy one of them. Select the mall, go to paste attributes, and then, with the motion selected that will change them all to scale of 50%. Now, these late leaks we created, um, with riel light sources hitting the camera sensor, and there's ah, variety of different ones. The way to use them is go into the capacity settings. Remove the stopwatch key frame inside the blend mode. You can change it to screen or overlay, so I typically use screen and you'll see what it does. So it removes all the dark areas of the light leak, and just the color is left. So from there, you get an idea of what it does. Okay, so we'll leave that one on. The 1st 1 will burning the next one here. And on this one, we will remove the stopwatch, and then we'll change this one to screen. Okay? This one doesn't work too well with this footage, so I'm gonna delete that will try the next one. We will click it, remove the stopwatch than change at the screen. Okay, Now, this one, it gets pretty right here. So what we can do is bring down the opacity so it blends a little better. Okay, that's great. And you have a few different options here as well. Another cool thing you can do with these light leaks has changed their color. To do that, let's go into video effects. Now we can do color balance, HLs, or we can do the obsolete fast color corrector. You can just grab this and change the color. But if they've removed this in a newer version, then your other option is to go into color and use the color balance H l s and then cycle through the hue. So once you get a color that matches the footage, for example, I think something like that matches. So the idea is to just cycle through the hue until you get a call your lake, and from there you can duplicate lightly exchange their colors, mix them together, stuck them on top, and so on. 21. 21 Dealing With Media Cache Files: Welcome back in this lesson, we will talk about the media cache files that gets stored on your computer. We have a premier project open and up here in preferences and then media. You can see the media cash database here. I'm on a Mac. So this is where the media files get stored. If I hit clean, that means it's gonna delete all the media cache files except for the ones that this project is using. So media cache files are temporary files that Premier creates in order to play footage faster in your sequence. So from time to time, those files can add up to create folders that are in the hundreds of gigs, even though each media cache file is actually very small. Quite a few times I've had to delete this folder because my internal drive was completely full. So let's go ahead and hit clean Now. Now I prefer to clean. This manual has Sometimes some files are deleted. So to do that, navigate to your media cache files. And the way to do that on the Mac is by going to your users. Library applications support Adobe Common and then into media cache files. for Windows. It'll be users than into your user name than AP data roaming adobe and common that inside media cache files. Once in here these air, all temporary files, all of these so you can simply command a and send them all to the trash it. And once they're all deleted, you'll find that you've freed up some space on your internal drive. 22. 22 Closed Captions: The next thing we're going to talk about is how to create closed captioning. So close Captioning is the text that appears at the bottom of the video that follows along with the dialogue, and it can be turned on or off. It's a file that is uploaded with the video. We will go to file new captions. This window will open up and we will click OK, and Standard Stream CC one is perfect, so we will click. Okay, once that's been created, we can bring that down into our timeline. So we have one captions file created here. We can extend that if we want, and the next thing we'll do is go to window and we will click on captions, and that opens up the captions window. When you click on the file here, you should get options to open this up. In the very first release of 2017 there was a bit of a glitch, so if you're in that version than the way to get around, that is by going toe window workspaces and reset to saved it will close the captions window and then you can go back to window captions and then just click on the file and then you'll get the options back up here. Okay, So the first thing we need to do is let's bring this out of the way. We will go to the beginning of our sequence and we will play and listen to the audio. And she pointed out something about relationships. Okay, so let's take that in here in our 1st 1 okay? So as you can see, it hasn't added all of the text yet, and that's because the file is too long here. So to solve that, we need to go and see what our caption looks like. And right now, right at the end of something, that's when it should start a new line. So in our captions window here again, we will find something. And after something, we will hit return on the keyboard. And then, as you can see now, it's popped up. So you need to consider that when creating captions. Okay, let's continue. That actually takes this theory that actually takes this theory. So we'll continue this as she pointed out something about relationships that actually takes this theory. Okay. And we'll bring this up a swell and Now that we know approximately how many words can fit across the window here, we can bring this because then you know, approximately when to press return on the keyboard to start a new line. Okay, so on the closed captioning file, there's two parts. You have the file itself. You can think of this as the container now in the container. We have the text part. This is the start of it. And this is the end. Okay, so right now we have takes this theory that actually takes this theory. Okay, so that's where we want to end it. And I like to switch the type to paint on and you'll see what that does here. And she pointed out something about relationships that actually takes this theory, and you'll notice that it's cutting off. Actually, a bit. It removes one of the Els. Let's go back up to here and we'll move actually to a new line. And then now all