Adobe Premiere Pro Video Editing Course and Projects - Beginner to Pro

1. ABOUT ME & THE ADOBE PREMIERE PRO COURSE: And welcome to the course. My name is Jeff Politano, and I've taught a lot of students over the years. I started out in elementary school teaching kids how to do like the broadcast news. Went on to middle school, and we did like a video yearbook then high school where we were using Final Cut Pro, and I converted everybody over to a Do Premiere Pro, and that was probably about 15 years ago. And so I want to be able to give you a lot of things that I've picked up over the years, and especially in the last couple of years, I've worked with a lot of different editors, I've worked with universities. And then it's even evolving with AI and things like that. Want to give you just a basic rundown. Looking at analytics for some of the courses that I've taught. It looks as though, people have the attention span to maybe last maybe 7 minutes at the most. What I want to do is I want to give you more of a YouTube approach where it might be a little bit quicker, but if you're seeing it for the first time, it may be overwhelming. First lesson I have is just a walk through. It's like 15 minutes long, but I go through all the different things that you could do with Premia down into maybe two, three, four, and five minute seconds. If it goes too fast and just maybe stop the video or just but I'm trying to give you just a basic idea of how to use premieres. So if you get to the end and watch everything, you should be able to use the program and make videos. All right. So let's get started, and hopefully, I'll see you there. 2. 15 MINUTE WALK-THRU OF PREMIERE : This is the first lesson with Premiere Pro. I just want to be able to show you what happens when you click on the program. How do you make a new project? Where do you store your files? What happens when you bring in footage? What is the layout? What are the different arrangements that you can use and how do you move things around? What does it all mean? So we won't go into details. So if you're not getting all of Don't worry about that. We won't have time. If we did, we would never make it. So there's too many things to learn. So I just want to show you, Hey, this is premiere. This is what it does. How do I make a video real quick, and how can I export it? So, let's get started. So, this is the first screen that you'll arrive to, and I have some recent projects, and as you start building projects, that we'll show those to you. You can go to new project or open projects. So let's just create a new project. So click New Project, and this next screen shows you some archive footage and things. But just to sift through all of that, let's just go to project name, and I'll type in my new project. Then I need to choose a location on that second tab, and I'm working on a MAC. It may look a little different if you're on a PC. And I'll choose the location. So for me, it's a desktop. I'm going to create a new folder, my new project, it Create, and choose, and then click Create. Now, this is where you'll make your video. So this is premiere right here. So starting with the top left, you have ner full screen mode if you click that Green circle. I don't use that because I like to be able to see what's behind premier and I can move the windows. This sort of locks it down where you can't do anything else. So that happens to you, the top part of premier disappears, and so to see that, you've got to roll over the top. The other thing you can do is you have the option to make it a side view, which I don't use, but it is there. Now, once you have those top category listings, premier pro file, edit clip, sequence, markers, graphics and titles, and so on. So as we scroll through those, you can see some of the different features. Now, the main thing which is important right now, is the actual work space. So if you go to Window and workspace, you can select the type of workspace that you want. And as you start becoming familiar with Premiere, you'll find one that matches better for you. I work out of the effects window because I like to add effects now and then, and I just like that arrangement. So we may work on that one here. You have all of these different squares. And so as I'm clicking on them, each one serves a different function. So let's go to Window workspace, and let's choose learning. Now, if you choose learning, Premiere will give you some tutorials and creating your first video, take your first video further. You can click on those and it will guide you through a step by step process. If that is helpful, then that might be something you want to do. You can also go back to the window and work space, and you can choose a different arrangement, and you can choose the effects panel. You can also save the arrangement and call it your arrangement or something like that. Now, notice if you grab these lines in between, you can adjust how wide or short you want them to be. Now, as you click on each one, you can highlight each panel. I could drag one panel over to another panel. And what it does is it highlights where it would end up. So if I'm holding the left button down on the mouse and I'm dragging over, it will let me know. I can put it on the left panel, the right panel, top panel, the bottom panel, and so on, and then that window would end up there. It's a little bit challenging right now because these are just empty squares, so you don't know exactly what they are. One might be your source footage. Another one might be the end result. The bottom down here is your sequence timeline. But this is one that I've saved. It's effect controls one is what I call it. Here on the right side, you have different tabs. So you have effects, and inside that effects tab are a lot of things like transitions, audio filters, presets that you might be able to drag onto a video to make it do something like move in or zoom in or something like that. You also have your audio settings, and so Adobe now with this updated 2024 version gives you some audio filters and music and things like that. And then you have markers, history shows you like all of the different commands that you've used up to a certain point, and some information might be on particular video clips. So just so you can see what this is going to do, I want to bring in some footage. On a MAC, I'm clicking on Finder, and I'm just looking at how I would look at files. If you're on a PC, you could do the same thing where you would just open up the windows to where you can access your files. Once you see it that way, you can just drag it into Premiere. All right, so if I want to access this footage, I just click right on it in that project bin in the lower left. Now I can see what that clip is, so I have two. So now if I roll through this, I grab that marker by holding the left button down on the mouse, I can select the point and outpoint of the footage of what I want to use for my final video. And notice the time on the right and left. So it's telling me when I use that in and out marker that it's going to be about 8 seconds and 14 frames, you also have the ability to change the resolution if it's not moving quick enough. So I can take it down to a half resolution or quarter of the full resolution, and you'll notice a little bit of a difference in the lines there. Now let's go ahead and bring this into the sequence timeline. So I'm going to just grab that icon, which is the film strip icon, and I'm just bringing in video. There is no audio of this. And what it has done, it's created a sequence timeline in my project in. So notice there's nothing there. When I bring it in, it creates a sequence timeline. And what it did was It just named my sequence timeline. Artificial intelligence, that was the name of the video. I'm going to change the name of this because this is going to be my video project. The sequence timeline is your video that you're making. I'm going to call it the AI Video Masterpiece number one. Now, notice it has changed the name of my sequence timeline, and then now I've got my two clips underneath. Now, let me click on another video, the second one, and I'm going to select my in and out point of the footage I want from that. And then I will bring that in as my second video clip. So you can see now as this premiere platform is starting to get populated, you're starting to see how these things work. Notice I can grab the line and I can adjust how I want the layout to look. Now, under effect controls, this is where you have some command over your final video. I can move it in or out, I can change the rotation, I could fade it in or out. So there's some settings here. You have motion, you have rotation. You have opacity, which allows you to fade it in or out, and we'll add key frames later on on how to command this video so we can make it the way we. Want to add in a couple more video clips. Let's see if we can do that again. I'm just going to go onto the finder on my mac here. If you have a PC, it will be different. You just access your files through your desktop or however it is that you like to do that, and then bring in the footage that you've collected somewhere on your computer. For me, I have stock footage downloads as the folder, and I'm looking for a a face. I'm going to grab happy employees in the office. Now, I don't want this entire footage. I only want a section of it, so I have my point and my outpoint, and it's showing me that's 5 seconds long. I can drag it right over the other two video clips and it will automatically erase or cut through those two videos and just override it. So that's one way to bring it in. So now I've got my final video here that I'm working on. I've got three video clips in the sequence timeline. Now, it's showing on the right side, it's showing that it's 17 seconds long. One thing I like to do is if I'm making a 15 second video, let's say for social media, I can use these points and outpoints to just highlight my sequence timeline. Now, notice, as I go back up to these tabs in the top, I have more access to things that are now highlighted in black, showing me that I could access those things now because I actually have footage in my project file. But going back to my video, one way to edit the video is you could roll over the end, and it gives you this end tool Or you could go back to this pointer tool if you just wanted to grab the video and move it to different tracks. So I've trimmed off the end of the first video by using that end tool. I can start playing around with these three video clips to make it fit within my timeline demand of, you know, 15 seconds or so. Notice the top and bottom, you have these video tracks. V one, V two and V three is video track one, two, and three. As you start building out your video, you might have five, six, seven layers of videos on each track. And same with your audio, you might have one as a voice track, one as a music track, and then you might have the third one as sound effects. So that's A one, A two, and A three. But going back to the video, I also can use this slider down here at the bottom. So think of a bird's eye view, like, let's say you created a feature film. That's, you know, 3 hours long academy award winning film, right? Maybe. So as you scroll down here at the bottom, you're looking at the whole thing. If you want to go frame by frame, then you would go ahead and zoom all the way in. So now that I've got my video, I want to go ahead and bring in some music. So I'm going to look for sounds and graphics. If you have music on your computer, you can go ahead and find that folder where that music is stored, and you can drag that in the same way into that same project bin on the lower left. Once I do that, now it's giving me what this audio looks So notice these peaks and valleys, and I do sometimes edit without even listening to it. I know that, you know, when I'm selecting a song, if it has, like, a lot of those peaks that are up at the top, then I know it's maybe a loud song, and, you know, since I'm too old, it's too loud, maybe sometimes, you might want to pick something that's more quiet. I would pick something that has, you know, less troughs and crests, I guess. So you'd pick something that's a little bit lower. So now I've got my music. Now look at what happens when I add the music track. You see those audio meters. And so it will go from green to red. And when it gets to the red, it's too hot, they say, so you want to be able to adjust the volume, but You have your audio meters that are showing All right, so now that I've got my music track. I want to go ahead and add a title. So in my toolbar here in the middle, I'm going to select T at the very bottom. Then select on my program window, and I'm going to go ahead and type, remember this. Once I do that, I can use these two icons here to center it, and I can also change the font. To do that, I've got to click on Remember this and hit command A on a Mac or Control A on a PC, and then go ahead and change the font where the text is. I can also scale it up or down, use the number there to make it larger or small. And then over here under effect controls, I can also, this is where you start using animation, and you would scale it in or out by using effect controls. So you have a couple of different things there for creating the size. Now you're starting to see my AI video masterpiece number one develop, and it's about 15 seconds long. And again, I can start, you know, adjusting my edits as I listen to the music. So even without hearing anything, you're seeing these, like I said, the peaks and valleys of that audio track, That might be a drum beat. It might be just a loud sequence in the song itself. But as it's playing that loud piece, I might want to cut on that for voiceovers, too. You might need to match the beginning of a word with the beginning of a clip. And so now this is allowing you to see what that audio track is doing and how it lines up with the video. Again, I can roll over the end and I can adjust that video so it hits to the beat of the music. And I can also move things around. L that title is now its own track, and I can move that right or left and position it and change the arrangement, how I want it to be more creative. Now, notice I'm using effect controls to scale that second shot in or out. So I'm using the second shot a different portion of it, but I want to use the same shot twice, and so I'm going to just make it a little bit of a tighter shot and scale that up to 125. What it does is it places a.in there. It's called a key frame, and it will zoom in from its original position to 125%, and it will zoom up. I also have these sliders on the right. So if you wanted to see more of the video, it will give you access to these opacity handles. This allows you to fade out the video, and you can also do the same thing with the audio. What you do is you create another couple dots by clicking on that, it's called a key frame, and when you click on it, you can start that point where you want it to start fading out. You could also increase the decibels, and you could also bring it down to nothing. I've lined both of them up, so the video and audio will both start their fade at that first keyframe. So now that's the end of our video. I want to be able to export this. So you have to now compress this video as all one piece that a single video that you'd be able to upload anywhere, right? So you go over to this export tab. Now there's a lot of different settings. We'll get we'll have a whole video just on the settings on what exporting is and all the different things that you can do. With that. But for this, I just want to make a video today, so I'm going to export it, and then I select where that folder is. And this is my AI video masterpiece, and then when I look, I'll see that video placed in the folder, and then if I were to go to YouTube or something, that's where I would grab it from. So that was a basic walk through. The rest of the lessons won't go that fast, and if you didn't grab everything on that lesson, don't worry about it. I was just trying to give you a walk through. So in case you haven't seen premiere before, you have a basic idea of what it does. So we learned a few things, and hopefully on the next module, we'll be able to slow it down and isolate individual subjects as we move forward and get the concepts at a much slower pace. So I'll see you on the next video. 3. GETTING STARTED WITH CREATIVE CLOUD: Before you actually get started with Premiere and looking at the layout and things like that, I just want to introduce you to a Creative Cloud. You should have access to it. Many times it's the infinity symbol right at the top of your screen, but if it's not there, you can type up a title, and when you go to change the title, you see on the right side, you have that infinity logo. Now, there is a link to that, so it's very small, but if you click there, it will take you to Creative Cloud. Biggest benefit I feel is any font that you want, you can get through Adobe fonts, and then you just install it, and then it ends up in premiere. Now, looking up at the top, there's also the Adobe stock sites like photos, illustrations, vectors, videos, audio and such. And so some of those are paid services, so you get like a certain number of stock videos or images. There are other sites that are more economical. But one thing that is interesting on here is the plug ins. So if you go to plug ins, there are all of these third party vendors and software companies that are making extensions for all of the Adobe products. And if you check the box over to the left, which is just Premier Pro, it will take you to all of the extensions and plug ins that work for Premier Pro. This can be beneficial because, you know, there are windows that show up in Premier Pro that are installed as an extension. For instance, I use story blocks for stock footage, and so if I type that in, it's not rated very well, but they do have an extension that goes inside premiere. Once you install it, you go to window and extensions. You see I have a few there, and Vado is another one. Fire cut is one. I'll show you a little bit later. Then when I go to story blocks and I log in, Then it gives me, you know, the extension of finding music or finding footage, and it's right there in Premiere. Normally, you're going to have to go out of premiere, go search on their website, find a video, but this just saves you more time. And as a video editor, you're going to need to look for ways to cut time because it is a time consuming process to edit video. So I just wanted to let you know about Creative Cloud and just know that it's there. It can be very helpful. 4. IMPORT YOUR FOOTAGE: In video, I want to show you how you can import your footage. There are a couple of different ways to do it, and I'll show you how you can take that footage that you're downloading from bring it into Premiere. Okay, so looking at this project been in the left hand corner, you've got a couple ways to import footage. Now, notice you've got this project, and then you have the media browser. So you can toggle back and forth between those two things. So my project is import footage and cutting. And then in the media browser, I have all of these hard drives and flash drives and things. And so you can just grab your footage from the media browser and import it into the project. Now, this is the first way of importing footage. L et me click on the Media browser, and I'm just going to browse through a project that I've worked on in the past. It was a legal cybersecurity project, so you might see some things related to that. Now I have all these folders, and I can adjust that line on the right side, so I can see everything. And then I can click the folder, and I can see that icon view. So I've selected the icon view instead of the list view. Now, also, in here, you can briefly scan through the footage. It gives you a little slider there. Now, this is not really how you would edit video, but if you just need a quick reference, like, Hey, what is this about? Oh, that's a flashing light? This is a cybersecurity lock. So that's how you can do it. Then you right click on that image, and then you just hit import, and it imports it into your left toggle side, which is that import footage and cutting project. And now it brings that clip into your project file. So let's look at another one. I'm going to scan through here. I can scroll through and see what that is. So I'll go ahead and right click on that and select import. And now what it's done is when I toggle back into my project, I can see that it's there. Now that I have that footage, I would be able to edit it by clicking the in and out points in my source clip window. It doesn't have any audio so that audio is not highlighted, only the visual. So now what I can do is I can just drag it right over into my sequence timeline, and now it's starting to populate premiere, and you can start to see some of the other features and benefits of this platform. Now, the second way to bring in footage is just to, if you're on a MC or a PC, just go to the folder where all of those stock clips are, and you can this is after you go to, like a stock site or you have your own footage, and you just have it in a folder. You could bring in the folder with all of those clips. You could select individual clips, which is what I usually do. So when I'm building out a video, I might have my own archive of clips that I've downloaded in the past. And so I might just look for those clips and drag them right in. So you have two ways. You can use the media browser or you can just find that folder on your computer and bring it in that way. Alright, so those are a couple of ways to import footage and we'll see you on the next one. 5. CUTTING : In this video, I want to be able to show you how to cut footage. So we'll start with five clips, and we have a general story. There's an establishing shot of Los Angeles and someone driving a car. But also, you start with the clips and you can select your endpoint and outpoint. Or after you have it in the sequence timeline, there's some adjustments you can roll over the end, and I'll show you how to use all of those tools just to make it easy so you can cut footage. For this, I want to make a story out of the five clips that I have, and I want to show you how to cut the footage, and there's a few tools in here that will show you how to do that. The first one is we have a little story here. So I want my establishing shot of Los Angeles. The most basic way to do this is I can just double click on this, and then it shows the footage from beginning to end. And I can pick the best part. So notice I already did that when I was rehearsing here, but I can pick the endpoint and outpoint. So to do that, I'll select the endpoint. Outpoint. And I can put it into my timeline. We'll take this clip, and I'll just drag it in there. So, now it's created that, and it's the same length as I've selected here, which is 3 seconds and eight frames. As I'm building my story here, I have another selection where I want to get closer to the freeway here, so I can just double click, and I've selected this part already. So I have my point and my outpoint, and then I can drag it in. And as we're building out the story, I might get even closer, so I'll double click here, and I want another closer shot. Eventually, we're going to get to our driver, and then he's going to end up home. So I'll have my point and outpoint and bring that in. And my next shot is him here. So there's some trees here. I don't want the trees in the background because I want to match the freeway, so I'll go from tree to tree. And so maybe right after that one, I'll have my point, and then right before the next one, I'll have my outpoint. So we've got 6 seconds, which is probably a little bit too much. And then our final shot is he arrives home. So I want to start here and end my video with a full screen of the red roof there. So let's go maybe from there to there, and that's 2 seconds, and then I'll drag that in. All right. So now I've got my basic video. I've got my establishing shot of Los Angeles. It gets a little bit closer, and then I've got my aerial freeway shot, and then I've got my driver, and then he ends up home. Alright. So I'll just go ahead and select O because I like to highlight my in and out points for my sequence, so just so I know how long it is. That highlights that area, and I can also roll over the end here and adjust it. So this is a good marker for you in case you have a ten second ad or something, you could find that ten second point, and you could leave it there. So you'll notice right here on the right side is going to be, you know, your total length for the video. Now, here's some other tools. Now, the basic one is once you have this in your sequence timeline, when I first started editing, I would just use this razor tool. It's like, no, I just want to cut this. Going to cut it right there, and then I would go back to the selection tool and I would remove this piece and hit Delete on the keyboard. Now it creates a gap. How do I get rid of the gap? There's a couple of ways. I can hit delete on the keyboard after I highlight this area. Highlight it white and then hit delete. Now if you ever make a mistake, you can hit command Z or if you're on a PC control Z, and then backup The other thing I can do is I can right click on the mouse and hit ripple delete, and it will work that way. So that's the first basic way to cut footage after you have already cut it here. So this is more precise. You have your razor blade. Something else I can do in the timeline here is I can just select one of the clips and you see it's highlighted there, and then roll over the end, and it gives me the end tool. And then if I hold the left button down on the mouse, I can just take up the part that I don't want. And it shows me on the right side where that first frame would be, and I can let go and then it creates my gap there. And then I can do the same thing, highlight that and hit delete. Now, the next thing I can do is to eliminate that step, if I go here to the ripple edit tool, if I hold the left button down to the mouse, it gives me four choices of other ways to edit. Now, if I select the ripple edit tool and then roll over, what it will do is it will take up the gap for me. And so that will save you an extra step. And imagine if you're working on a long video and you're constantly doing this where you're trimming up the video, you can use both sides. It will shrink up the slack and the gaps in your video, so you don't have to do that over and over again. And you can still look at the clip that you're trying to modify and on the right side, it will tell you where it is. Now you can see my video is meeting the standards of what I initially set out to do. And so if I hit the O on the keyboard, we can see it's right at 10 seconds. And I've got my little story here where they establishing a LA, and then it cuts to a little bit closer shot. Then closer on the freeway, then he's driving, and then he pulls in. But now this might be a little bit too long, so again, I can roll over the end, shrink that up, and then now that makes more sense. Another way to edit is if I go back over here, go to the rolling edit tool. So I'm just holding the left button down to the mouse and I go to the second one. If you're into multitasking, this is the one for you, so you can actually look at both videos and notice the timeline is moving on both the numbers. And so now I can make this adjustment. I want this clip to be equal to the others. So remember it too short, So then I can move that back and forth, and this is good if you're good at multitasking and you can do two videos at one time, this is great for having some adjustments. Now, the next one is pretty cool. It's a rate stretch tool, and so what that allows you to do is you can change the rate, and it will make it go faster or slower. Let's take this freeway one. I'm just going to drag it out here for a second. And I want to lengthen the whole thing so you can see what's happening here. But if I select that rate stretch tool, third one down, Now, you have to go to the right corner or left corner. If you go anywhere else, it highlights it with this red slash and you won't be able to figure it out. So just go to the corners, and what you do is you just shrink it up, and as you're doing this, it's changing the speed. So watch the clip here if I play it. It seems normal, right? But if I shrink it up and make the video smaller, it will go even faster. And if I do it again, go back to the beginning, hit play, you can see it's getting really fast. So now, when you are in a situation where you just need to speed up a clip just a tiny bit, then you would use the rate stretch tool and you would try to make it within that parameter of what you're limited on, and then that will work. Now you see as I bring it all the way out, it's slowing it down. It's telling you right here if you lengthen it enough, you can see it's at 45%. And as you do that, you'll be able to see immediately what it does. Now, if I shrink it up, you'll see that number in order to see it, I've got to zoom in. It goes 45-63%, and that changes it a bit. So now you can see it's slow down. The other way to do this, if you don't use the rate stretch tools, you right click on it, and you go to speed and duration, and then there you can change the percentage. So let's say I want it at 2:22 or something like that. Then it will do that that way. But it's one extra step, but sometimes that can work depending on what your needs are. Now, I'll go ahead and put that back here, and I'll roll over the end and place it there. Look at this fourth one remix tool for music. That sort of does the same thing, but it applies to your music track, and we'll look at that in the music section. But coming down here, if you hold the button down, you have the slip tool and slide tool. So let's go with the slip tool, and what that does is it's slipping the section of the video without moving it and keeping the same duration. I want it to be more to the left, or I want it to be more to the right, meaning I want it to be more on the point, or I want it to be more on the outpoint, but yet I still want to keep the same duration. So this is great for already finished your video, but someone says, Hey, you know, you clipped off the building at the top, Can you adjust that? You can come to the slip tool and you can make that adjustment, and you can see the two frames there, and it's also giving you the previous shot up at the top left and the next shot on the right. And so now I've made my adjustment with the slip tool. Then there's the slide tool, and that will just allow you to slide the video over and it makes the adjustments with the video that's in front of it. So you can see that, and you can move it back, and it's not creating any gaps for you. So basically just overwrites the one in front of it, and it takes the video behind it, and what's happening with the video behind it is actually lengthening. So to see this, we're at the buildings here. If I move this back, and then I go back and play this one, you see it cropped off the building. So if I move it forward, then I want it to happen right here. So if you want to get really precise, then I need to move it forward again. The tough part of this is it's really cool because it's easy, but then it creates another problem for you because now you're editing three video segments, right? So you're moving this one and you're making an adjustment, but it's also editing the one prior to it and it's editing the one next to it. But something like this on the freeway, it's not real critical, but in some critical shots, that may not work for you, but it is another asset that you have as far as cutting da. All right. So hopefully, that was helpful on cutting footage and we'll see you on the next one. 6. ASPECT RATIOS: 16X9 OR 9X16?: Anytimes, when you're working with a client, you need to know, like, Hey, what is this video for? Is it for YouTube? Is it for TV? Is it for social media? You need to know the aspect ratio? In this, I show you how to use two different aspect ratios, a vertical aspect ratio and a horizontal and convert even footage that is horizontal into a vertical setup. So you have 16 by nine or nine by 16. This is just sample footage. It's five G stock footage. If we scroll over here, we can see what it is. It's 1920 by 1080. The vertical clip that I have is just my dog on the iPhone. It's in four K, so it's 21 60 by 38 40, but it's vertical. So if it was four K horizontal, it would be 38 40 by 21 60. So the width is always listed first, and then the height. So I have two clips here. I've got the five G clip, which is horizontal, and then the vertical clip of my dog. We first start editing, it will dictate what the surface area is going to be when I bring my first clip into the sequence timeline. So I'm going to drag the vertical clip in, and it now is giving me the surface area, and this is going to be the final output. So when I export my video, this is what it's going to be. So now, if I go to my five G clip and I bring that into my existing timeline with this vertical setup, it doesn't quite work. Now, I can do a couple of things here. One is to go ahead and scale this up so it matches my vertical output. You could still do that. You can still incorporate 16 by nine videos into your vertical surface area. These are the two things that you need to differentiate. Let's say I want this to just be the traditional 16 by nine or ten ADP. So I've got my clip here and I'm going to drag that in. Now it's saying this clip does not match the sequence settings. Change sequence to match the clip settings with a question mark. Now, I can change the sequence settings to match this, or I can keep the existing settings, which is what I have set as vertically. I go ahead and change it. And now I can operate to match the source clip, which was set up at 16 by nine. And the tricky part of this is when you're ready to export the footage, are you going to export it as 16 by nine or vertical? You kind of need to work backwards. You need to know what your export settings are going to be before you actually editing your work. One thing you can do is if you go up here to sequence, you can go to sequence settings, and that gives you all of the parameters that you need to modify things or look and see what it is. So if you come down here to the width and the height, it tells you the width is 1920 and the height is 1080. You can also modify this. You can see it's locked here, but you can change it there, but I often don't use that. What I do is I go to the same thing, and you can customize it by typing in what you want it to be up here. So remember, the width is the first number and the height is the second number. So we can see that this is larger than this smaller number. What if I want to change the 16 by nine to nine to 16, then I would switch these? So I can just type in what I want, which would be the reverse of that, which would be 1080, and then 1920, and I hit. And then now you see that the video clip doesn't fit, but I've changed that aspect ratio. It's custom, it'll allow you to type this in. If you choose something that's not custom, like, let's say I just want DNXR, HR UHD, which is four K. I use this a lot. It's 38 40 by 21 60. It doesn't give me the opportunity to modify this here. And then now it's changed the setting to four K. Now, notice this is a ten ADP clip because remember we saw that down here when we looked at the size and it said 1920 by 1080. 1920 by 1080 is half of 38 40 by 21 60. If I just double that, so scale it up from 100 200, it will fill up the frame. Most important thing in this lesson is really, if you're trying to make a short and you need a vertical exported video, and you want that to show up on YouTube shorts, what you do is, here's my vertical source clip. I'll just take a section of it. I'll bring it in. And I want to change the sequence settings. Right now it's not vertical, so I want to change it to vertical. I'm done with my video. I've edited the whole thing. Now I want to export it. So I want to go to export. And right now, if I look at the output, it will tell me it's going to be 21 60 by 38 40. Remember, width first, then height. So that looks right. Now, I'm going to match the source here with the preset. Now when I export it, it will come out like this. If I wanted to change it, I could change it to, let's say, high quality ten ADP, but now it's changed the aspect ratio. And when it comes out like this, it's going to be a full video and it's going to have the black on both sides. Even though it looks like it's vertical, when I go to upload it to YouTube shorts, it won't recognize it as a short, and it won't accept it that way. I'll put it into the other video category. So you can even reaffirm that by looking down here at your output, and it says, 1920 by 1080, and then you can hit export, and it will look just like this. So just to see what this looks like. Let's go ahead and go back to match the source, and now it's going to be 21 60 by 38 40. Now I'm going to export this as vertical sample Max. That's my dog's name. We'll export it. And let me go find that video Vertical Sample Max, and you see how big it is. It's taking up my whole desktop screen here because it's a four k vertical shot. Let me show you what would happen if I export this just regular high quality ten ADP. Let's go ahead and export this. And this is the other vertical sample max. Two different videos, two different sizes, vertical, and here's the horizontal. Hopefully, that give you some ideas on how to work with vertical and horizontal aspect ratios, and I'll see you in the next one. 7. IMPORTING BILLIE EILISH FOR YOUR MUSIC: Comes to music, instead of creating the whole video and adding in the music later, I start with a feeling of the music and then build the video around the music. Someone asked me to create a music video, and it was their music, but they wanted to use stock footage. They had a certain idea, so I grabbed stock footage and matched the cuts and added effects and that went with the music. When it comes to a particular song from, you know, a famous artist like Billy Eilish or Rolling Stones or whatever it is. You might have some issues there and you have to deal with some copyright, challenges. And so YouTube sometimes will red flag those. But if you are not able to grab, you know, apple music, for instance, because of their licensing, you can download a YouTube video and just extract the audio track from that YouTube video, and that is pretty compatible with premiere. So I've had some trouble with, you know, bringing an Apple Music But, you know, that's the work around. So you just have to be sure that when you're using music. You got to know what your limitations are. And what your copyright, you know, issues are and make sure that you're not violating any copyright, but I'll show you how to you know, use music, whether it's royalty free or from, you know, a famous artist, you know, using our real music video. Let's look at the first way. If you are just looking for the Billy Ilish music track. What you could do is copy this link for her song, everything I wanted. Then come over here to y two mate. And if you paste it here, then you can download, a four ADP version. Sometimes there's a better quality, but that's kind of what you get. Otherwise, you have to start paying for, you know, other sites to download a higher resolution and things like that. So then you download it, and I've already done that, so that one is here. Then you just drag it into your premiere project been like any other video. And now you've got the whole music video in premiere. Now, you may not want this video part, so you just grab the audio, and you just drag that audio track, and you just make sure that you have the point and the outpoint for the whole entire thing. And you can see that it's know that song's about 4:47 or so. So now you have that Billy Ilis music, and you can do whatever you want with it. Now, you could bring it in after you've already created your video, or in this case, it's there first. And then you could go in and, you know, add all the, you know, footage that you want And that music video that I created, if I, you know, wanted to, to say I already created this video, I could just bring in the whole entire thing. As long as I can learn. Don you can learn. Cache. And then if you wanted to use, you know, from a royalty free site, you could come back over to, you know, many of the different sites that are out there. This one that I'm using as motion array. And then I would go into, you know, music, click here for Music. And a lot of times, you know, I can get decent royalty free music if I just go with a film score. So if you go to the genre and I just click film score, then I have, a lot of different types of songs here. So, that one sounds pretty good. We'll just download it. And once I have it, then I can bring that into Premiere. And, you know, with the royalty free stuff, you don't have to mess around with any copyright issues. Alright, so we see there it is, and I just bring it in. And now for my video track, I'm just going to use the Billy Ish video and without the music, and I'll put it onto this dark score here. And we'll scale it up and see how that turns out. All right. So there's two ways to use music, whether it's royalty free or from a famous artist. 8. iNEVERknewORGANIZingCOULDbeSOgreat: When I first started editing, I made the mistake of not making folders in the project bin. It can be pretty overwhelming when you're looking for something or you need to make a change, and you can't find it. You can always do a search, but sometimes if you just organize it by folder, it's a lot easier. What you can do is you can make folders like footage, audio, special effects, PowerPoint slides, sequences, sound effects, stills, stock footage, can create a new folder just by hitting that tab down at the bottom. Now, the next thing you need to do is you need to mirror this exactly. So the name of this project is Video Project University two. So in that folder, everything should line up exactly the same as it is in my media browser here in Premiere. Now, it also has the ability to create an auto save file, and I'll show you how to do that in a second. Now, you want to make sure that you save your project file in the same folder. So I created this folder Video Project University two, I'm going to call that project the same name and choose that location. Now when I go and look in that folder, you'll see I have my original project, and then the second one I just created. Now, I also have this auto save folder. If you want to create an auto save, you go to Premiere Pro settings and select Auto save, and then you can choose how often you want the computer to save it for you. I get in a habit of just hitting Command S on my own frequently in case my computer crashes. But if you can that auto save. It will save the project file. And if something happens, you can always go back to the version 10 minutes earlier and you can see start accumulating these project files that it's saving about every five or 10 minutes depending on what you pick. Now, the next thing that's important is if you're working with a client and they want the project file, and a lot of clients do, or you're working with an editor, what you need to do is compress everything in that folder. Video University Project two is now compressed. Now I can use something like Google Drive, and I can upload that file. EO Project University two as a zipped file, and I can just upload it, and then the green check shows that it's there. And then if I look, I'll see all of those assets are just the way they were in the project file. So you want them all to be exactly the same. The next thing is, I can share it, so I'll just share it to myself, and I'll type in my e mail, and I'll give access to whoever I'm sharing it to, and I might even just send them a note, Hey, I'm sending this to you, put down, inside what it is, and go ahead and send it going to show you, I want to open this other file that I have that somebody sent to me, and they didn't send all the assets that I need. So when Premier opens that up. It's looking for all these files, and I have no idea where they are. So I can have premier search for it or I can locate it. So in this situation, it would be really easy because I would just go to video University Project two, and I would look for that folder, and anything that is not sent over in those folders, there would be no other place for you to find it. You saw how many files were in the project file, like 200 or something. You'll spend tons of time looking for these things. 9. COLOR CODING TIMELINES: I want to be able to show you how to color code your footage. That way, if you're communicating with an editor and you say, Hey, on track two, X Y Z, but if you just said, Hey, look at the orange track or look at the blue track, sometimes it's just easier to communicate that way. You might have your base track is always blue, and then your special effect track is green, and that way, you know, like, h, I just always go to green on number two, and it just makes it easier and makes your work flow a lot faster. Let's take a look on how to do that. Looking at this, if we were sharing a project file, would you be able to tell me just based on the colors, which track is the center camera track and which track is the side camera track? Now, as you navigate in further, you can probably answer those questions, but if I had it labeled as different colors, you would be able to identify it quickly if I said, Hey, the orange track is the center camera, and the light blue track is the side camera, and the green track is the green screen track. Top of other naming conventions, like renaming the files and also just, you know, knowing that your footage is labeled. But this is just one quick visual cue that can help you when you're determining what track are you working with? As you want to get more organized, you can highlight these pieces and label them. You might have one that's just a sound effect track. You might have a B roll track. You might have a camera track. You might have a music track. Especially when you're sharing project files, you definitely want to make it look nice for other editors. And if it's organized color wise, it can help. You might even have a green screen track, and you might have a special effects track and so forth. And so this will help you identify it without even looking at your footage, you just want to be able to see, Oh, the violet track, I know what that is. That's just a title track. The way you do this is you hold the left button down on the mouse and you roll over the track that you want to recolor. Then once it's highlighted, right click and go to label and select the color that you want. So for this one, it's Magenta, and I just know that that track is going to be my B roll track, and I place all my B roll as those colors. Now, I have my music track down here on the bottom, and for me, it just helps if I know that all of my music is labeled yellow. And then my main voice track, I might want to label that. But I need to differentiate that between some of my sound effects, and so I will label that a different color. Right. So now you might be asking yourself, So, what's the big deal? Why do I need to color things differently? So now watch how I can communicate this to another editor. I could ask you, Hey, go ahead and look at the center camera shot. It's the orange one. Now, immediately, you know it's the first track, the first video track. And then I could say, all of the green screen footage, that's track number four, or I could just say, just look at the green. That's communicating between you and another editor. But even when you're editing, I might just work with two tracks, the center camera track or the side B camera, right? Just when I have two tracks and I have one is orange and one is blue, and one is a different camera angle, and I'm cutting away from that. It just offers a trigger, which can help me in my thinking process. As I'm constantly not navigating around. I can just know, blue is always going to be my side angle camera, and orange is always going to be my main camera. It gives my mind a trigger, so I don't have to constantly remind myself of, what is this footage and what is that footage? So there's a couple of advantages, other than just making it look pretty with all of these different colors. It really can help to trigger your mind so you're not constantly going back and looking at footage over and over again. So that's the reason why I do it. Hopefully, that gives you some extra tips on how you can color code your timeline, and it will make your video editing a lot more efficient. 10. AUDIO 1: INTRODUCTION: All right. So this is about audio production. I left a mic in the shot so you can kind of see what I'm using here. But, you know, oftentimes you have a speaker that's speaking and, you know, there might be, like, a space or two or just silence or oh, wait a second. I want to keep going or You know or um or. Oh, wait a second. I want to keep going or You know or um. So what I want to do is I want to give you this raw footage, and you'll be able to plug it into the sequence timeline. We'll look at the audio track, and I'll show you some things that you can do with it, like raising the volume or taking out unwanted sounds in the background or just using an equalizer to, you know, give it a little bit more base or trouble. And then also those spaces in between you or someone talking and how you might want to speed up the video just a bit by taking out those gaps. I'm going to show you how to do that, so let's take a look. Alright, so I want to give you this raw clip, but let's bring it in and see what we can do with it. So first thing I usually do is I listen to the audio. Now, notice these audio meters on the right side, you'll see that one on the right is all the way up almost to the end, and the one on the left is very low. It's because the way I recorded it, it's recording on one channel. So what I usually do is I right click and I go to audio channels, and I just select the other channel that's not there. That way, it's on the right and the left. We can open this up a little bit so we can see it and notice those peaks and valleys. We can see where those spaces are without even listening. I know that there's going to be a gap here, one here, and, as you scroll through it, if you're doing a YouTube video, what is happening is, you know, the final edited version has all of those spaces removed. So the first thing we can do is we can kind of just listen and see what the audio sounds like, see what I'm using here. But you know, oftentimes you have a speaker that's speaking. You want to have it in this arrange. I notice the mic is pretty close to me and I really I got a decent, you know, recording. The other thing you can do is you can grab this handlebar here, and you could bring it down, and that would change the volume. All I'm doing is holding the left button down on the mouse, and I'm using this, and I can raise it all the way up. Notice the DB level goes up to 15 or it can go all the way down to, you know, nothing. And you can also make key frames and things like that to fade out music or maybe even just adjust loud parts of my speech. Sometimes you'll see someone and they go, Hello, and they're like, really loud at that moment. So you'd be able to take that out. Creating a key frame. And so the way to do that is if you're on a MC, it's command, and if you're on a PC, it's control, you hold that down and then just press the button there on your mouse, and it will create these keyframes. And what you can do is you can adjust for just certain parts in your audio. So I want this to not be so loud. So I might even bring it right before. And so that's how I would adjust the volume. You know, there might be a And also, let's say I wanted to fade this out completely, I could just, you know, remove one of those keyframes by clicking on it and hitting delete and then just have it fade out. And that's really what you do for music. So now, you can always hit command Z or Control Z, depending on if you're a MC or PC, and you can just go back and, you know, go back to where you started. The other thing that you might want to do for audio is just raise the volume. So if I right click, I go to audio gain, and you can do this to the whole entire, video if you highlight everything, and you can raise up the gain for your entire video all at once. And you could even lower it if it's a little bit too loud. So let me lower this here to 1.9. I hit. So you see these like waveform signals down here. They've all been lowered a bit. So now watch them when I hit Command Z, they come up a bit. And really, you just need to look at these audio meters, and you really want to stay out of the red. So if I crank this all the way up this you'll see that it's just way too loud. At the end. That's distorted, right? And if you record something that's already distorted, you're probably out of luck. You won't be able to fix it, but you definitely want to make sure that when you do raise the audio that it's not too loud. I've sent something into a TV studio before and they sent it back because it was just a little too hot, they say in that area. 11. AUDIO 2: REMOVE MY BAD AIR CONDITIONER HUM: L et's say you didn't like the way it sounded, but you could click on your audio track here, and then you could come over to essential sound. So in the right side, you have es central sound, you open that up, and underneath that, you'll see loudness and repair. Let's just look at repair for a second. When I