of that fits in. And she pointed out something about relationships that actually takes this theory. So that's the 1st 1 Now we need to create another one. So back up in the window is going to the plus. Now we have a 2nd 1 As you can see, the 1st 1 starts at zero, which is right here and ends at +407 As you can see in the next one because we created after it starts at 407 and ends at 507 week, another extended here and then it extends there. Or we can do it right on the actual file itself. So for now, we'll just do to and this part says who you spend your time with, you become like So it's like that in of who you spend your time with, you become like to another level to another level. As you can see, it's still not showing up here. So what we want to do is go to at the end of time and we'll backspace and hit return. And then we will go to this area here and now. It all fits in properly on the screen. And she pointed out something about relationships that actually takes this theory of who you spend your time with. You become like to another level, and we can go up here and, for example, italicize all this stuff. We can underline it all. You can insert a music note. If there is silence, you can change the background color if you want. For example, Blue, you know, yellow and so on. Obviously, some of them are gonna be very hard to see. Transparent, seven, transparent. And then on the end here, if we open this up a little more, and with these, you can position it so you can go up to I believe four. And then I'll push it more to the right, and you go down to the one and that'll bring it all the way to the top, and you go in between if you want. Okay, so we will set that to two. And 13. Okay. Another a few more options are Roll up two lines so you could see that takes this theory of who you spend your time with. You become like to another level. Okay? And roll up four lines. This theory of who you spend your time with, you become like to another. So that would be if you have four lines of text. Right now, we have three. So we could use three theory of who you spend your time with you become like so it all depends on the style you like. So this one is paint on. This one is rollup three. So I would typically just keep them all that paint on and then theory of who you spend your time with, you become like to another level. Okay, so once you've gone through your entire footage and you've extended this the container part for your entire length of the video and you've created a whole bunch of caption files throughout the whole thing that air timed correctly with when the person speaks Then from there you can go on export the close captions as a standalone file as a standalone file, and then that's a valued upload. Or submit when you want to use captions with your video edit to do that, let's close this. Let's set in in, in an out. We'll just bring that back here. Okay, we will go to file export media. Once our export settings window opens up, you can set all the settings you'd like and then over here in the captions area and then in our export options, we have a few options. We can burn captions into video, we can embed in output file or we can create a sidecar file. So what we want is another type of file. We do not want to burn it in. So file format. The default is docked S C C. That is a standard broadcast file for close captions. Another popular one is the dot SRT, so you can use whichever one you need and then because we're set to the dot SCC broadcast one, our options are only 29 97 If we were to change this to dot XML, then we would get some other options. So depending on the footage you're working with and the closed captions file that you need , then you can go through the options here, choose the right file and the appropriate frame rate, and then you had export and you will have successfully created your close captions file for this sequence. 23. 23 Blending Modes: in this lesson, we will talk about how to get different looks with your footage by using different blend modes. I have a sequence that's open right now that is 1920 by 10. 80. I have a four K file inside that I've scaled to 50%. And I've done a quick key with the ultra key and then bumped up the pedestal to 61 to remove the green. And to get started, we will remove the stopwatch, and then we're going to hold, option and duplicate the layer a few times. With the top selected, we will close motion just to free up some space. And then on the blend mode, we can choose things such as Multiply. Okay, we'll turn that layer off for now. On this one, we will choose Color Dodge. Okay? And on the second layer, we will choose hard light and then the bottom one, we will keep the same. So what we have right now is our regular footage. And then we have one on top, another one and another one. So right now all we're seeing is a very top one. But if we go into the opacity of each layer and reduce it. We can start mixing and blending all the different layers together to give a different look , and I'll give an example of that right now. So let's go to the top layer. Let's change the opacity to, let's say, 50% on this layer. We will change the opacity toe. 32% on this layer will change it to 43%. Okay, so without those on, this is what it looks like. And then now, with the 2nd 1 darkens the image a little bit. Add some more definition on the 3rd 1 It created some hot spots. So I would say, Let's go down. Actually, little more on that. Okay? And then the top one, it really darkened it. So why don't we try another one such as overlay? And then we can play with the opacity percentage, go to zero, And although it 100 so we can cycle to see exactly what that's doing and something like that. Okay. So very quickly, we added a ton of dynamic range to this. Now, the key isn't that great. We still have some green spill here. I haven't done any spill suppression on the clips, but I will bring these clips up to a new layer so we have the bottom one free, and then I'm gonna add a white solid behind. And you could do this on many different layers to try to come up with a look that is unique . Teoh your footage. And this is also a great technique for dealing with overexposed, sometimes by adding different blend modes and stacking them on top of each other. And in changing the transparency of each clip, you can actually save a bit of detail in the blown out spots. It's not gonna completely save blowing footage, but I would definitely keep that as a technique to try. 24. 