open up repair, I can reduce some of the noise. So, you know, I recorded this earlier, I had a fan in the background, and sometimes you go somewhere and you've got noise in the background. So if you can just click that box, and the higher the number, the more it would be reducing the noise. And sometimes it gets a little wonky, when you're going in there and it's too much. It sounds like you're in a cyclone or something or some kind of cylinder. So what you would do is bring it all the way down, you know, just a little bit, just to reduce the noise a little bit. Not a space or two or just you'll notice you get a much cleaner sound. Oh, wait a second. I want to keep going or and reducing rumble, you just have to sort of listen to your audio and see how you can repair it. Usually what I do is I only bring it down just a little bit. D humming, you might have like this, sound of a fluorescent light or air conditioner or something like that. All of these are applicable to background noise. Maybe you're talking on a wood floor. If you've got these walls that are bouncing off sound. The higher the number, the more you're actually applying the reduction of reverb. So you want to reduce all of it, you go up here, you just bring it down here. Something else you might be able to do here is if you come back over to effects and you just type in EQ, this will give you a graphic equalizer. It reminds me of, you know, back in the day when we used to put stereos in our car and we had this equalizer that, you know, you could change the base in trouble. And so you just drag that over onto your clip. And then what you do is over here, notice the D noise has already been applied because we were repairing the sound. But under effect controls right here, it's going to give you your graphic equalizer. So if I it. Then it shows this window here with all of the different channels. And you can raise up the base a little bit. You can raise up the trouble. So if you have a microphone that's sort of small and tiny, and it's not giving you that full comprehensive flavor that you might like for audio, then what you can do is kind of crank up the base and audio here. So once I do that, you know, I can play it again. Footage, and you'll be able to plug it into the sequence timeline. We'll look at the audio track, and I'll show you some things that you can do with it as the volume. That might be good for even a podcast or you want more of a radio voice than that's something you can do. Those are really the basics and the essentials that I use. There are many other parameters for sound, and what you have to do is you kind of have to scroll down here. If you don't want to do it manually, you could come down to just adding more clarity and you can look at the dynamics. Again, the higher the number, the more it would apply some clarity to equalizer to give it a look. And also, if you don't like it, you can come over here and go back to your equalizer, and you can just turn this effect off, and that will take it off, so you can kind of compare. Be so trouble. All right. So let me play the final video through your own speaker so you can hear the difference in the audio and what we've done. And you'll be able to plug it into the sequence timeline. We'll look at the audio track, and I'll show you some things that you can do with it, like raising the volume or taking out, you know, some unwanted sounds in the background or just using an equalizer to, you know, give it a little bit more base or trouble. And then also those spaces in between you or someone talking and how you might want to speed up the video just a bit by taking out those gaps. I'm going to show you how to do that, so let's take a look. 12. AUDIO 3: CUTTING AUDIO WITHOUT LOOKING: As far as cutting audio. What I want to do is, I'm just going to zoom all the way in. I have some space here at the beginning, so I'll go ahead and just, you know, cut that. As I'm scrolling through it, it's like, right here, I have these spaces. I don't want those, right? So especially on YouTube, you want to eliminate all of that. You want these videos to be as quick as possible. So looking at the audio. Here. Now I'm going to go ahead and just take my equalizer off and the dynamics and the D noise because I just want to focus on this. Here. But hurt. So looking at the audio, so if I hit the razor blade, and I can just take that out, right? I'll go a little bit quicker. Using here. But, oftentimes you have a speaker that's speaking Peking. So I don't want the space, so I'll do it again. So look at the Pekin Valley, and when that ends, give yourself a little padding here, right? So go ahead and just cut that and cut that and, you know, get rid of it, delete, and now. Through that speaking end, and we'll do it again. And same thing. So now, listen that speaking. And you know, there might be like a space or two or east. So let me cut that. And as you work through your video and you start eliminating all of these spaces of dead sound, it's going to speed up the production. Speaking. And you know there might be e. And when you're dealing with voiceovers, you know, in traditional media, you might cover up these jump cuts, but on YouTube, it's pretty acceptable now, but you might cover up that with B roll and you might place another video here or here to, you know, cut to something else. So let me just grab some B roll real quick. So if I just cover that up here, that speaking. And you know, the might be. So now you're not seeing the jump cuts, and that's how B roll is used is, first you work with your audio and then you go ahead and add the B roll to cover that up. But, you know, like I said, in YouTube, it's pretty common now and it's almost engaging and it's a good tactic to keep people on their toes. That's how you do it. Now, as you zoom in, you would see all of the different spaces, and you would just have to go and cut you could cut every single one, cut, cut, and, you know, cut again, cut here, and you can make it a little bit faster by just cutting all that and then, taking it out, you know, highlighting it. If you hold the shift key down, you can highlight all of them after you've made all of those cuts. And then you can just delete them by hitting delete on the keyboard, and you can do it that way. And then you can go ahead and just, you know, highlight those pieces and remove them. Now, that's the first basic way to do that. Oh, wait a second. I want to keep going or you know or what I want to do is I want to give you this raw footage and you'll be able to plug it into the sequence timeline. We'll look at the audio track and I'll show you some things that you can do with it like raising the volume or taking out unwanted sounds in the background or just using an equalizer to, give it a little bit more base or trouble. And then also those spaces in between. 13. AUDIO 4: AI CUTTING YOUR AUDIO FOR YOU SO YOU CAN MAKE A PIZZA: Now, something else that you might want to do is there's an extension called Fire Cut, and, you know, it's a plug in. And so you download the software and you plug it in. Now, when I go to Window and I go to extensions, I have this you know, third party software. And so there are many different companies that make software that actually are extensions that plug into premiere. This is one of them. And now, what you do is you can remove the silences and give it a tight cut or a loose cut. And I'll just give it a tight cut. And then I select, you know, just the audio track that I want, and then I go hit G. And what it does is it will identify those peaks and valleys that I'm telling you about, and it will remove those. I can analyze the audio, and I can detect the threshold of, you know, the DB level, and then it will tell me, you know, how many silences it's going to cut and things like that. So two silences, one silence, minimum silence duration, and all of that, and now it would cut 21 silences. And so when I hit go, then it will analyze everything, and it's all it's doing is looking for all of those, and now watch how it just cuts it for you. So this is pretty incredible, and it's relatively new, and you might want to get something like that. Now, when I go back and let's say I play it again, So what I want to do to give you this raw footage, and you'll be able to plug it into the sequence timeline. We'll look at the audio track. Now, I picked a really aggressive cut to make a point, but you might scale it back a bit. But anyways, if you want this, you know, I think there's a link or something that you can click on, and that will take you to fire cut. But also notice it shaved off, you know, a small section of this video here. So it went from 47 seconds to like 40. So considering a long video, that might make a huge difference. 14. AUDIO 5: SYNCING CAMERAS AND AUDIO: In this, I want to show you how you can take two cameras here and the track so that way you can cut back and forth. There's a couple ways to do it. One is you can do it yourself and you can look at the crest and trough or the peaks and values in that audio, and you can line them up frame by frame, or you can highlight both and have premier do it for you. So let's take a look. He's an adventure. O. H. A 15. AUDIO 6: THIS IS MY VOICE ON HELIUM: Voice overs. Wait. Voice over. Yes, Voiceover. Okay. Coming this fall in the land very dark, filled with Adobe Premiere pro video editors. One person. Okay. That's enough. All right. So on this video, I want to be able to show you how to work with a voiceover. Now, there's a lot of different mikes out there and you can do some research. But, you know, you might just need a decent mic to talk into to give yourself that good voiceover that you're looking for. Once you have that, you can lay that down in premiere and start making a video just from the voice track alone. I'll start with the voice track, but I also want to show you if you don't want to record your own voice, you can find other professional voiceover people. Now you can just use an AI program, and I want to take you to an AI program that I use. And you type in what you want the voice robot to say, Pick male or female, the country, the accent, even, it's insane. Wow. I sound like a really, really difficult person. So don't pick me next time. Then we'll use that and put that in premiere, and then from there on the next lesson, we'll add some B roll to it. Alright, so let's take a look. Alright, so here's the voiceover that I just recorded, and, you know, Obviously, your video is attached if you're using a video camera. But what I want to do is I want to be able to just extract this. So if I highlight everything and unlink the video from the audio, then I can just grab this voice over, and I can move it anywhere I want. I copied it by holding option down and then just dragging it over. That's on a MC. If you're on a PC, it would be Alt. So but if you don't want to do that, and let's say that you don't want all of these cuts, you could just export this video. So if you come up here to export And you have a choice to not have the video if you just uncheck that. And now you can create this audio track. So let's call it voice over Intro. I would select the audio that I want, right? So AAC is popular. The other one is just maybe MP three, or you could select, you know, dot wave Waveform audio. For this, I'm going to pick MP three, and you export it There it is. So Voice over into is now just its own audio file. There's a lot of different mics out there and you can do some research. So now I've got my voice over track, and that's the same one that I recorded into the camera. Now, something I did to change the settings to make it sound more like studio ish is I added the graphic equalizer to it. So if you just go over here to EQ under effects, you can find the graphic equalizer and there's ten, 20, and 30 bands. I was just pick the most simple one, and I drag it in here, and then you can go and edit it and my settings were here, I just gave it a little bit more base and a little bit more trouble. It gave it that rich sound. So it all starts with the microphone, though. So you'll have to do some research on the kind of mic that you want, the kind of sound you want. If you're using a laborator mic, you'll have to punch it up with some of these EQ effects to give it that bass sound. So now that we have our voice over, if you want to see what's being said, you could generate a transcript. And so if you come over here to text, you go to transcript and you could transcribe it and just hit transcribe, and Premier will do that for you. And then now here's our script. As you're listening to it, you can follow along here. Now, the other thing is you could create captions, create captions from the transcript, and it created the captions here. Now, what I can do is once I have that is upgrade the caption to a graphic and it puts it on the graphic side. You don't have to do this. But now if I just bring it over to my track here, it will give me the captions while I'm listening to it. Can do some research, but that's just a little helpful trick. Now, if you need to go find B roll, you could go to an external site and here's a studio while I'm talking about voiceovers. So I find it and place it. Right over the video. I'm letting the voiceover dictate how the video is going to end up. So a lot of times it's easier to start with audio, and then add your video visuals, you know, with it. So as I talk about voiceovers Voiceover. Now, there's a lot of different mikes out there, and you can do some research So I might have pictures of mics, and, you know, I might add that in there. But now, something else I want to show you, and it's 11 labs dot IO. And so you have different voices that you can choose from. And so if I just type in, this is a voice Over sample, and the person who is reading it is an AI robot. Okay. So and then you can you know, make sure there's no spelling mistakes, and then generate speech. This is a voice over sample, and the person who is reading it is an AI robot. And it's just incredible to me because it sounds real, right? And you can pick different people. So let's pick Alice and generate speech. This is a voice over sample, and the person who is reading it is an AI robot. So a little bit of an accent, and et's see we already picked Bryan. Let's pick Ryan and go ahead generate speech. This is a voice over sample, and the person who's reading it is an AI robot. All right. So once we have it, then we can download that, and I just drag it in to Premier. And now I've got this voiceover generated This is a voice over sample, and the person who is reading it is an AI robot. So I can punch it up a bit. I can just raise the volume a bit. It's a little bit lower. So how do we do that? Go to audio gain and maybe just give it like, you know, three more DBs. And you can also grab this handle there if you don't want to add that extra step. Reading it. This is a voice over sample, and the person who is reading it is an AI robot. I usually like to have it about right in there, right? So not too hot, not in the red, but somewhere in the yellow. I can also add the EQ effect if I wanted it to sound a little bit different. I just drag that EQ effect in there and I go edit, and then I just crank up the base and trouble a bit. Sample and the person who's reading it, So sample and the person who's reading it is an AI robot. And there's always the professional voice over person. If you just type in voiceovers somewhere. And if you go here, you can see real people. They're not AI voices, and you can choose male voice and you can go to the voice vault, and then you have all of these talented people who are voice over people, and you can listen to the samples and you can send them a script and they'll read it to you and then they'll give you back a file. Like MP three, same principle as what we did here. And then you'll have a professional person, and oftentimes if there's mistakes, they'll pick up a few lines here and there again for you. Something else you can do if you want to change how voice sounds. We'll go back to my voice, and let's say my voice is like too high or something, and I want to change how it sounds. So I can go to this thing right over here. It's called a pitch shifter. So we'll just type in pitch, and I get this pitch shifter. And if you go to edit, you can start changing the pitch. So let's see if I take this bottom piece right here and I move it up to 50, and I just listen to how it sounds. I'll change the pitch of it. To talk into to give yourself that. So lay that down in premiere and start making a video just from the voice track alone. So we'll start with the voice track. I also want to show you if you don't want to, you know, record your own. You can find other professional voice over people. Now you can just use an AI program and I want to take you to an AI program that I use and you can pick different voices and just type in the text that you want to be recorded and we'll give it back to you and then we'll use that and put that in premiere, and then from there on the next lesson, we'll add some role to it. All right. So let's take a look. So sometimes, yeah, you might want to go down just like an octave or something or just, you know, you're doing maybe an FBI video where you want to, you know, protect the innocent Protect the person that's being, you know, interviewed and you might use a pitch shifter to change how that voice sounds. So that's an effect for you. 16. AUDIO 7: SOUND EFFECTS OK BUT WHY?: The other thing that will bring some life to your videos if you add some sound effects, as people are talking about things, you see things come onto the screen and you might have a woh sound or like a tap sound, so we'll show you how to get some of those and then you can add those to your video. All right. So here's the site where I get most of the sound effects from. So you'll just have to decide, you know, what kind of sound effect you're looking for. So I might just type up, you know, Wooh sounds, and I get, like, whip, woh, knife, you know, a golf swing has worked for me in the past. You can download those and bring those in, and let me show you some of the other ones that I commonly use. I might use a microphone tapping sound just as something comes onto the screen. And you just grab the audio and bring it in. And then you'll have to make sure that you sync it up to when that sound happens. For instance, at the beginning of this video, I had a microphone just appear on the screen. So I might just line it up with the sound here. And so you can do that by zooming in and just making sure it starts right when that sound starts. If it is a Woh sound, it's the same principle. So here's my wh. I would just bring that in, then I might add, you know, some motion to this by coming to effect controls, which we will talk about later. So I might bring in this Woh sound and just add some motion to, you know, the image that's coming in. And then there's, you know, bigger sound effects, like when you think of Foley artists and, you know, them creating sound, or you might just have, you know, an intense thunderstorm like I added at the beginning. You know, oftentimes you might be filming something and there's a thunderstorm, but, you know, what are the odds that it's raining that day? So, or that there's thunder while you're filming, you've got to create those extra sounds. 17. MULTI-CAMERAS: Right, now I want to show you how to cut multi cameras, right? So I have three here. I have the iPhone. I've got the side camera and the front camera. Notice I have them labeled. So you can read it, and I also have them different colors, and the corresponding audio track matches the video track. So green, green, blue, blue mango mango. I've muted the other two audio tracks that I don't want. These are the microphones that are not very good, and I just only want to use the one microphone. So you have one mic, but you cut back between all three camera angles and they all run off this one audio track. Now, to start this, I want a clean beginning, so I kind of messed up in the beginning. Notice they're different lengths, but they're all synced up because you know, I push the button on one camera, then the second camera, then the third, and by the time it's ready to go, you know, they're all uneven at the beginning. So I want to start by, you know, cutting at the very beginning. So I'll use the razor blade, hold shift, so it cuts all of them at once with one cut. Then I highlight everything, and I hit delete. Now I've got a nice clean beginning, and I want to start at the beginning of my sequence. So I ripple delete. I'll cut off the end the same way. So I finish, and I've got the razor blade. I go back to the selection tool. Highlight everything. And now I've got a clean video. So I always start like this by starting with the beginning and end first. I just like to be nice and neat and organized. So now I hit O, so I can highlight the whole section and I on the keyboard, so I've got my in and out, and it tells me I've got 4 minutes and 30 seconds of this video right here. Now, I zoom in a little bit, and what I'll do is I just want to cut these spaces first. So if you have that AI tool, you can use that, and it will go ahead and cut all of the spaces for you. If you don't have that, then you would do it manually, so I would go and, you know, cut out all of those spaces first. Now, you have your basic video there. So, as I'm listening, I'll start making my cuts and cut to a different camera. So I'll zoom in a little bit. And as I listen. Alright, now, the next thing I want to show you is how you can add B rolls. All right, so I want to cut right there. And what I try to usually do is cut at the end of a phrase or imagine a comma in your sentence. So you try to cut there. It's a little easier for the audience to grasp. So the cuts are not so abrupt, but that's just a basic preference. You can do anything you want, you know, and then see what your audience does and how they respond, right? Let's start again. I've cut off the beginning, so All right. Now, the next thing I want to show you is how you can add B rolls. Okay, so B roll. And then what I do is I want to cut on B roll, so I make my cut, and then I listen to the next part of that sentence. So there's a couple of ways to do it. So, that seems like a good place to cut. Now, what I have to do in order to cut this footage out is notice I click on it, but my audio track is attached. So if I did that, it would be okay because we're not using these, but in the end, it will be all of these missing pieces. So what I like to do is there's two ways to do this. One, if you don't want this shot, you can right click and you can disable it. So by default, it's checked enabled or enable, and I disable it. So now, when I roll over it again, So there's a couple of ways to do it. And it cuts to the next video underneath. So, remember, the camera always reads from the top down. Now, if I didn't want this shot, then I can right click, and I can disable that one and notice it changes colors. It darkens, and then it will show this one. So, as we play it, role. So there's a couple ways to do it, and you might go and build. So you can see this is basically the pattern that's starting, right? Now, I worked with another editor and he liked to do it like this. So disabling that camera shot is cool because let's say you give it to your client and they don't like it. What you can just do is you can go back and it's already there and you can enable it again and then maybe pick this one to disable. For me, I just make the choice, and I don't want to see it again, so I just completely remove it. So, the other thing that is important is highlighting everything and right clicking and unlinking. Now, what it does is now it doesn't connect to the video track anymore, and it just gives you a little bit more freedom. So now if I don't want this shot, I don't have to worry about my audio track disappearing, I can just delete it. Same with my boom mic, right? You never want this one to go away, so, you know, if you were taking that shot out, It would just take the video out. So I just like doing it like this. And the other thing about that is you're saying, well, what if you change your mind? Well, let's say you do, let's say you get rid of all of these. What you can do is if you just go to the audio track and hit the letter F on your keyboard, That shot will appear again, and it's already highlighted to where that cut is, and you just drag it over. There it is. And you can do that for any of those. So let's say you wanted this shot, the green one, you'd hit F, and there's the shot. And notice it's highlighted only for that cut. If you ever lose a video track, you just go to the audio track, the corresponding audio track, and hit F, and it shows up and vice versa. If you ever lose, your audio, let's say it's not here, and then you would hit F on the corresponding shot, and then there it is, and then you bring in your audio. So I looked up a video one time on, what do you do when you lose your audio track? My daughter was working with me and she deleted all of the audio tracks, so I had to go and find it. So that's the fix for that. So backing up again, you could go through this and make all of your cuts where you think those cuts should be. I like to have a cut, every three or 4 seconds or so. So I would go through and make all of my cuts like this. And I do a lot of editing visually. That's why it was so important to see you know, the wave form and what's happening there. And you'll notice, you know, you're not just arbitrarily cutting, you're cutting when there's a pause in the person speaking. So you could do it this way, and you could make all of those cuts. And also, this might be a little bit quicker, and then you can make your adjustments down the road. So now I have all of my cuts, you know, every three to 4 seconds or so. Now I want to have my visual style. If I want to have my longer shot, and then I want to cut to my straight on shot. And then I want to cut to my side angle, and then I want to go back to my studio shot. And then I want to go back to my straight on shot. And then I want this one, but this is too long, so I'm going to go ahead and roll over that. And now I have this and I can, delete the one underneath or not. It doesn't You don't have to delete the one underneath, it will always show, from the top down. And then it goes to my side, and then it goes back. And so you could just start cutting your video like this. Studio shot. Side shot. Front shot. And so now we'll watch it quickly. Studio Front side Studio Front Studio side, and so on. And so you would continue to do that. And if you really want to make it pretty, you could delete all of the other videos, you know, down below, but you don't need to. You could just do it this way, right? So I'll go ahead and make my cuts like this side angle back. Base track and Here and base. So you could even cut more than once by highlighting, you know, more than one. I'll go ahead and scale that back. So now you can see how your video can come together. Now, let's go ahead and just watch this and see how it turned out. Alright, now, the next thing I want to show you is how you can add B roll. So there's a couple of ways to do it. And you might go and film someone talking, and they might talk about, Oh, well, we met this client, and we were walking down the hall, or I was, you know, filming something, and this was the studio where I used two cameras, and before I arranged the room, it was a complete mess. And I have some papers over here. And then this is the closet over here where I need to be more organized and you can see inside of it. 18. B-ROLL THE DICE YO: Now, the next thing I want to show you is how you can add B roll. So there's a couple of ways to do it. You might go and film someone talking, and they might talk about, Oh, while we met this client, and we were walking down the hall, or I was filming something, and this was the studio where I used two cameras, and before I arranged the room, it was a complete mess, and I have some papers over here, and then this is the closet over here where I need to be more organized and you can see inside of it. So as I talk about those things, I'll cut to those, and I'll show you how to do that real quick. Hello, I am Robot Ryan Kirk, and this is my voiceover. The term B roll documents a piece of cinematography history and dates back to the time when film was a purely physical medium, and editing meant splicing film stock together. The narrow 16 millimeter format revealed splices in the picture. To circumvent this, film editors use Black leaders to hide the splice. B roll supplemental or alternative footage intercut with the main shot. A role, the term A role referring to main footage has fallen out of use. Alright, so hopefully you liked the AI Voice robots, but I was trying to give you some history on it because you'll often find that everybody is always saying B roll, B, roll, B robot, what it actually is it. So if you think back 50 years ago to, you know, just cameras that only shot the visuals, you would take that film and you would cut it, right? And so you have your A role, which is like the footage out of your camera, and then you would splice to B roll, which would be footage of something else. And so when they did that, it would create gaps in the film. So in traditional media, looking at this a role footage of a talking head video, like YouTube really doesn't care anymore. You just cut and you see jump cuts all the way through. But not too long ago, that was a sin. You wouldn't ever have a jump cut like that. You would go from a medium shot to a long shot. You would never have just a cut like that. To demonstrate B roll, let's say this is my a roll footage. This is just the same thing that you saw when I introduced me cutting away to the closet or whatever. If I cut here, let's say that this is a film strip, I cut, and then I cut again. I'm just cutting out like an and or so or something like that. Now I've got this gap, and I take that up, and then if you watch, You'll see a little bit of a jump cut there. So there's something that's missing. So what they would do is they would grab some B roll footage. So let me just find something real quick here. I had me and my dog or whatever. So I'll just grab that. And so what I would do is I would place that over the missing footage. And so when you're watching, it would be more natural as it's cutting away to something, right? And then that's how you would get away with all of these jump cuts, and that's how B roll started. I think you have the basic idea of how to use B roll. So basically what you do is, you know, when you're cutting footage and you're talking about, Hey, these are two people walking down the hall, then you just want to make sure that you go and, you know, find footage that matches exactly what you're talking about. So let's just listen to what I'm saying here. Well, we met this client, and we were walking down the hall. So right there, I met this client walking down the hall, and need to find that footage. So I have it here. And then I bring it in, and it cuts away to the people walking down the hall. Now, it should match. So as a script writer, or you know, if you're going to create these videos, the more visuals that you talk about that you can cut away to, the better your video will be. So if you're talking about things and you're saying, Well, this and that, and you don't have anything to visualize, you won't have much be role. And if you're showing something that doesn't relate to what you're saying, then the audience is confused because you've got an audio saying one thing and a visual not matching. The other thing is, where do you place it? One thing I like to do is I almost want to cue the audience that hey, there's something that I'm introducing. I want to make sure that they can hear what I'm saying. And so I introduce there's a client. So they're kind of in the business mode that they're ready to see clients walking, and then I show it maybe half a second later, instead of right when they say client, I'm showing it because for me, it's too much to process. So I usually just give, maybe, you know, a quarter of a second to introduce it, and then I show the B role. So let's see how that goes. That is client. This client. So I've introduced it, and then now we were walking down the hall. We were walking down the hall. So it matches still, but it also, you know, preempts the visuals by introducing it first. And then, you know, I cut away. And if I had some mess up in here, I like to cover up you know, those cuts. So if I had a word that was wrong or something, then I might cut that out, right? And then I would just seem it together. And now you wouldn't see my mistake. All right. So hopefully, that's a basic idea of how B roll works and gave you a little history on where it came from. 19. ULTRA KEY ME: Alright. In this lesson, we ought to be able to key out the green screen. So we'll use ultra key. But before we do that, I want to use Lumetri color where we can, you know, adjust the color. And then I want to add in some red and blue lighting effects for you. So let's take a look. This is the beginning of my YouTube video, and I talked for a few minutes in front of a green screen. So my first step is to key out the background. So today, we'll look at Ultra key. First thing is I'll raise my video track up to track two. And I'll bring in my background for Track one, and I'll scale it back a bit. This background gives it a little bit of dimension. My goal is I want it to look like it's in a real room. The next thing I'll do before I add my ultra key is I'll go to Lumetri color, and I just want to take down the exposure. Sometimes the videos a little saturated. Want to make sure that I do all of that before I add in the ultra key. Next thing I can do is type in ultra key, and you'll see that filter, and you can just drag it onto your video track, the talking head video. So when I add ultra key, then I have the eye dropper tool, and I want to select the best spot in the video. You see the right corner doesn't do much for me, but the upper left does. So you have some uneven lighting at times, and you want to first start with picking the most even keying out that Premier will give you. So pick that spot first. Once you do that, you can come down here to a pedestal, crank that up to 100. And it will get most of the green out for you. If you have some shadows, you can use highlight and shadow, and you can see the difference there. If you really want to get particular, you can zoom in, and you can look at the edges of the person talking, and you can use choke. And you want to make sure as you see this, it's taking my ears and making them, much smaller, which is okay, but sometimes it doesn't look natural, right? So you don't want to choke too much. And then you can soften the edges. So you'll have to play with those two parameters to get your image to look more natural. And depending what look you're going for, you can use those same lumetri color effects and maybe take the exposure down in the background, so it's not so bright. That's what I did here. Then what you want to do is highlight track one and two, the background and the talking head and nest those together, so they're one piece. It gives you a little bit more ability to add some more effects. Now, what I did was I added a lighting effect. What you do is type in lighting and just drag that over the nested sequence. And then go to light number one. You could colorize the light by choosing that color tab. I wanted a kind of a gold orangish look. So I pick that color, and then you can intensify it, you can increase the radius, the angle. There's a lot of different things that you can do here. You can move it further away from the subject, and now it's starting to look a little bit more natural. So I've got a little bit of that gold orange tint, and you see the original and then with the light. So it softens it up, and then you could also play with the exposure and things like that if it's a little bit too dark. Just plays with your eyes a little bit, gives you something else to look at. And if you wanted maybe more of a blue look, then you could go back to that color and select blue and see now it's a little bit more mysterious. You could also add an additional light. Once you play with the intensity and the angle and you get the focus right, so you see there's the radius and intensity, and then also the position of where the light is and the angle. So it gives you a lot of parameters there to adjust how that will look. Now, for the right side, it's pretty dark, so I'm going to go ahead and see if I can add in one more. Now I can go down here because it gives me five lights, and it could be, omnidirectional, or it could be a spot light. So you choose the type of light you want. Go ahead and pick spotlight here. So we can change the intensity or the focus, and that's a little bit too bright. But let's take it back down. So let me see here if I can change the color on this one. So I select that color white. And then I want to pick red. And now it's added, you know, if you're doing like a crime series or something like that, that might be a little bit more fitting. So you can change the whole look and feel of your video. So you see a lot of YouTubers that actually have the lights behind them, and it's a real set. But if you don't have that, you could do something like this, and you could, you know, you don't have to worry about going out and buying a light that you don't like the color and the bulb and stuff. You can just do it here. So I'll make it a little less dramatic and I'll take the intensity down. But now you see I have just a little blue light on the left, a little red light on the right. Now, the next thing I do is since this really slows your computer down, the lighting, I don't know, it just takes a lot of work to put these on there. I do this first, and then what I do is I just export this whole video the way it is, and then once I have it all flattened and compressed as a new video file, it's as if this is how I shot it out of the camera and out of the studio, and now I've got this video file that's a lot easier to work with. 20. LUMETRI COLOR: Mir gives you L lumitri color, which allows you to change the exposure or match color with, like, another shot, change the mood, you can add oranges and blues. You can make it more cinematic with the cinematic blacks, and by removing that, you can add more black, more contrast, all those things. We'll take a look at Lumtri color and what it does and how it can change the look of your video. So this is sort of a washed out beach shot, and we're going to see if we can add some different looks to it. If you go right up to the top, you can select color. Then on the left side, if you select Lomitri scopes, you will be able to see some of the tools that are available that give you some identity regarding red green and blue, and you can right click and select the presets there. Now, on the right side, I'll go through a couple of these. We won't go through every single one of them because we're just looking at basic color correction. Premier gives you some of these defaults. You can select different looks and then pick the look that matches. If you just want to have a different look, you can select through these. I think they're called Luts. Now, so you can also change the exposure, the contrast, and notice these meters on the left hand side are identifying the red, green and blue. The maximum number for red green and blue is 255, and that's if you single out red, green or blue, 255 would be the max green or red or blue, and then zero would be black. If you want to get creative, there are a lot more presets in that and you can select any of those. You can't toggle all the way through quickly. What you can do is select those and then you can use the arrows on the right or left of the picture, and you can go through each one, or you can select one and start playing around with the color wheels. If you grab the center, you can move towards the blues and greens and violets and that kind of thing, and I'll start changing the color for you. If you don't like what you've done, you can go back and hit that arrow at the top, that half circle, and it will reset it for you. So as you navigate through, you can use that right arrow or left arrow and it will select different presets. Then if you like that one, you can just click in the center of the screen, or you can click in the center of the image there and it will apply it. You see a lot of cool looks there. Now, regarding red, green, and blue, the three primary colors that make up your video, you can select red or you can select green and you can grab that and bring it all the way up and you see green is at max levels at 2:55 and or zero, and you can do the same thing with blue. When you want to single out some of the colors that gives you a little bit of control, We'll skip down here to the vignette. This is a cool little feature and you see this quite a bit on videos where it adds just a little bit of black around the outside. That's a trend that you see quite often. This allows you to start with a basic circle or a widened rectangle type circle with rounded edges, and you can start playing around with how hard or soft you want those lines to be and how dark or light and that kind of thing. It gives you another added look and it can be a cool little feature for your videos. On the left side, if you want to see the different meters that are there, you could right click and select the ones that are available. For this one, I just want to show you the wave form, the RGB. When you look at these values, again, you have 255 on the right side and 100% on the left. It's very similar to an audio meter when you have these sounds that peak above where they're supposed to be. It's the same thing when it analyzes the red green and blue. You'll notice that if there's too much blue, it maxes out at 2:55, and right now there's a little less blue than 255, and you can see that blue goes either up or down. Right now it's at zero, so it's all the way down and there's no blue. And then when you bring all the blue up, you can see it maxed out. Same thing with the green or the reds. It's going all the way to the top or all the way to the bottom. As you're looking at maybe some footage that you shot, this can be helpful in determining how much red do you have and how much blue do you have in your actual shot. Notice here, the subjects on the left side. They're showing in black on that meter because there's no color there. As you play the video, you'll be able to see the actual subjects and where those colors land on the waveform. As you get more precise, you could use this color wheel here on the RGB curves tab and you can create these key frames in there and you can select blue or no blue and it gives you a little more precision and it's easy to do as far as taking out colors or adding colors in. So right now with this particular preset, we've got a little too much blue on the sky, so I could use that color wheel and I could remove some of it. All right, so I hope that gives you a basic idea of the color correction, and you can use this to modify your footage. 21. AND THE TITLE GOES TO ...: All right. So if you want to know how to make a title, we're just going to look at the most basic way to make a title. There's not going to be any special effects or anything like that. Just want to make sure that you know how to type a title and a couple little features that go with it. The later lessons, we'll talk about how to animate some of those things and make titles more dynamic, but this is just the very basic way on how to make a title. If I just hit the T, I can go over here and I can just type a title, type title. And that's the easiest way to do it. Now, if I hit command A or Control A, and I go to essential graphics on the right, then I can change the font size. I can also do some other things here, and there are some settings in here for the titles. As we add more, we'll be able to come back to this. So I can also change the font, and so let me pick this one. And I can also center it with these align icons. You have a line left, a line in the center. And align in the center vertically. So those are the two that I use the most, and then you align right, align to the top. I don't really use those very often, but basically, these are the two, so I want to make sure that in the center of the screen. Also, this safe margin, I usually sometimes put that on there just so I could get an idea of where I am center wise in case I forget to use these, but that might be something that might be useful. Can also move the title. If I take the selection tool, I can move it like this, anywhere I want. And the other thing I can do is go back to my main video here and I select T again, and I come over here. If I hold the left button down on the mouse, I can create a section to where I can type. I can type things in this box, and there are a lot of things on my mind. Now, if you want to change it or fix it, you can just click the cursor like you would on a word document. And then if you go back to the selection tool, this allows you to modify it once it's there. This allows me to have more control over phrases and paragraphs and things like that. Now, once you have that, you can double click and highlight all of it or hit Command A or Control A, and then now I can go to these settings here and I can center it or I can do something like that or left justify or however you want to do. Sometimes I pick centering just because it's easier to read. And then I can make this adjustment. Even if you want a certain phrase to be end on of or things, you have control over that, or you want all three lines to be easily centered. This tool right here will save you a lot of time. Then you can still apply the same centering icons to it. Also notice if I have this all the way down and I go to center it, it's going to center the whole box and not the paragraph. So if I go to center it, then it's centering it from the whole box. So you want to make sure that you bring it to where it ends. Now, notice if I raise it up where there's still a phrase there. Let me get rid of this one. Also, I can get rid of this by toggling it off with the over here. If I crop off an extra sentence. It gives me this plus sign on the bottom. So I know there's one more thing and then it disappears. So now I'm going to go ahead and center this. Now, something else I can do with titles. Now, as you start making titles, you can come over here and you click on the title in essential graphics. You can change it to italic or you can do uppercase, lowercase, and if you make a mistake, hit command Z or control Z. There's some other settings here that will give you. Underlining bold. And as you also if you highlight all of it and you want them closer together, you can do something like where you bring them closer together. Now, something else you can do is, let's say you want to add a stroke around it, you can change the color. If we highlight all of it, I can change the color to something like orange. And then I can also add a stroke around it, but make sure that you have it highlighted, and then you can add a stroke. And you can also change the width of the stroke, rolling over that little number right next to it. And you can also put a background on it. So if I click out of it, I can add a background, and also notice this around that, I can expand the background, or I could shrink the background, starting at zero is going to hug the letter as close as possible, but I can also round the corners on the background, and I can add a shadow. You won't see the shadow with the black there. But something else I can do is if I go to these little icons here, graphics properties, the fill mode could be on all lines or it could be per line. If I do per line, then it gives me a background per line and I have some control there. I just have to expand them a bit to do that, I'm just going to open this up a bit so we can see what happens here. But I can expand it, and now I've got three lines that are individually accented with those backgrounds. All right. So those are the basics on how to make titles. 22. CAPTIONS LIKE BEAST STYLE: Now, in these lessons, we've briefly looked at, like, transcripts and captions, but I want to dive deeper into that. So captions are really popular now, and I want to show you how Premier can create the transcript, which gives you more control on, you know, making them look like the latest trends on YouTube. So let's check that out. So a lot of times you'll have a client and you may have an hour video, and you'll have to make a transcript, and Premier will do that very quickly. Just go to text right here, and then go to transcript. And then that blue button says Transcribe. All you do is hit that button and you wait for Premier to process. Now you've created a transcript and you can go through and spot check to make sure that all of the words are correct. Sometimes there might be one or two words that aren't, and you can go ahead and modify that transcript as you listen to it. But as you click on these words, it will actually find that, the corresponding spot in the video. Now, once you have that, the next thing you can do is you can export it. You can export it to a couple of different file formats. But the one I use is just a general text file. And once you have it in a text file, then you can highlight and copy and paste it into a word document, export it as a PDF and sent it to your client. So, the text file is the best one for me because it records the timestamps in the video, and then you can do some slight modifications with it. So for me, I'm grateful because, you know, you might have a video that's seriously, 30 minutes, 45 minutes an hour, and you can make a transcript for someone in just a few minutes. Now, once you have your transcript, if you click these three dots over here, you can create captions. Hit that blue arrow for captioning preferences, you'll be able to make some adjustments before you generate the captions. Now, what this is good for is maximum length in characters. So that's the number of characters across the screen. So you also have a duration in seconds. So how long do you want to see those captions on the screen? So what you can do is take this maximum length in characters and make it around ten. Once you do that, you can generate the captions again, and you'll see now it's just one word on the screen. Now, they're too small, so if you highlight all of them, come over here to Cica Axis, which is the popular font on YouTube and crank it up to say, 89. And then you can change the color to green or something, and then you can also add a stroke around it. And if you scroll down, you could add a background if you wanted to. But now you're looking at this popular trend. And as we scroll through it, with one word on the screen at a time. Now, if it doesn't come out the way you want it to, you can still modify these. And it works just like your editing video. So what you can do is, click on one of the words. So right here, I don't want two words on the screen. I just want one. So if I click there, I want to remove, let's say, A. And now I can go down to the subtitle caption area. Now I can copy this caption title just like I would with any video and hit Option and drag it to make a copy. And then now I have two lower lowers. And if I go to the first lower lower that I just generated from copying, I can change that. Back to A. So if I just highlight it, I can hit A, and then I can modify, the end, so it syncs up. So when you're really getting into the critical details on captioning, you can modify the words and make sure they show up on the screen when the voice is talking. Now, here's the tricky part. If you want the captions to be included and embedded into your video, you need to do one or two things here. You have a choice to burn the captions into the video. If you go to export and you are exporting the video, you have to toggle the switch on in captions to make sure that it's burned into the video. A lot of times if you're uploading videos to things like platforms, such as like Canvas and things like that, you can create an SRT file. It's just the file extension so that allows you to upload a separate caption track. But most of the time, if you want the captions to appear on your video embedded into the video like this style here, then you're going to have to export it and turn that caption toggle on and burn it into the video. 