24 Remove Audio Background Noise: in this lesson, I will show you how to remove background noise from audio Inside Premiere Pro. We've included in audio with background noise dot wave file so you can try this with us as well. So let's grab that file, go to Premiere Pro and drop it in once. If I was in there with Dragon into ah timeline in the audio section, it will be a stereo file. So if you want, you can just remove the one at the bottom. So we're just left with a single channel. Let's play it to see what we got here. This is an audio test to try to remove the background hum noise. Okay, let's increase the volume. This is an audio test to try to remove the background hum noise. Now, in previous versions of Premiere, you'd have to export your audio to another program such as Adobe Audition. But in this one, they've actually included a noise reduction plug in. That is the exact same one that's featured in Adobe Audition, which is incredible. I've spent many, many hours fixing audio and having to send clips individually. One by one Teoh Adobe Audition. But so now, moving forward we can clean up some audio hum in the background right inside Premiere Pro. To do that, we go up to the audio track mixer. If you don't have that, you go to window audio track mixer and then you open up the one for your sequence. This will open up. And if you don't see this top part, when you can do is go to the very top corner here and click show hide effects and cents at the bottom. Here we are on a one, which is this 1st 1 here, and we can confirm that by going to the bottom audio one. So let's go to the top Now, on the top part here, we can select any one of these down arrows and we will go to noise reduction. The one that has been added is adaptive noise reduction. And if we click on that and then right click could go to edit and then up here in the presets area, there are a few different options of D reverb, heavy noise and light noise. So for us, we'll just leave it a default and right off the bat this will be reducing the noise by 20 decibels, and every time you press the play button, it will have to re sample again. But when you export, everything should be fine. So for now, let's bring this to, let's say, minus 32 and let's hear with that doubts. This is an audio test to try to remove the background hum noise. And just like that super simple, it removed the majority of the background hum noise. Now that the audio has been treated, it's important to know that that has been done on the entire audio one track. So any other audio you have on that track will be affected. If you want to affect just one clip itself, then the way to do that would be to not do it on the track. But instead go to adaptive noise reduction up here and then bring onto the clip and then inside effect controls. You'll see adaptive noise reduction, and you can click, edit and you'll get the same thing. Then you can just lower to taste 25. 25 Preventing Audio From Peaking: all right. In this lesson, I will teach you how to prevent audio from peeking inside. Premiere Pro to get started, I have the green screen, one clip in a sequence. What I'm going to do is raise the volume, and then I'm gonna just the audio gain here so that when I play it work with the layers panel you can see that is peaking here. And if we were to export this, there would be pops in the audio, and that is not acceptable. So the way around that is to use a free plug in called loud Max. If you Google loud, max L o U D m a x, you'll be able to find it. Just download it and install it into your computer's V s T folder. So, on your Mac, you want to place the dot V S t file inside library audio plug ins and inside the V s T folder. Then when you restart premier and then you want to go to Preferences audio and then you want to click on audio plugging manager, then this window will open up. You want to scan for plug ins, disable them all and then just enabled. Allowed Max. Press OK, Once you do that, you'll have it up here in the audio track mixer, which you confined by going Teoh Audio Track makes her here. And then at the very top, there's a little tiny arrow that will drop down this menu and in here on all the tracks each layer, you'll be able to add a plug in by going to the top version here by going to the top part here that has the little tiny arrows by going to V S t effect loud max. Now you can put this on any track as well as the master track, and I would always recommend putting on the master track as well as any tracks that you have audio on. So since we have one audio track, I've just on the first track and on the master. So on the first track, let's right click loud Max go to edit, and then this opens up. Now all we need to do is that the output to minus 0.1 and then we'll do the same for the loud max on the master track, said the output Teoh minus 0.1 now Let's click on the red here to reset the Peking, and now when I play, you'll notice that it won't be peaking. It'll still sound distorted, but it won't peak important and resize images removed backgrounds for transparency. So this is a great way if you want to get your video, edits a lot louder and avoiding any peaks. Now, of course, you don't want your audio. It sound too distorted, but for cases where you have music and you're trying to get your dialogue to sit nicely with the music, so this is a great way to keep a nice and loud volume level for all of your video edits without any of them peaking. All right, guys, that brings us to the end of this course. So thanks so much for watching hope you guys learned a lot and please leave a review. If you haven't already, we want to make sure this is a five star course for you, So if you have any questions, feel free to reach out. I'll try my best. Answer them and thanks again for enrolling. Take care