23. EFFECT CONTROLS AND ANIMATION : Anytime I animate a title or a shape or add a filter, it all ends up in effect controls. So we're going to look at effect controls, and then we'll start adding keyframes and then those keyframes are dots that you place in there when you click the stopwatch next to the actual feature that you're trying to manipulate. So once you add those keyframes, then you can lengthen the keyframes, the distance between them, and that will make it longer or shorter as far as time. Then there's some little things like easing in, so you see something come onto the screen, and instead of just landing, then it might ease in and you have some parameters there that you can change. So let's look at animating a basic title, and I'll show you how to animate a basic shape, and we'll look at effect controls and how it changes those things. All right, so here's my basic animated title, and I just created that with that T letter, and then I added a background. But over here, you'll see effect controls, and you have that slider down at the bottom, which matches your video in the sequence timeline. Once you click that stopwatch right next to position and scale, it will add that key frame for that position. Then if I want to change that position or scale, I can create a new keyframe, 3 seconds down the road, and I can also highlight it and copy it and move it closer. So what's happening is, this is a five second clip, right? So if those keyframes have a different x and y coordinate 5 seconds later, that's where it's arriving to. And the closer it is to the original two dots, the two keyframes there. The quicker it will happen. So again, this is matching the five second clip down below, and I changed the position and the scale. Scale is, you know, like three dimensional towards you all the way away from you, and position is right or left up or down, so you have x and y position. Now, once it arrives where it's supposed to end up, you can ease in that animation. So it's not so abrupt. There's a Bazar which sort of has a life of its own, and I prefer to use Ease in. And once I right click on it and choose the ease in away from the linear, linear is just standard with nothing. So once I change it to ease in, then I can modify this arc here. So for this, it's scale. Notice it shows me what's happening with that little arc in the graph. And so it's very quick or it takes a long time to get there. So as you play around with that, you grab one of the dots down below and you can change the arc and that will show you that there's different ways to have something arrive. Now, this is an advanced effect. You don't need to do that. The main thing is positioning it where you want it to go. Let's add a couple more key frames, and now let's just use the x and y. Now notice, I add one also for scale. It's just a habit that I've gotten into because oftentimes I might want to scale it in or out down the road, sometimes I work with both. But really, if you're just only doing the position or only doing the scale, you don't need to create a key frame for both. Sometimes I just change my mind and then it's just easier for me if they both are lined up. So I've done that. I've changed the position off the screen, and so as you're holding the left button down on the mouse on those x and y coordinates, then it brings it out off the screen. Now I can also do the same thing coming onto the screen from the top, so I just roll over the y coordinate, and you'll notice y is the vertical one. And you'll notice the number change as you press play on the keyboard. If you hit space or just press play, then you can watch what the numbers are doing. Now, you can also rotate it and decide where you want it to be where it ends up, and then you add that stopwatch, which puts in a keyframe. And then as you start creating your own rotation or commands, it will put the other keyframe in there for you. So as I want to rotate it around a couple of times, it will put that there. And then if I lengthen the distance between the two keyframes, then I see it moving slower. If I wanted it to go faster, then I bring those closer together. Then you see it happens rapidly. Again, the whole entire piece right here is 5 seconds. If the keyframes are further apart, then it's slower and if they're closer together, then it's much quicker from one keyframe to the next. Let's move on to a shape. If I just hold the left button down on the mouse and drag the shape that I want, I can create a rectangle, and I can change the color, so we'll change it to blue. Then let's see what we can do with this shape. I want to Uncheck the uniform scale, and I want to check the height and width. And as I start adjusting these numbers, it will change the width and height of the rectangle and will create some animation by adding in the key frames. So I'm scaling the width wider, and it made another key frame there. And then I'm scaling it all the way down to zero, and it's shrinking it. So remember, I unchecked the uniform scale, which gives me control over the width and height. Otherwise, it will all be locked in together. And if I don't like what I've done, again, I can right click on that shape down at the bottom on track two and just remove the attributes and start over. If we add another effect like anything really in this effects panel, I'm going to choose arithmetic. I use this occasionally, and it changes the color of things. So notice it puts that in my effect controls panel. Right here as arithmetic. And I can change the color here. And once I get what I want, then I'll go ahead and add the key frame there. So remember, I talked about the number 255. So we've cranked it all the way up for red, green, and blue. Now, when I have what I want, I will add a key frame for each of those colors, and I'll do it again at zero, just maybe half a second or a second before it. So that way it starts at its original color. And remember, the closer those key frames are together on the horizontal line. The quicker that attribute will take place. So I will copy the first three, which is my original color. And then I will have my middle key frames, which changes the color, and I'll go back and paste that original set of three, which is the blue again. And then I can also distance them so it takes longer to take place. And then now we can see those key frames are in order and commanding the color with this arithmetic filter. L et's try another effect filter here, so there will be several under this effects panel, and I want to choose Crop. So Crop will just take out the left and right. And so I want to go to the left side of this, and you might use this to, you know, wipe something off the screen. And so if I click crop, notice, also, you know, I can move the effects up or down, if I hold the left button down on the mouse, and then I drag it to a different position. Now, the reason this is important is sometimes you may want something to happen, but something is in front of it or on top of it. And so just like the sequence timeline, it's going to read from the top down. So you may need to change the order. If you crop something off the screen and it's not there and you add arithmetic, then it may not show. So just be aware of the order of your effects. For this, I want to add a key frame. It starts at zero, and then it goes up to 60% or so, and then it uses that effect and the key frames are commanding it. You have two things. Now, you have the color that's changing, and then it's also cropping off the screen. All of these key frames are commanding whatever effect it is that you're placing in effect controls. Notice, you can change the width of this panel. And don't forget to check some of these little triangles that will open up the rest of the panel for you. If you're not seeing that key frame area, you've got to check that little triangle at the top so that it shows. So it gives you two views there plus the width of the actual panel itself, and then you also have the slider down here. So if those two open circles are maxed out to the right and left, then you know you're seeing the entire five second clip that we're working with on the bottom. Alright, so hopefully, that gives you a basic idea of animating titles, creating shapes, and using scale or motion under effect controls with different effects. 24. SPLIT SCREENS WITH 2 VIDEOS: All right. First thing we're going to do is drag the bottom video clip in and then go to effect controls, and right now that x coordinate, which goes left and right is at 960. Now, if I drag this video all the way to the end, remember, now you have 1,920 pixels from left to right. If I want to find the middle point, if you had 960, if you're starting at 960, and you add 1,920 pixels. The difference 1920-960, is 960. Now let's drag in the aerial footage and I'm going to trim off the end just so they're the same. Now, this one, I'm going to use that effect controls number, same number, and I'm going to drag it over to the left, and I'm going to bring it all the way into the middle there. Now I've got this one on the left and the other one on the right. Now, I had a black line in between. Let's say I go over negative three or four pixels. Now I can have that black line in the middle, but it's not 100% accurate as far as, are they both exactly the same distance from the center? So I'll move the other one over another four pixels and now I have that line. Now there are other ways to do this, but this is just an introduction into how to split the two videos down the middle. Now, if you notice the aerial shot on the left, I've got this train moving on the track, and you can't see it. So now when I want to get more precise, I want to see that train in the video. So another way to do this is, I'm going to drag the video back so I can see that train, and I'm going to crop out the right of the video. So let's drag the cropping tool if you go into effects under transform. Now going to affect controls, I can grab the right side of the video and take the right side off, and that's another way to do it. And the video is a little bit better because now I've positioned it accordingly to see that train. That's an advanced step. Now, if you don't want that cropping, you can check that F X box in effect controls and it will go on or off. Now, one more thing you're able to do here is I can change the brightness and contrast. The videos look a little faded. If I drag the brightness and contrast filter, which is under the color correction folder, I I drag that in here, then I can change the brightness and contrast. All right. So those are two basic effects to split two videos on the screen at once and also change the brightness and contrast. 25. PLACE 4 VIDEOS ON THE SCREEN: For this lesson, I wanted to be able to show you how to take four video clips, change the color, use scale and motion to put them all on the screen at the same time, and then take a title and use motion to have that coming in over the center. You have four video clips. You've got Radio City Hall, you have subway outside, you have the interior subway, and then the girl walking down the escalator. I have one, two, three, four, five different layers. Remember the cameras looking from the top down, so whatever's on the top will show first, and my title on the top there is the New York City. Now, let's untoggle those, so I'll select the I and just cross that out so that way I can only see the base layer, and that's the girl on the escalator. What I did was I scaled that down to 56, and I used motion to bring it over to the right hand corner. The other thing I did was, I use this arithmetic filter, so if you're in effects, you can go to channel and then grab the first one, which is arithmetic. A quick way to change the color, and you have that operator up there, which is selected as and, and you can increase the red value, green value, blue value individually or altogether to get the color that you want. That's a really quick way to change the color. If you wanted to get a little more crazy, you could change it to XOR and change the values and it does it to each individual piece, which gives you some really crazy looks. But for this, I'll take the blue value at 2:55 or 250 and the green at 2:55 to get that tal look. Now moving on to the next layer. I've got the subway there, interior shot. I want to change that to black and white. It's a really cool looking shot and has different colors there, but just for the sake of the lesson, I'm going to make it black and white. Again, I go to effects. Image control is the folder and I grab the black and white filter and drag it over. Now for this, I'll scale it down using motion. I bring it down to 55. Now moving on to my next video and the next layer up. I've got radio City, and I can use scale in motion to move it right or left, and I'll scale it down to about 27 or so. My last video is the subway. I'll move that over to the right. You do have some other color correction options. For this one, I added Lumetri just to give you another option for changing the color. This one takes a little bit longer, but may give you a little more control. You can highlight the shadows, the mid tones, work with the highlights and pick the colors that you want for each color wheel. Now, my last layer is my title. If you wanted to make a title, you would just go file new legacy title, and I created a rectangle and colored it gray. If I wanted to match the color, I would use the eye dropper, and then I select the T and type in New York City. The font that I selected for this was a body. If I grab the selection tool, I can bring it down. I can change the color if I want to, make it different just so you can see something else. You have two layers there in the titler. One is in the front, one is behind, and you can arrange those front to back if you had different layers that you wanted to move. Now for centering, you could center it right and left or vertically. And that's how I did that. For this, we'll take those off and I'll leave the title that was already created. And I'll use motion to bring it onto the screen. So what I do is it's already centered, so I'll start and work backwards. So I like where it is. Then I'll use my key frame for my destination, and then I'll work backwards and pull it off the screen. And I'll use that keyframe and bring it all the way at the beginning. And now when it's done, it finishes where it's supposed to be. If it moves too fast, then I can take that second keyframe and extend it out. So it lands a little bit later on. Now, this is something that's a little beneficial right over here, you see it says fit. If you select that, you can zoom in and really get precise where these videos end up with their edges and corners and things. I'm at 200%. You can also use this slider on the right and left to position your canvas. Now, it looked like those videos were appropriately placed, but they were off a little bit. By zooming in, I can go back to my sequence timeline and select each video and then go to the scaling and motion and either zoom in or out or move the right and left x and y coordinates until I get the video exactly where I want it to be. Now I've got my design of four videos and they have different colors and I've got my title up at the top. Also, one last thing is notice the position of when the video starts. I have these all come on the screen at different times. You see it staggered almost like a staircase. The first one comes on and then the second one comes on maybe a second later and I do that and I repeat it. It gives you a little more interesting look. Now to wrap up the video, I'll pull each clip off. I'll select each one and use the motion to pull it off and it will create a second key frame for me. Uh huh. And I'll pull one, two, three, four. Then now when I use the marker, you can see how each one comes off. You can play with the timing. Maybe you want them to come off at different times. For this. I selected the same marker time for each. I'll use the motion for the title. Take it up vertically this time instead of coming in from left to right. And there you have it. 26. PERSPECTIVE FX - CORNER PIN: You have some stock footage of a laptop screen and you want to replace it, and I'm just going to grab that footage and place it over the stock footage of the laptop. And once I have that, then I'll scale it down under effect controls, and I'll just bring it down, so it's close. You can see the perspective is off. So over here under effects, I will type in corner, and it gives me this filter corner pin. That does is it gives me control over all four corners. So if I move the x and y coordinates on each corner, I can adjust it, and it changes the perspective. So upper left, upper right, lower left, and lower right. And so if you adjust those numbers, then you'll see how it skews. I'll go ahead and do that now, so I can adjust the corners, and you can see how it fits in there. And then you can also move it left to right after you have that perspective. And then you can scale it in or out. Now, to really get precise, you might want to put a glare on it. So take the opacity down five or 10%. You can see the other video on the laptop that is showing through. You just put another layer with a solid color behind it. So now that the video is moving, that creates a little bit of a problem for you because you have to take this image and track the movement of the laptop with key frames. So what I usually do is I don't look for stock footage that is moving. So if you just get a static video where the laptop is stationary on the table and the camera is not moving, it's just on a tripod. It will be a lot easier for you. But I picked something that was a little more difficult just so you could see that you might have some challenges if you do pick something like this. Now, the other thing you can do is if it's not lined up correctly, you can go to this rotation tool and you can slightly rotate it right or left. To get even more precise, if you go over to the view here and zoom into maybe 150%, I can line up the corners of the screen and the laptop. So we'll start here with the right corner, and you can see the difference there with the screen and the laptop corner. If I can just move that corner by adjusting these coordinates, it'll look a little bit better. So I can do that on the top and then I scroll down to the bottom right, then I can do the same thing with the left. Move it in or out or up and to the right just a little bit until I see the edge of the laptop screen. Then I can move the slider up and do the same thing for the upper left corner. Then I zoom back out, select fit, and you can see on this particular frame, it looks pretty good, and you can dim it just a little bit on the opacity, so it looks more natural. 27. GRAPHICS? WE TALKING ABOUT GRAPHICS?: So if you like animated graphics and you like all of these things that fly on the screen, the essential graphics panel is really cool because you can have all of those things on your video, but you don't really need to know much. So I'll go and find these Mogurt files, MOG RT, and you bring those in and import them into the essential graphics panel, and then you can change the colors and, you know, change the titles or whatever it is you want to do. And I'll show you another place where you can go and grab those, and then you can import them into the panel. So let's take a look at what they are and how you can use them to make your videos. Ember your work spaces, I have mine set to effects, and that way it guarantees that you'll be able to see this essential graphics panel over here. Right underneath effects, you have essential graphics, and then underneath, you have all of these templates and they are from other creators that create motion graphics. And they're there inside this essential graphics panel. So if you look there are a bunch of different things, there could be transitions, there could be titles, there could be lower thirds, there could be like YouTube openers. Let's take a look at this one. Now, Adobe offers some free ones if you check that free box and then hit that Cloud download, and it just shows you what's available. And what you can do is Since it's a template, you bring it into your sequence timeline, and then you can change the colors or the titles and things like that. So this one here is this liquid titles. It looks like an opener for a YouTube channel. So there's some global controls, like the position of it. There's text controls, text one and two, and every Mgurt is going to be different. So for this, I want to change the text and hello, and I'll just type in YouTube. And now it's added those effects with the titles that I want. And if I don't like the colors, then I can change the colors. It's moving a little bit slow, and I haven't talked a lot about this, but if your computer isn't processing all of the effects and commands that you want it to, you can render the file, and what Premier does. It's like almost exporting, but it goes through the process of processing all of the commands inside the video. And so you would render this. Now, you don't have to render things. You can change the resolution while you're working or you can create proxies and things like that. But for some of these graphics, if your computer can't handle it, then you would render it. To do that, you just go to sequence, and then you go down about three to render in and out or render effects into out. While we're waiting for that, I go to a site motion array, If you type up motion graphics, you can find templates there. So some of them will be premier pro templates where they give you the whole project file and you can go and change each layer. But what I like to do is what I have over here in essential graphics is the actual MoGrT file, dot MOGRT. And if you look for those specifically, then you can bring them in and have them over here in this essential graphics panel. Right. Let's go back to our rendering and see how that plays out. Now you can see that it's much more fluid and it gives you some cool graphics without having to know much. Almost every graphic will have some type of modifiable template where you can change the parameters. I can change this to green or red or pink or blue, and you see those graphics change and you can see I've actually made it worse. And, you know, there are some simple things too. Like, I sometimes want motion in my titles. And so there's some basic computer typing, and I can adjust the speed. And, you know, I might even add, like a lower third graphic. And so once I do that, you can see it's animated, and then I can position it by using effect controls. And if I just bring my own self underneath, that animated graphic, will go ahead and play, and obviously, I can change the name, but it's a cool thing to add to your video without having to create those rectangles and adding motion to them. They stay in there anytime you go to essential graphics on any video that you're working on, they just stay right there in the essential graphics panel. 28. TRANSITION THIS: Lot of cool transitions out there that you can use and Premier has a bunch and you drag them in, and it goes from one video to the next. And the definition of a transition way back in the day was, you used a cross dissolve. So you would show the audience that there was a time lapse, and so the cross dissolve, where it would fade from one video to the next, or cross two video images and dissolve. If you watch some old movies, you'll see that. Aside from that, Premier gives you a lot of transitions that are pretty easy to use, so let's take a look at what they go to effects. Then I can type in transition and I can see all the transitions there, or I can go to video transitions and open up that arrow and then I have a few here that come with premiere. Let's go ahead and open the first set and I have an additive dissolve across dissolve dipped to black and some things here. Let's go ahead and just cut this video in the middle. If I go to additive dissolve and I just drag it over the center, you can see that it puts the transition right in the middle. Now, over here, it shows you the actual sources if you click this box, you also want to make sure that the alignment is center at cut. If you put start at cut or end at cut, what it does is it only puts the transition on the beginning of one cut or the end of another cut, but you want it on both if you are transitioning from one video to the next. So once I've done that, I can click on it and I have some control over it, right? You can change where it starts and where it ends, but mostly you don't want to do that just for the basic transition because you want it to be complete from start to finish, right? So if I hit play, then you can see it's just an additive dissolve. And the other thing I can do is if I really wanted to show the transition doing something, meaning it's taking the place of missing time, right? So I'm going to go ahead and just cut this video right here. So we go from here to much later. So it starts, and then much later, the car has moved, right? So I will go ahead and add this additive dissolve in the middle there. So it crosses the two images together. And if I wanted a different transition, I would just click that and delete. Let's do a cross dissolve. Drag it over right in the middle. Adding a little time lapse. There's all kinds of different effects that you can use. Here's a dip to black, and then you see much later the car has disappeared, or maybe it starts there, and then I do a dip to white. You just have to play around with what effect you're trying to get. Here's a film dissolve. There are many more to choose from, and these are all very basic. Now, you can go and do a search for transitions and you'll find some really cool ones that are more up to date. You might do something like a push, and so you drag that in there and it might just push from one scene to the next. Um, you might do a center split, something like a whip, and that actually gives you a little bit of a blur transition, which is pretty popular at the moment. You might have some others like a page peel you can put in there and it peels from one to the next. And a Zoom might do a cross oom, you just drag that over and it might give you something like that. So you have to play around with these and see which one you like. But those are the basics for creating transitions. 29. SCRIBBLE CRAYONS ON THE SCREEN: Now, Premier has an effect where you can actually write on the screen, but every time I try to do it, my computer just completely stalls. You know, it does take some processing power to do that. So I've come up with some workarounds where I just go into photoshop and I scribble on a canvas there, and then I key that out, and then I move it around and place it around different letters and words and things like that. So on some of the lessons you've seen like that red circle, so I want to show you how you can have a work around to write on the screen. All right. Now, the first way to do this through Premier is you type in write and you get the right on filter. So I just drag that effect right onto the text layer. What you do is you use key frames. Once you click that stopwatch for the brush position, that will enable it, and then you can change the color here to red so you can see it. Basically, you're just creating animation with that brush. Now the cool thing is if you want to draw a straight line, it's really accurate. You can change the width of the brush size and you have some other different features there for you. For me, it just took a little bit too long, but it is pretty cool if you have the patience. I just went to photoshop and drew what I wanted and let me show you how to do it that way in case you don't want to do it this way. So use quick time and make a screen recording, and then come over here to a photoshop and make an attempt at trying to make a circle on a green canvas. Once you find one that you like, Then you can bring it into premier and drag it over the text document that you want to circle. Then type in color key and key out the green, and then you'll have to position it where you want it to be. So you use motion, x and y coordinates, and you can also shrink it or make it larger and rotate it, so it works. Then you can play it. Now, you can see that this is going counter clockwise, but I may want it to go the other way. So if I type in horizontal flip, then I can flip it, and now it will circle the other way around. I'll just have to move the x and y coordinates again and move the rotation until I get it to where I want it to be. And then now it's going the direction I wanted to go. Now, one more thing you can do is if you want it to disappear, you could go to right click and speed, and you could reverse it, and then it would reverse off the screen. If you have a marker swipe, you can add that into the audio track, and that would give you your sound while the marker is circling the text. And just to be creative, if you wanted to change the color, you can go over here and type in arithmetic. And you can drag that onto the circle clip. And under XOR, if you play with the red green and blue values, you can modify the color and get just about any color you can think of. The last thing you can do here is if you uncheck the uniform scale, it gives you a little more control. So we'll try to use the length and width to circle the pan on the chessboard. There you have it. 30. HIGHLIGHTERS : So I'll watch like crime documentaries, and oftentimes there's a lot of documents like court documents and things like that that come onto the screen, and they will rotate those, and then they circle words or highlight things. And it's a pretty cool effect. So I want to be able to show you how to do that. So let's take a look. All right, so this is an interesting way to take like a court document, something you might see on a crime show and highlight some of the records on the paper and add some dimension to it. First thing we'll do is we'll bring in the background, and it just gives some dimension, and then we'll scale that to match the sequence time we'll bring in a court document, and we'll just drag that over the background, and we'll scale that up. Next thing we'll do is I want to change this so it's black and white, and so we'll type in invert, and that changes the document. You see this a lot on Netflix documentaries and things like that. Now we need to key out the background, so we'll type in color key and then use the eye dropper and take out the black, and the color tolerance will bring that up to 12/13. And now we have it see through. So we can also scale that up. Now we can type in basic three D, and we can use this effect to swivel it. But before we do that, I want to show you how to draw a line real quick. So if you go over to this rectangle tool, you can draw a rectangle over something you want to highlight. And if you toggle down under the shape tool, can change the color to yellow and then hit ok. And to see through that, you've got to scroll down here to the blend mode. There are a lot of different things to choose from. But if you choose multiply, it will keep that yellow, and you'll be able to see the words underneath. So that's just a basic way to highlight something. Now, you can do it again. You can just adjust it by selecting the outer perimeter. I had an option and I can drag it, then it'll create a copy for me, and then I'll go up here and resize it. So now I've got both of those highlighted. If I want them to come in at different times, and I can move that graphic over in the timeline. The next thing is, what if you just want the line to be animated going from left to right? I'm going to create one more rectangle, so I select my rectangle tool and then hold the left button down on the mouse, and it keeps that yellow color. And then now I've got that highlighted. Now I'm going to select crop, And this will allow me to crop out the right side. So if I go to the right number there, the percentage, it's at zero. But if I crop it out past that mark there to 63 or so percent, then add that key frame and add another one at zero. Now I can animate that line. If I go back to my blend mode and I select multiply, it will do the same thing as the two up at the top, and now I've got my highlighter that's animated with that cropping tool. To get a little more creative, if I nest all of these together, then I can go back to use that basic three D filter, and I can swivel this whole thing, and I can scale all as one piece in or out or swivel the whole entire composition. I'll scale it up so we can see it a bit better. And I want to type in basic three D on my effect side and bring in basic three D, and it gives me those parameters associated with swivel and tilt. So now I'll type in 33 and make a key frame for that, and then open this up a bit and put my other key frame back at zero. And you can adjust those key frames, the closer they are, the faster the swivel. So you might want to have it just further apart, so we'll go slowly. The last thing, you might want to add a marker swipe sound effect. So I have these marker swipes, and what you can do is just place that into the timeline and sync it up. You just want to make sure that the starting point and ending point for the crop syncs up to the wave form in the audio file. The last thing you want to do is just bring in the music track, and you can cut off the end here at a couple of keyframes to fade it out. And that's it. 31. HALLOWEEN: MAKE CIRCLES FOR LECTURERS: So as you're giving your lesson and you're talking into the camera, you might want to create a circle graphic around your face and put yourself in the bottom right corner, move it around, whatever. And so I want to be able to show you how to do that. Alright? So let's take this footage right here and see if we can crop out my face and make an outline around the circle. And then we'll go from there. So the first thing you want to do is you want to type in circle under effect, and you'll see that filter there and you just drag it right onto your clip, and it will give you a circle. Now, on the left side under effect controls, under that blending mode, select stencil Alpha, and then you'll see the face, and you want to change the radius. And so if you increase it, you'll be able to go around the outside of the face. You can also move the x y coordinates to adjust it. Now that microphones a little bit too close to my mask there, but we'll just leave it the way it is. Now, the next thing you want to do is you grab the paint bucket. If you type in paint, you'll see that filter as well. If you drag that paint bucket filter over, there's a couple of things you need to do. One is the fill selector. Change that to Alpha channel, and if you move down a little bit, you'll see stroke, and you want to change that from anti alias to stroke. Now, what that will do is it will give you a small outline, but you have to change the width of the stroke, and so I'll bring it up to about 20.2. Now to change the color, select that color tab and you can change it to something else. Now it's one piece and you can go up to motion, and you can move x and y and scale it down. Alright, so we'll put it in the bottom right corner. Now, if we lift it up to track two, we can find a video, and we can place that video underneath. So we'll just drag in a bridge, a New York bridge, and we'll scale that up to match the frame. And now we have the video footage underneath the circle graphic. Now, something else you can do little more advanced step here is if you are filming in front of a green screen, you can key out the green before you do all of this. So, let's go ahead and use ultra key and drag that over, and I'll select that color of green. Now, the next thing I want to do is create a color mat, and I'll put that underneath. And so if you go down here, select color mat and we'll change the color to blue. And then we'll drag it over and we'll make it the same length. Now that I have that, now what you need to do is you need to combine these two layers in a nest. So if you highlight both layers, right click, then hit nest, and we'll call it a nested sequence. Now it's compressed as one file. Now that I have that, you can see if I apply those same circle graphic effects. I'll be able to do. Now that I have that, you can see if I apply those same circle graphic effects. We'll be able to matt out the rest. So if you remember how to do that, you type in circle and drag over the circle graphic. And then in the blending mode, I want to select Stencil Alpha, and now I can see what's behind it. Increase the radius, move the x and y to center it. All right. Now it's one piece, so I can scale it up or down. And remember the second step is to add a paint bucket and add the stroke and outline. The other thing I did at the very beginning of the video is I just replicated this. If you wanted to add an effect where you wanted multiple circles on the screen, you could type and replicate and drag that over to the video. And if you apply that there, you can increase the number to as many times as you want to replicate that circle. And something else I did was I used rotation to rotate the circle around. All right. So hopefully, that gives you some basic ideas of how to create a circle graphic, and outline and place a video underneath. 32. TECH STUFF 1: FASTER PERFORMANCE BY CREATING PROXIES: While you're editing, this button over here is full resolution. And as I scroll through, it's going through. It seems to be doing okay, but sometimes it does lag. And when you have all of these effects, you might want to operate in a quarter of the resolution. So when you're going through, it might not show. You can see that when you're looking at legal question, it's a little bit blurry, but it's easier, and it speeds up the performance. So see that's a little bit more sharp. And so if you can handle that, you can come down and operate in one eighth mode. And, you know, it's a little bit blurry, but it's a little bit faster. The next thing you can do is you can create a proxy. Now, what a proxy is is it takes the video format that you have and replaces it with the same video, but at a low resolution. And then you toggle it on or off. So what you do is I have this footage for an ACAM that was shot. So what I can do here is just right click, go to proxy and create proxies. It's going to give me a choice of what format I would like to have it dumped down to. Me, it's the whole idea here is to get performance the best way possible, so I'm going to pick the lowest resolution proxy. And that will make the file size much lower. So then I hit. And then you have to have media encoder, and if you're getting the app from the Creative Cloud, you can download this one as well. And it'll open up, and it will go through the whole process for you and start encoding that video file. I have a couple of other files here because I had used this before in this project file, but now it's converting it to the format it's suggested to me, which was the H 264. Now, the only thing I don't like about this is if you create proxies before you start editing your video, you might just start your proxy transformation and then go and do something else and come back, 20, 30 minutes later. It does take some time. And sometimes I don't have the time for that, but it can pay off because your computer will run a lot quicker This is a great way to get started. A lot of the editors that I work with, they're always working with proxies. Me, I just don't have the patience for it because it does take some time to convert everything. If you can get through that first 30 minutes, it will make a huge difference for you, especially if you don't have a high powered computer. When it's done, it will place those files next to the original files, and you can see that it adds the word proxy to each clip. So you know the difference between the two. If you look at the file size for each, you're looking at 38 gigs versus 96 megabytes. And so when you compare those the original source file, I record at the highest resolution 100 megabits per second at four k. So that's a huge strain on the computer, especially as you add more and more video clips to your editing sequence. So last thing when you go back to the sequence timeline, all you do is just toggle the proxies on when you want to go through more fluidly and quickly and just toggle it off to go back to the way it was originally. 33. TECH STUFF 2: MATCH A FONT WITH CREATIVE CLOUD: In this video, I want to be able to show you how you can match a font. I'll get videos sometimes and it will have a font and they'll be brand guidelines, and they won't know what kind of font it is. So you can actually take a picture, upload it to Adobe fonts, and it will use its AI generator to kick back a few suggestions. You're left with maybe ten instead of scanning through each individual font layer to try to figure out what it is. Have a link to my free course. I just launched it, so if you want to check that out, you can enroll and it's free. There's no credit card or anything like that. If you like this video, don't forget to like and subscribe. I'm delivering new content each week. So this is Alex Harmozis pretty popular, and he had this title in the background, and if I needed to recreate or edit a video to use that same font, pretty crazy, but if you just take a picture, so just take a screenshot of the number one here, you can find that same font just from uploading a picture. But first, we'll just create the one with a different font that I have already installed, and you can see that that one doesn't have a base for it, and the top doesn't have a point. Now, if you wanted to add a background, you have these effects that you could add. You could create a background by checking the box, and you can also round the corners. There's three parameters here, and you can also change the opacity. So if you wanted to create that same graphic, you could do it that way. For this, I just want to be able to show you how to match a font. So now that we have it about the right size, I don't have this font in my arsenal, so I want to be able to upload a photo. So if you check that small little infinity circle that represents Creative Cloud, it will take you to this font section. Now, the next thing is click this small little camera in this window and upload that screenshot that you took of the number one, so there it is. If I upload that, we'll analyze it, and then you can crop it. If you had a whole picture, you could crop out all of it just for the one, but I just took a picture of the one. Then you can type in one, two, three, four, for the sample text that you wanted to find, and it will go and search for similar fonts. Now, you know there's millions of fonts to look for it. So it comes back with maybe ten or 15. Now, it's already italicized, so it's slanted to the right. But I found that font, and it happened to be Poppins Then once I do that, I install the font and I come back over here, and then I type in Poppins because it's now installed. And now you can see I have that number one, and to make sure that it's, I can take the opacity down and just place it right over, and you can see that it's an identical match. Learn more about Dobie Kremer. You can scan this QR code and go to my course. If not, just thanks for watching the video, and I'll post videos every day here on YouTube, and you might be able to see some cool things there. 34. TECH STUFF 3: EXPORTING "I DONE." YOUTUBE=BYE-BYE: When it comes time to export your video, you can just press a button and export, but oftentimes you want to have more control. So I had to work with a group where I was uploading videos, many, many videos to a learning platform, and the company only had 10 gigabytes of space, but there were 100 videos. So I had to make sure that the quality was the best it could be, but I wanted the bit rate to be adjusted so the actual file size was less. So let's look at all the export settings and see how you can modify some of those to get the best results when you're exporting your video. I won't export the video until you highlight what it is that you want to export. So even if you wanted to export, let's say 2 seconds of this video, you could highlight that section and export that clip. There's a couple keyboard shortcuts. It's just I and O. So if you go to the very beginning here, you can hit I, the keyboard, and at the very end, hit O. Now, if you don't like the keyboard shortcuts, you can just use the endpoint and out, which is mark in and mark out. So there's two ways you can do that. Notice, I have this music running off during the black, and that's why I'm exporting it here. So if I had it here, my video would not be complete. So you have to make sure that you have that outpoint set where you want it to go. So right up here, after you're done, you want to hit this tab right here, which is export. Now it opens up a whole new set for you. And if I click here, I can see my exported video. So it's 6 seconds long, 6 seconds and ten frames. Where do I go from here? Now, notice it says Jeff S&L Intro. It already put the title there. Now, here's a trick for you. If I go back to edit, I can see the project again, so you can toggle back and forth between these two things. And in my sequence timeline, because I named it, let's call it something else, SNL two. Whatever you name your sequence, that's what it will call your final exported video. Now, you can change it, of course, up here, if you just highlight it, I can say, Jeff SNL 55 or whatever I want. As you scroll down here, you'll work your way into this final button over here, which is export. But before you do that, there are a couple of things that are essential. You also need to figure out where you're going to put this, so you want to click here, and I can't tell you how many times I've forgot where I place something. So this is important that you select the folder where you want it to go. So for this, I'm going to put premier pro class, and I'm going to put it in that folder and I'm going to hit save, and then it will keep that right there. So that's very important. That's step number two. Now, with the preset is, you know, it has custom. I like to pick what it is I want. So I recorded this footage in four K, so I want to make sure that I export it in four K. Now, what I used to do, here's a question for you. If you think you will have a smaller file size by say shrinking it down to 720 or 480 or 1080, that's not always the case. So let's say I select 1080 P. Now, if I look down here, the estimated file size, it will tell me it's 16 megabytes. And I can adjust that here in a second. I'll show you how to do that. But if I'm at four K, it's 63 megabytes. As you move down, you select more, and you keep scrolling down. All of this stuff is default, the high, 5.2, all of that stuff, just keep that the same, especially for your first time around. But down here is the bit rate settings. Now, when I used to submit stuff for like television commercials way back in the day, you know, they wanted the bit rate, the max it could be because you have the bandwidth on television. Before Smart TVs and all of that stuff, it didn't matter. Now, you only have so much bandwidth, and you've got to get as much information across as possible, and that's what this is. The bit rate is how many bits are going through that conduit, so to speak, just to get to the other side, right? So they have three settings here. They have VBR, which is variable bit rate, one pass, VBR, two. And what that is is, as Premier is processing the video, it's going back and forth, and it's focusing more, like, if you have a lot of effects in one section, it's going to focus more on processing that as it runs through it. So one pass is it's going to go through one time two pass, it's going to go through two. Now, I've done tests with these, and the CBR is just a constant bit rate. And I've had great luck going all the way down to something like six, and notice the file size. So it's 5 megabytes. Now, if I do 100, it's 79. So I have the best luck if I'm at six. And then when I've selected that, I can see what the final output is going to be. So this is only going to be 4 megabytes. All right. So once we have everything selected like we want it to be, then we are ready to go to this export button, and remember we placed it here in the premiere pro class. So I'm going to hit export. Remember the name of it, SNL two, and it's going to save it as an MP four, because that's H 264 is what I selected. Now, if I wanted something different, let's say I wanted an MOV, which is the other most popular. I can change it to MOV by selecting quick time. It doesn't know the file size yet, but I guess it'll be a surprise for us. So I don't export a lot of MOVs. I like the H 264, just because the file size is much less. Like even if you're looking for, you know, stock video, you'll see H 264 is like ten times less in file size versus MOV. But anyways, let's go ahead and we'll go with Quick Time and MOV and SNL two, and we'll go ahead and hit the export button. And when it's done, it'll say your video was exported successfully, and it will tell you where it is. Now, if I go to where that was, which was the desktop, the Premiere Pro class, and I click and date modified was today, there it is. So now I double click on that, and here's my video. So you see how large it is. This is because I exported it in four K. And now here's my final clip, and I can take this, and I can upload it to YouTube. With premier comes media encoder. If you're working with companies they're exporting several at a time, you would want to send the file to media encoder. Now what's happening, it's going to open up media encoder. Now, you see my clip here is now been imported into media encoder, and you see the output file here, which was desktop Premier Pro class SNL two. And you have a preset here. Now you can start getting really crazy and they give you a lot of these settings, you know, you can pick Apple ProRes 422. Now, here's another selection. We did this already on exporting, but you can select quick time. Maybe you want H 264. But where this is helpful is like if you wanted to do a batch of, say, 15 2025 videos, you send them all here. And then you can still go back to Premier and you can continue editing while Media Encoder is doing the exporting. So the problem when you only select Premier to export, it's tying up your machine. And maybe if you have a video that's like 30 minutes long or an hour. It may take a couple hours just to export one video, and you still need to edit for the day. So that's where media encoder can really help you as you can export all of your clips and put them here. And then when you're ready, and you've selected your presets and things like that, you can just hit this play button, and it will send it to the path here. And it's basically doing the same thing that it did in Premier Pro, but now it's exporting it for you in media encoder. Remember, once you export premier program is frozen in export. So by separating it out with Adobe's media encoder, then now you have the luxury of exporting a ton of clips while you're continuing your workflow as an editor. 35. PROJECT #1: HOW TO MAKE A BASIC YT CHANNEL OPENER: All right. So the first thing you want to do is come over here to Window and select essential graphics if it's not already checked. And then the panel will open up on the right side, and you have my templates, which come inside Adobe Premiere, and then you have Adobe stock, which is their stock site. It is embedded into premiere. If you select the free box, they offer some things that you buy there, but if you select free, you can see some graphics there that they offer. I picked visual trends down here. Once you pick one that you like, hit the download button and it will give you that blue checkmark. Then you can drag it over into your timeline. But it will give you a circle crossed out saying that it won't come over. You'll need to do is create a new sequence. You can do that by dragging a video over or you can go to file new and hit sequence, and then your sequence timeline will appear after you select the settings. Now you can drag that template in and go ahead and change the sequence settings to match whatever the template is. I think this one is 108 p, and I'll use the slider to make my window a little bit bigger and I'm just going to make my sequence timeline a little bit longer. No that it's needed, but just like it like that. Now what you can do is double click on this and you have your textbox that you can highlight and you can change the text inside of it. For this, I'll just type in YouTube channel lower case. If you wanted those letters to get bigger, you can use the slider or grab this number over here and scroll right or left, and it will take the graphic with you and you can also do that for the graphic. Now what you can do is you can change the colors. You have color one and color two for these circles, and those two circles overlap, so it gives you a third color. But you can play around with this and pick the colors that you want. And then when you roll through it, you can see there's your graphic. And you can change the title bar and you can see I'm making this look worse as I keep adding colors to it. I don't know what to pick. Now my background color, I can change the background, and I can also remove the background and place a video behind it. There's another box down here it says background on or off. That, and I'm going to grab my video and place it underneath. I'll raise it up to track two and place the video on Track one. And now I have my graphic over the video. All right. So that's a simple way to create a YouTube opener and shouldn't take too long to do it. 36. PROJECT #2: MAKE PAINT SWIPES: All right. So for this, you have three titles, and then you have this paint brush effect that comes in from right to left, and you can also change the colors, and then it dissolves out. And the brush stroke PSD file and the model compilation are available to you. So if you download those, then you can follow along. So let's take a look at some of the files you'll have and we'll recreate this one more time. You have this model compilation, and you would bring that into the bottom layer. Then you have this paint brush stroke, and it's created in photoshop and it's just a PSD file. If you bring that over, the color is white and we'll change that in a second here. Now, if you want to add this effect, go to effects transform and select the cropping tool. If you just drag that over and place it on the paint brush stroke, then you come into effect controls and you just take out the right or left side. You can add a key frame for each. What you would do is select either left or right. And then take it all the way out to 100%, and then it will disappear, and then click that stopwatch, I'll add a keyframe for you. Right now it's at 100%, but we want to bring it to zero, meaning there would be no crop effect at zero, and then the paint brush stroke reveals itself completely. You have your in and out and you can go from left to right or right to left. Now, if it's too large, you can scale it down, or if you want to position it somewhere, you can position it somewhere else as well. Just selecting x and y, and you can take it to the top here if you want. And scale it in oro. The next thing you can do to change its color is come over here to channel and grab the arithmetic filter and drag that over. With the XOR value, that's the default value. You can select red, green or blue and just scroll through the numbers there until you get the color you want. Now, instead of recreating this all over again, if you just highlight it and use the keyboard and hit command C, and then use the marker and click out of it and hit command V, it will paste it again for you. And then you can adjust it and place it where you want, and then change the color the way you want it. You don't have to add these commands again. They're already there. You want to add another brush stroke. You can do the same thing, just copy it, hit command C, and then hit command V and paste it, and then drag it over into the top layer there. Then you can reposition it, and you can even rotate it. If you want it to go a different direction, just select that rotation tool, and then you can raise it up and then come down here to the arithmetic settings and change the color. And there you go. 37. PROJECT #3: EDIT JUSTIN TIMBERLAKE'S INTERVIEW FOOTAGE: Go ahead and grab this interview clip and bring it in. There are a lot of z or some stuttering and thoughts and things like that. And so you can do this with any audio clip to remove the ums and z and things like that. So that's really the purpose here. So as we listen to this, I want to identify what those are. Here we are in the jungle in New York City, a legendary spot, Licha Kes and Swi Beats real estate and business and creativity all coming together. They're just amazing those two. And I love the space. You spent time in here. You did Well, you worked with J on Magna Carta and here. Yeah, I was So the first one I come to is right here at about 17 seconds in. And I just want to clean up his audio a little bit. So I want to cut that out. Now, when I remove the video and audio with it, I can right click and then hit ripple delete. But what it does is it creates a jump cut. So we are going to cover these cuts up with another image. Let's see if we can find the next one here. The album. I co wrote some tunes on that. All right. Now, this section is a little unclear as to what he's saying, and you also have to think about, is this information relevant or not? And I think we can do without it, and it makes him sound a little more professional. And so we cut that out, and then we'll right click on that space and ripple delete. And we can even go back a little bit further. So I'm going to cut that section out and move that back and then right click and ripple delete to take up the seam, and then eventually we'll cover that up with another image. Now, to get even more specific, I want to zoom in on the timeline, and we're really looking for these gaps. I want to cut that gap out there, and then I'll right click and hit delete. Well, you worked with Jay on Magna Carta in here? There's a lot that's happened in the studio, ma'am. The Bance album. Mm hmm. I mean, did you really have to start with Dave Straight Hop. With Jay on Magna Carta in here? Yeah, I was, there's a lot that's happened in the studio, ma'am. The Bance album. Mm hm. I co wrote some some tunes on that. I mean, did you really have to start with Dave Straight Hop? Well, you worked with Jay on Magna Carta in here? There's a lot that's happened in the studio, ma'am. The Bance album. Mm hmm. You really have to stop with that straight. Now, since I don't have any images to grab to bring in, I'm just going to show you a trick that you can use with the existing footage. I'm going to use my marker in and marker outpoint to just grab a section from the video, and I'm going to cover up those cuts. Notice I'm only bringing in the video track. It gives me that option. I can select video or audio with those two icons. We don't want another audio track. Now I will go to effect controls, and I'm just going to zoom in and get a shot of either the interviewer or Justin Timberlake. Now, if I go over to effects in the folder image control, I can grab the black and white filter. Some might argue that I don't want to have a shot of Justin sitting there while he's talking, but every once in a while we see something creative like that. But the main thing is I'm covering the jump cut. As you're cleaning up your audio, it's looking at something else, and it also detracts the audience from listening to the audio track. But this happens all the time. People don't speak clearly all the way through seamlessly. Now the style of the interview was a little bit different where it was a little more raw, but if you wanted to clean it up and shorten it, that would be the way you would do it. What I'm looking for, you can see in the audio wave form in the audio track. You can already see the gaps there without even hearing it. And so just taking up a lot of those gaps, as long as you cover up your cut in the video, it works. Now, he says the same thing twice. J came in to do a feature on J came in to do to do a feature on. So I want to see if I can blend those two words together. And oftentimes you can get away with it. First, we'll use ripple delete to get rid of that extra space. And then to bridge that gap, what I'm going to do is, I'm going to lift that video up one track and bring the audio down one track. And if you use the marker, you can bring that video back just so it overlaps a couple frames, and that way it's not so abrasive. And as you roll over it, you can blend the two words together. He came in to do a feature on J came in to do a feature on J came in to do to do a feature on. So when we play it back, it plays a lot cleaner. And it's a little more interesting as it cuts away to other parts that help tell the story. 38. PROJECT #4: MAKE A GROUPON TITLE REVEAL: This is a group on commercial with Tiffany Haddish, and you see the title reveal itself in the middle of the screen. So we will do two things. We'll make that appear, and then also add in that green graphic. First thing is we'll just type in group on and I tried to match the position of it. And so we'll put that in the center after we hit that T title to make that title. Then we'll drag crop. And if we go to the bottom and we raise that up, you see it disappear. As we use that y coordinate for motion, we can see it reveal itself. Since it needs to be a little bit lower, I'll find where that spot should be. And so about 476 is where I want it to end up, so I'll add a key frame there. I want to start it a little bit further down off the screen where it's cropped out, and then when I play it, it will reveal itself. For the second part, you can create a square by grabbing that square, and you could match the color with the eye dropper tool and you could select the original group on on the left to match that color. Then bring it underneath and roll over the end to make it the same length. And once that group on title reveals itself, then you can scale up the green graphic. And so I was playing around with this and was trying to time it. So I'll start that motion forward and then add a key frame when it's fully there. But you can't see through it. So we've got to come down here to the bottom and take the opacity down to about 63%. Then we can see. And also notice on the left that background is blurred a bit. So if we bring in the Gauten blur filter, I can maybe raise that up to about 14%, and we'll see that it's blurred just a bit, but we want it to blur after the green graphic appears, so we'll make sure it's zero before that happens. All right, so that's just a quick way to reveal a title and also add in a green see through graphic. 39. PROJECT #5: CROP OUT FX IN A MOVIE TRAILER: All right. So the new movie Oceans eight is coming out, and there's a trailer where Sandra Bullock is talking and the right and left sides shrink. And so I want to just show you real quick how to do that and then place video in the background. So what I'm going to do is, I'm just going to take out the first section and I can use that since it's unaltered, and then we'll apply that effect to this so I can show you how to do it. So what you'll do is go over to effects and go down to the transform folder and grab crop and just drag it over to that section of the video. What we want to do is take out the left and right side. I have it at about 25% for both, so you can type in 25% for left and right, and that's our destination point. We'll add two key frames there at that point in the video. About halfway in the video, it will stop there. Now at the beginning of the video, that cropping effect will be at zero. The two key frames identify the points where that crop will take place. Now if you wanted it to go a little slower, then you would have that 25%, those two key frames further into the video. If you wanted it to go quicker, then you would just bring that 25% maybe halfway in the video. Now, let's see if we can take another section of the video and I'm just going to place that behind this video track. I'm going to raise the Sandra Bullock footage up to video track two and place the movie trailer footage on video track one. And I'll roll over the end a little bit and take up the first part of the video. I want to find a spot where I can see what's going on in the back. Then I'm going to add this colorizing effect so we can see it a little bit better. It wasn't exactly how it was in the trailer, but they do have a lot of red in there. If I go over to channel and I grab arithmetic and I drag that over to the bottom layer video and select and, and then I can increase the red value to 255, and now I'm able to see red in the background. That's a pretty cool effect. The next thing they did is they had a little bit of a border around the two images. If I go to file new legacy title, I can create a border that will go at the edge and I'll just drag that rectangle tool and create a small border and change the color to black and then and if I go to the project, I can drag it over. Now, the trick is to animate that line at the same speed. What I have to do is find that point where it stops. Now to get a little better adjustment, I'm going to go ahead and move the title bar over the Sander Bullock video, and I'll start there with my main position and then I'll drag it off the screen at the very beginning. At the beginning of the video, it starts off the screen and at the end of that movement, it stays right where that square ends. Let me trim off that title a little bit just to make it clean in the sequence. Then I will duplicate this line and drag that over. To that part in the square where it ends and bring that into the sequence timeline, and now I've got my second line, and I'll do the same thing. Where it stops, I'll have my position key frame added there, and then I'll drag that rectangle off the screen. Let me add the position and then at the beginning of the video, I want it off the screen, so I'm just going to drag it off, and then now when I roll over the whole video, you can see that it follows the same path. 40. PROJECT #6: MAKE AN OLD NAVY COMMERCIAL: All right. So if you've ever been to an old Navy store, it's like a skate surf store, and they have screens in their monitors that will be showing videos. Looking at these clips over here, you've got four or five main images, and then I have this texture file. If you ever type in texture on a royalty free site, you'll get some really cool images. So there's either pictures of textures or there might be some video clips of different textures. I have one here. Then I also have these dots that I'll show you can add a texture to your video clip. You see here there's this layer of haze looks like eight pieces that make a checkerboard. Then what I did was I exported that video and added a couple more effects. Then I use the old Navy logo and keyed out the white and place that over the video. Looking at the different layers here, the top layers. Remember, the camera is always looking from the top layer down, so whatever's on the top will block whatever's underneath it. If I toggle that I, we'll take all of those off and now you're looking at my main footage of my guy here in the red hat, and then I added this texture, which is a bunch of dots, and then I can scale it in or out, change the colors on it and key out the white, and that's what I did here. I added a color key to this top layer. First, let me show you what it is. If I scale it up, you can see that it's just a bunch of dots. You can add that scaling effect to make the dots bigger. I liked it smaller, so I replicated this eight times. But you can see even if you just do a half screen, it's something that's pretty cool and I didn't make this up, I just copied it from somebody else who's doing it, and it's a way to dress up your video and do something that maybe other people don't know how to do. Under keying in these effect filters, I just grab that color key filter and dragged it over to that layer, and then I used the eye dropper, and I took out the white, and it allowed me to see through it. And if you take that color tolerance all the way up to 255, it'll take the white out. And let me blow it up here so you can see what I did. If I just use that eye dropper, hit the white and add that effect. I had it toggled off, you can see that it will take out the white so you can see through it. Then you can scale it down or scale it up. Now, I did this to each individual layer. I used the scaling in motion, and I just copied it and pasted it and moved it over to make checker board effect with all eight layers. I rotated a couple so the pattern had a variation. But you can scale in or out. This uniform scale button, if you wanted to stretch it without it being a square, you'd have individual controls over the width and height. And so if you uncheck that box, you can stretch it. I kept the proportion the same, but that's what that does. Then the very top layer is the old Navy logo, and I added a color key effect the same filter, the color key filter, and I just used that eye dropper tool and put it over the white and took out the color tolerance to take out the white. And so we're able to see through that. If you wanted to take out the blue, then you would use the eye dropper to select the blue, take out the color, tolerance for blue and you could invert it like that if you like that. Now, zooming in a little bit closer, if you take that slider and zoom in, what I did was, I added a lot of jump cuts, so it's not continuous. I took out pieces of footage, so there's this it's not one continuous video. You see how those videos are cut into smaller pieces. It adds a little bit of jumpy effect to it. Then another filter I added was the brightness and contrast. I pushed the contrast up, and then I also added this arithmetic filter. It's one of my favorite filters. If you've watched any of the other classes, you see that I'm using it quite a bit. It's just a quick way to add some color without using the color wheels and the Lumetri effects. You can get a little more, Flavor quickly. You see here, I have this green and orange and pink look with this OR operator. It's called. The operation is XOR. There are other effects on there like and, you can add the red value, green value, and blue value to it. But as you move those values up or down, you can play around with it to get a funky look, and I just, you know, use those and made that look there. The other thing you can do is you can actually change the color while the video is playing if you add key frames. So, about 1 second in, I have, you know, those values for red green and blue, but then I want to change them a second later, and when the video goes back to play, it will make the colors appear the way I program them at that point in time, so you can have the colors changing. I basically do this effect all the way through. I have my jump cuts. The other thing I'll do is I'll take one individual section and I'll just use scaling and scale it up. Not only is it jumping because it's missing pieces of video in between, but it's also blowing it up for just a second. It's just one more creative way to take existing video and get a little bit more out of it. Last thing I did was I wanted more control, and you can compress the video and flatten it as one final piece and bring it back into your project. So you can go to file Export Media and then just have that box check so it'll bring it into your project bin. Then this second clip here in the timeline, I just grab it with all of those effects. Also when your computer starts to bog down, sometimes if you know you're finished, you can just compress that video file with all of the effects in there already and then start again, and it's a lot easier. Now what I did was I brought this paint grunge, red motion. It's a texture file that I downloaded from a royalty free site, and I can bring that in over the video and bring the opacity handle down about halfway. Now you have this motion and it's jumping around over the effects that I've already added. The other thing you can do is bring it down or up and then use that XOR filter to change it to purple or blue or whatever color you like. And then when you watch the final video, you can see all of the effects there. Basically, there's a handful of effects. I used the razor blade to jump cut. I use the XOR, which was the arithmetic filter, and then I added that dot layer and added some scaling. That's pretty much it. 41. PROJECT #7: MAKE A TRUE DETECTIVE OPENER: So this is the introduction for HBO's true detective. It came out a few years back, but it's a great introduction for how to layer some images. So I created something similar, and there are one, two, three, four, five different layers here. You have the Crow, you have the girl on the foreground and a girl in the background. Now, if I open this up, you'll be able to see each layer, and then in my project bin over here, you can see all the different files that I used. The first one on the top is the title. The second one is the grunge film look. Third one down is the crows and fourth one is the image of the close up of the girl, and the last one is a girl on the Dock. Over the water. To do this, I'll uncheck the top four layers. Remember the camera is always looking from the top down. If the opacity isn't see through, then it's not going to show the ones underneath. On my first video clip, what I did was, I just added brightness and contrast, which is a filter. You can find down below, all those filter folders there. And then I changed the scale a bit. So I added two key frames. One is, it starts off at 100%, and then I take it up about nine more. Then I also adjust the brightness and contrast. You can add key frames while you're watching this video, so you can constantly change the color as it's moving. For instance, I can grab the brightness and take it all the way up and then in the same video clip, it comes down so you can play with different effects there. All right. I'll remove those. You can always hit command Z to go back and take those out. Now, un checking this in the second layer, let's look at the girl here. Now, I added black and white. So I went over here to image control, and I just grabbed that filter. I felt like there was too much color in that. So they have this washed out look and so I added black and white. Now, if I use this slider, I can open it up a little bit more on both the side and down below to lengthen it. And I added these key frames. And so if the key frame is all the way up to the top, then that means the entire video would be shown, and if it's down at the bottom, that means nothing will be shown. Looking at the third layer with the crows, same thing. If the opacity layer is all the way down, then you won't be able to see any of that video. And if it's all the way up, then you would see all of it. So you can add those key frames and play with the opacity levels to get the desired look. Now, for this, this is a texture file, and what I did was I have a stock video clip of a film look, and I just downloaded that from a stock royalty free stock site. Now I can export just one frame because I just want the picture, I don't want it moving, and now I've got this texture. So I can bring that in as the top layer. Bring the opacity down about halfway, so I just get a little bit of that. They have this glass texture in their clip, and I'm using something similar. Then if you come over here to perspective and add this three D filter, you can turn it sideways. I'm going to scale it up a bit, so that way it doesn't move off the screen. And it adds some three dimension to the entire sequence. I can add a keyframe at the beginning, and then as I swivel it, I can increase that and add another key frame at the end of the video. You see it move just slightly. If there's too much texture, then you can grab that entire opacity layer handle and bring it down. I have I haven't added any key frames yet, but now add a couple and I can increase the one in the middle, so I get a variation of it's on the screen and it's off the screen. And I'll lengthen it. So it matches the other clips. And I can add as many key frames as I want and have it go in and out as much as I want to. Again, the higher the keyframe, the more that video would be shown, and the lower the keyframe, the more it would not be visible. Now, I added some scaling to it. You see it start and then move forward just a bit. Usually 5%. If I start at 100, I might only take it up to 105, and that would be enough just to show a little bit of movement. Now, for this last one, I added this title, and you can also add this three D perspective, basic three D filter, and you can add a key frame on that swivel portion. And decide how much you want to swivel it. They do it just a little bit just barely, like maybe 10% or less, and it shows just a little bit of movement that's different than just a flat image. Now, something else they did, they added spacing in between the letters. What you can do is this font normally didn't have that space. So you can click in between each letter and hit the space bar once. The other thing you can do is if you don't like a full letter space, you can highlight the area between the two letters and you can pick your own space size by just adjusting the font. So that's pretty much the basics, and you can use this layering effect in any of your videos to make it a little more advanced. 42. PROJECT #8: MAKE AN ABC SHOW TEASER: Let's take a look at Deception. It's a new series out on ABC this week and you can take the resolution down to half instead of full if it's already set that way. There are quite a few commands in this project file. Let's take a look at each layer and basically, this has several layers in it, and so we'll toggle out on each one so we can see what's going on here. The first one is Sundays at 109 central, then the ABC logo, then the playing card, the deception title. We have two layers of smoke, then we have our main character, and then we have the white background title. Let's go ahead and I will recreate this again in the same sequence timeline. Normally, you would start a new sequence timeline, but I'm just going to do it right next to the original project. The first one is the background, and that is a White BG is what I titled it. If you were to recreate that, you would grab this square in the tiler and make that square and then just x out, and then drag it over into your project sequence timeline. Now the next one is the Blue smoke, so you should have been able to download that. And it's just blue smoke. It's a stock clip. And I'll drag that over and cut off the end. Then what I want to do is take out the background, the black color. If I go over two effects, and then I find the folder under key and then just grab color key. If I drag that filter over, and then I go to effect controls, If I use that eye dropper and select that black color, it'll take the color out. Now, you can toggle the color tolerance out and then feather out the edge. Until most of the black is gone. Now the next layer I want to bring in is my main character. Now, this is a photoshop file. I already has the background taken out for you. If you drag that in, now there's nothing behind them already because it was done in photoshop. Now the next layer is the blue smoke again, but instead of just dragging it over and doing the commands all over again, I'm going to copy what I've already done, and then I will paste it where the marker is. If I select video track four and uncheck Videotrack one, then I can place it there again. Now what I want to do is I'll just scale it down. And bring it down. Notice there are those hard edges there because the smoke runs off the frame. If you go to uniform scale and uncheck that box, you can start playing with the perspective. What I'll do is I'll widen it a bit and lengthen the top. And try to make it look a little bit different than what's in the back, so you can select what you want that to be. Now, if you stretch it all the way out, you can get rid of those lines, but if you can't, what you can do is if you come over here to the effect controls under the transform folder, you can grab crop, If you select the top part, you can come down a bit to get rid of that line. Then if you go to edge feather, it will allow you to feather out the edge. Now, since the smoke looks exactly like it does in the back, because we duplicated it, I'm going to trim off the front part and trim off the back and move it over just because I don't want it to be exactly the same as the back. You have enough footage there to do that. Now the next thing I did was I created a title with the Adobe titler. I selected the dark metal font that was already in there because it was closely related to the ABC title. It's not exactly the same, but I added that and it gave me an option for linear gradient. For this, I'll choose a different color just so we can see something different. But I selected the linear gradient, and then I selected white and gray and it spread the two colors across the title. Now if I X out, it'll change that original title and put it back in the project bin and then I can drag it over. The next layer I want to add is the playing card. If you drag that over, you can place it on top on the next layer and that had the background taken out as well in photoshop. You don't need to worry about keying out anything. Then I'll place the ABC logo on top. I'll use position to place the logo over in the right hand corner right now under effect controls just to get that out of the way. My last title is Sundays at 109 central, and that will be my last layer. Remember the camera is always looking from the top down, so the layer on top is going to be placed over everything underneath it. If you don't like that title, you can choose a couple others in that title window. Here are the basics for putting it together and on the next lesson, we'll look at how to animate each. Now let's click on the Deception title and I want to use the x and y coordinates to bring it onto the screen. The very beginning, I have that key frame where I have it off the screen. Then the last part I want is I want it to slow down a little bit. I have three key frames and I can position them close or far away from my initial keyframe and that tells me how fast or how slow it will come on the screen. You can see there as I move that middle key frame back. Do we want it to come on quickly and then slow down or do we want it to come on slowly? The next thing I want to do is I want to crop out the letters as they arrive on the screen. I'm going to add this cropping filter. If I drag it over onto the title and then go to effect controls and move the playhead into about the center, I'm going to toggle that stopwatch at zero for the right. But when it comes in, I want it to be cropped out all the way. I'm going to crop it all the way out to 81% or so. Now as it moves from 81 all the way back to zero, meaning zero is no cropping at all. Now it crops each letter. Now, let's go ahead and scale and animate this playing card. Let's scale it down to about 23% or so. At the very beginning, I'll add a keyframe there for the position and also the scale. By the time it gets to about the middle of the video, I want it to be closer to the foreground. I'll go ahead and scale it up, and then by the time the video ends, it goes back towards his hand. If I wanted to stay in the foreground for a little bit longer, then I'll hold those positions and extend it. I'll keep the same position and the same scaling. Now for a pretty cool effect, if you go over here under effects into the distort folder, you can grab corner pin. If you place that filter over the playing card, the next thing you can do is if you go to upper left, you can adjust the corner pin to go left or right. What that does is it skews the perspective, which makes it more three dimensional. Now we see it bend a little bit. As we make our adjustment for each, it will add the key frame for us, or we can make our own keyframes by toggling in that key frame point. For the next one, what I want to do is I want my actor to just fade away in the background a little bit. I'll start him at a higher scale and then scale him down just a little bit. I'll put that key frame at the end of the video so he's constantly moving the entire time. We don't want to move it too much. We just want a slow steady pace. If you wanted to add one more piece of animation there, you could do it to the ABC logo, and what you would do is just lock in the scale and position where it is right now, and also the rotation key frame. Now if I drag it off the screen by placing a keyframe towards the beginning of the video, I'm going to use the rotation tool to just rotate it around a couple of times. I'll use the rotation number, and I'll keep it at zero. But then at the very beginning, I'll rotate it around twice and it puts the keyframe in there for me. But now as it comes into the screen, it rolls. Now as we watch it again, we can see it has each animation layer programmed, and there we have it. I hope you are able to learn from this, and I'll see you on the next one. 43. PROJECT #9: MAKE FX WITH JEEP: Alright, so go ahead and open up the 2018 Jeep Wrangler commercial that you should have been able to download and drag it into your project bin and double click on that. And I'm going to go to the end of this commercial, if you want to watch the whole thing you can, but there's this effect that makes it appear as though the car shutting off or the video shutting off or At the very end, they start like chopping up the image. See how it has a couple of different images in there. And all it is is they're just cutting that and then placing it over the existing image. Now, a lot of times you'll use photoshop for things like this, but Premier will do it for you with a couple tools. One is cropping. And placing the video over the other. You can add some filters to it as well for the other effect. And the last part is they cut frames out, and it goes back and forth to black and the video. So I'll show you how to zoom in on the sequence and use the razor blade, and we'll cut frames out for that. So let's go ahead and get started. Now, I'm just going to bring this video clip the last 4 seconds or so into my timeline. So if you use the marker point, it'll highlight that area gray and you can drag it in here. So let's slow it down a little bit and look to see what they did. So we've got the Jeep logo, and then the next frame, it moves closer and then closer, then they cut it off, and then there's a couple logos one on top of the other, and then it duplicates itself and that kind of thing, and there's a little color added. Not going to go through every single image. I'm going to go through maybe four or five steps, and with that, you'll get the hang of it, and I'll add another filter effect that I thought was pretty cool that they didn't use. Now, what's cool about this is if you go over to this camera icon, you can click it and it will export wherever the marker is in your sequence timeline, it'll export that as an image. We're going to do that with this Jeep logo. If you roll the marker over this jeep logo and then hit this camera, you can rename your file and it will export it for you. And once you export it, you can drag it in, and now you have this image. So I labeled it Jeep pick. And so if you drag that in, now we'll be able to cut this picture up. And the reason we have it as a picture is because the videos constantly moving. We just need that logo so we can start adding effects to it. So what we're going to do with this jeep picture is, I want to use the razor blade tool. I want to cut it into maybe ten sections. So just take the razor blade tool and about every 20 or 30 frames or so, go ahead and make a cut. And what that does is it allows us to access each part of that picture so we can add an effect to it. Now, click over to the second clip, and then go over to effect controls, and you'll be able to adjust where it is. There's our first effect. All they did was just zoom in a little bit and move it down. So we've got our first and second frames right there. So that's the original video. First second, first second. And let's go back to see what we did. We have our first and second. It's not going to be exactly the same, but you get the idea. All they did was have two images there, one, two, one, two. Now let's go to our third image and see if we can add an effect there. So they have one, two, and three. So the third image is over to the right, and that Jeep is a registered trademark is now flipped up to the top. And it looks like they added a little color there. So I'm going to use effect controls again. I'm going to use motion, and I'm going to use scaling to make it a little bit bigger, and also the position is I have this at 9:38 611. So I move it down. Now, I'm going to add this effect. You're going to go to effects and then channel and arithmetic and grab that over. Then it gives you some options here. You can play around with this. For this, I selected and, and now I can adjust the red green and blue value until I get that color that I like. I've got roughly 163 on red and 255 on green and blue, and that gives me something similar to what they had. All right. I've got one, two, and three. Now, the next thing I want to do is I want to copy this, the one I just created, and I want to paste it again on the next video track. So I can toggle Video track three. So to copy and paste, you can just use the keyboard and hit Control C or command C, and then select the track where you want to place it with that blue toggle and then hit Control V, and I paste it on Video track three. Now I've got the second image, which is the same over the first image that we've already altered. I wanted to look like this with Jeep as a registered trademark. And so I've got this second image there. I'm going to copy and paste a third image. Hit command C, and then Command V, and the video will be pasted into the layer that's identified and it will show up where the marker is. I'm going to go over here to video effects and transform and crop and bring the crop tool over to the top. I'm going to make it a different color just so I can see the difference between image one and image two because they're exactly the same, and then I'm going to bring it down. I make a different color. Now I can see I'm going to roll over this. I'm going to crop out the bottom. And crop out the top. And crop out the left and crop out the right. Now we have that small E, and then I can place that E in there. I'm going to take a little bit more off and then change the color back closer to blue. I'm going to add this other little effect here, which is Gach and blur. And I can blur this just a little bit. It's a nice effect. I don't know if they had it blurry, but I'm just giving you some options. We have one, two, and three. And we go back to the original and they have one, two and three. Now, number four, they've cut off the last letter, and let's see what we can do. Let's scale it up. Now, how can we take off the last letter? We're going to go to effects and transform and grab that crop tool, drag it over, and we're going to crop out the right side. There we have it. Now I'm going to add that channel arithmetic filter, and I'm going to select and, and I'm going to change the color. All right. So it has a fainted blue in there. So you can see how it starts to come together here. That's basically what they did is they just had several images and they cropped it out and added color and positioned it or had them overlap and then compress the file. Let's go to our fifth image. T. We can see they have two images here, and it's a lot larger. Let's go ahead and scale it way up. And we need a second image, so I'm going to right click and copy, and then I'm going to paste it by checking that V three. It command C, and then command V, and the video will be pasted into the layer that's identified and it will show up where the marker is. I'm going to move it over so I can see the two because I've got two of the exact same images, so I need to move one over. Now if I crop the top, by adding that cropping tool. I can crop it, and then now I can scale it in or out and now we have something similar to what they had. Let's go to channel and then arithmetic, drag that over, and let's see if we can change the color. I'm going to select and and adjust the color again. It gives you some options on how to change colors, and if you don't like the color that they selected, you can also pick something else. All right. So that's pretty close. Like I said, it wasn't going to be exact. I was just trying to give you an idea. Now, there's another cool effect that they didn't have in there, but I want to show you this really quickly. And I think I've seen Jeep do this before is, I'm going to add this lens flare and it's under generate in the effects bin, and it puts in the lens flare for us, and I'm going to animate this. If I toggle in the key frame right here at 768, four y two, and then I go to the beginning of the video, I can move it to the left and then I go to the end of the video and I move it to the right. It will animate that going across like that. That's another cool effect that you might be able to add in there. 44. PROJECT #10: ANIMATION MAPS FOR KIDS: Getting started, you're going to pick a new project. I named this one plan Animation, and then you'll bring in the folder with all of the assets. You can just drag it over from wherever it is on your computer. All right. Let's get started. My work file is going to look slightly different because I have the titles that are already created. So I'm going to double click on my map here. There it is. And I'm going to grab it with this hand tool, and I'm just going to bring it into my timeline, I wanted it to be my first bottom layer, I'm going to bring it into video one. We have our map and right now when we bring it in, it's too big. Let's go to effect controls, and let's start here at the beginning of this clip. Here's our clip here, and we want to make sure that this marker, I call this a marker is at the beginning. When I'm starting this, I want it to be scaled out. I want it right here. But let's go 60. Now, the US is not on the screen, so I'm going to use my x y coordinates and I'm going to take my x coordinate and I'm going to move it over. We're going to start here with the United States. We're at 13 60. I like where that is 601360. What I'm going to do is I'm going to toggle the animation, which is otherwise known as adding a key frame. I'm adding a key frame for position, so you see it there. Then I'm going to add a key frame for scale. Scale, remember is in and out and position is x and y. Now at this point in the video, it's going to stay there until I add another key frame. Right now I'm holding the left button down on the mouse and as I'm rolling through, it's not moving. By the time it gets to say 1 second, I want the map to be moving. I'm going to go ahead and move it. I'm going to put it here. Then as I move along a little bit more, I want it to get to Egypt. By here, I want it to be I want Egypt. Maybe that's a little bit too far. I want Egypt maybe about right there. Now I go back to the beginning and now I've got my map that's moving. Now, let's add the plane. Come over here, click on that and drag the plane over to Layer two. Now you see it makes it appear as though the plane is moving, and it's just the map that we added those animated toggles to, so that's the deal. Now, my plane is going the wrong direction. Let's go over here to effects and let's go to video effects, and then go to transform and select horizontal flip and bring it over here, and then it flips it over. Now, also, my plane is not starting where it needs to start. What I'm going to do is, I want to scale it down. I want it to be a little bit smaller. I'm going to bring it down to say 50, and then I'm going to hit my scale key frame, toggle animation keyframe, which puts that right there at that point in time. Then the position at that point in time is off, so I want to use my x y position coordinate, and I want to have it right over here in Los Angeles. It's about 1:22 or so 120, and then I'm going to bring it up, I'm going to start right here. I could also maybe go a little bit smaller. I think might be a little smaller in the final one, but you can decide how small you want to be. Let me select my position toggle here. That's locked in. Then since I made a mistake here and I wanted to be a little bit smaller, I can select this, highlight it again and delete it and say, I really wanted it at 40. Now it's a little bit smaller. Now, So because the map is moving, it makes it appear as though my plane is moving. So what I'm going to do is I'm going to scroll over to Egypt. At that point, Right about here where my map stops, I want the plane to already be in Egypt. I'm going to work with my destination point. At that point, I'm still highlighted on the plane. I want the plane to be in Egypt. I'm going to use my x Y coordinate tool and I'm going to bring the plane over to Egypt. My number is 773, and then I want to bring him down. Right there. I'll bring it down just under so we can still see Egypt on the map. I have it at 773, 373. We're starting here with the plane, and then we have land in Egypt right there. Now, the other thing I did was, I wanted to scale the plane and make it appear as though it was getting larger. About right here in the middle, I had it scale up. I'm going to go ahead and at that point. I'm going to put it at 100. Okay. Then it goes from 40 all the way up to 100, and by the time it gets to Egypt, I want it to be back down to 40. Right here, I can pick 40. Now, something else you can do if you don't like this slider tool is just click on this and just type in 40 and then hit return on the keyboard and then now you have it at 40. Then you can adjust this It lines up at the same time where the map stops. Now to do that, just select it and you can move it. That gives you a basic idea of how to animate something. Here we go. It starts in LA and ends up there. Now I'm holding the left button down in the mouse. This gives you this real time view. Adobe installed this virtual playback. It's called a Mercury playback engine. They did that a few years back, which is really cool. It allows you to see things in real time. There we have it. Now, let's go ahead and add the Clouds. I'm in effects mode, Let's toggle or we're in effects, so just click over back to the project. The next thing we need to find is the pan video. I'm going to grab that and I'm going to bring that into video layer three. Let me use the wheel on the mouse to go a little bit higher. Now, notice, remember, the camera is always looking from the top down, so we won't be able to see anything underneath it. If I remove it, I'm seeing the plane and if I put it back there, I can't see anything. They call this an opacity handle. Right now I've got this line at the top and so if I roll this pointer over it, it gives me an option to use whatever this is. It's it's giving me this opacity control handle. Right when I put it there. If I hold the left button down in the mouse, I can bring the whole thing down if you just wanted to have that cloud layer at that point. Now, I wanted it to fade in and out, so I can start with that and then I'm going to use this add remove key frame toggle. Now if you don't see this, it's because you don't have it all the way open. They do this thing where they don't even appear. Se there's nothing there until you open it up. About right here, it opens up. You have to have it at least that high for it to show. Now that we've done that, I'm going to go ahead and add my key frames. What this does is it's almost like a thumb tack and it tacks in that command at that particular point. I'm going to add another key frame here and maybe another one here and another one here, and then I can go adjust them. At this point as the plane gets up to the sky, I can move this left or right or I can bring it all the way up. Remember, as I'm going all the way up, it's blocking out what's underneath it. At this point, now I can see that that's what I want and so I have it right there and by the time it gets back down to Egypt, I need those clouds to disappear. That's how I do that. You can play around with that to see how much cloud image you want or don't want. By the time it gets here, I'm going to go ahead and just bring it all the way down so there are no clouds. Now, something else that you can do is see this video clip is really long and sometimes I like it to be clean. So I can roll over this and it gives me this other tool. Hold the left button down on the mouse and I can bring that all the way in. For the next part, we're going to create that orange rectangle. You're going to go to file new legacy title. Then you can rename it here. I usually Like to work quicker so I don't like to stop and rename it. It, and then select this show background video icon. If you want to come over here, select the rectangle tool, and I went to about right here. I'm holding the left button down on the mouse and then I'm giving myself that rectangle. You have some options over here. I wanted orange so you can select the color and pick that. Then I also wanted to be able to see through it. I selected the opacity down here to about 88 or so. Now I also animated this. What it did was about right here. I came in to the frame. What I'm going to do is select this Title five. At this point, I don't want it on the screen, but I want it to come on about right there. I like the scale for it, I like the position for it. I'm going to go ahead and toggle those key frames in at that moment. But over here at this point in the video at the beginning of our video, we don't want it on the screen. Then we just need to add our final title. I'm going to go up here and go file new legacy title, and then Title six or maybe this one you want to call it Los Angeles. Come over here to the type tool, select that. Los Angeles. It's going to be too big. I'm going to take the size down and get my selection tool so I can place it where I want to. Maybe I don't like that color. What I'm going to do is I'm going to highlight this whole thing and then come over here to the color that I like, hit blue. Then now I've got blue. I'm going to hit my next title, which was two, it Return Cairo, Egypt. Then for this, you can scroll through and pick a different font to match. I think it was Bud Mo was the one I picked. Then right above this, after you choose the color, you can select the center tool, which will center that, and then you can scale it up. Use the selection tool to bring it up a little bit to make room for the last title. For the last title, just select that t and then you can start typing 69 20 miles and highlight that, or you wouldn't need to if you want to select some of the defaults that Adobe has at the bottom. Once you find one that you like, you can highlight it and center it as well and scale it up a little bit and then use the selection tool to bring it right underneath. The title of this one is Los Angeles. Now if I just x out, it'll save it like that, and it's over here, and I just drag it right to the top. This is Video five, and then Los Angeles Cairo Egypt, 69 20 miles. Now we want our title to fly in so we can go ahead and select the scale and position, and I want it to fly in like this. I'm going to go ahead and scale it out. It's at 262, but by the time it gets here, it comes in and it matches up with the orange. You're just going to grab the audio and bring it down here. Then we have the plane flying. I'm going to grab that and bring it down here. When you play with those, you can decide how loud or how soft you want that jet engine to be. And so it's the same principle as the opacity handles on the video, and maybe you want it to get a little louder, as it gets closer. What you do is add your key frame to where you want it to be, right here. Also to, if you need to zoom in a little bit more to get more precise, go ahead and hit the slider tool down at the bottom. That gives you a little bit more control as you add these dots and just key frames in a short period of time. Now, at the end, you may want to fade out the jet as it lands, it a keyframe there and then bring the audio all the way down 45. PROJECT #11: MAKING A SPORTS PROMO WITH FX: All right. So for this one, there's a folder, and it's Trout MLB. So if you just grab that folder and bring it into the project bin, you can open it up and there's yellow arrows and Mike Trout Air and Mike Trout Air reel. So the air is just the source clip unaltered. And Mike Trout Air real it's just a reference clip so you can see what we're going to do. We added some black and white over the color, added some effects, did some masking and some stars that are animated. We changed the color to red, we cut out some frames. We use transform and crop to place images over one another. We did speed with going forward in reverse, and we used color correction to change the brightness and contrast. We'll do some of those things here with this new clip. So what you want to do is grab the entire clip and you have an option to bring in the video or the audio or both, and just bring in the video for this. We're not going to do any audio at first. The first thing we want to do is we want to take a still frame out of the video. So there's a camera icon that will allow you to do that. Find a spot in the video, and it'll just copy the name of the video clip unless you want to change it. And then if you hit that camera icon, it'll save it, and then you can go find it where you placed it and bring it back into the project bin we have a new file that we are bringing in. Go ahead and place it right where that marker is. And then cut the video and move the video out. And now we've got video and then it cuts to a still frame, and then it goes back to video. And in case you missed it, let's do it one more time. I'm going to take this shot of him facing forward. It's asking me to overwrite because I did this. That's for something else. Just hit, yes. And so we bring it in and then drag it over to the timeline where the marker is. And I'm going to roll over the edge to make it the same length as the other first image, and I'm going to place it on top real quick just to make sure that they're the same. Bring it down, and use the razor blade tool and cut it right at the marker, and then move the video. So we've got video, still frame, video, still frame, video. Now what we want to do is I want to animate this star. I wanted to come in from the bottom and go to the top right corner. So I'm selecting my position and scale toggle to put two key frames to lock it in where it lands. And then I'm going to back up and bring it off the screen at negative 3601200 f. It starts at the bottom left corner and ends up at the top. Now, I don't like that there's still some black background, so I'm going to create a new background. Let's go file new legacy title. Type in B G hit. Then grab this square over here and hold the left button down and just drag it over the whole area. Now, the color is not the right color. We want to match the color of this star background. Som to use the eye dropper tool and then select. That way it will match. X out, I will save it for you. Bring in B G in your project bin over to the sequence. And we need to raise up the two clips. We need to raise up Mike Trout and Yellow arrow to video track four and three and place the BG right underneath. Now we've got some animation and it matches with the white background. All right. Bottom left corner to the right, and I needed to scale this up just a little bit to 252. Not all of it was on the screen. All right. We've got our star and a nice little effect there. We see that often on ESPN or MLB network, they do this. All right. Now what I want to do is I want one more arrow going the other way. I'm going to bring in that arrow on video track three. And I'm going to toggle out video track four with that icon just so I can see what I'm doing right now. I'm going to scale that up and rotate it. And our destination here is the upper left corner. I have it at about 1067650. That's my x y coordinate for that. That's my destination. I'm going to go ahead and hit scale and position. It's going to put two key frames there. That's where I want it to end up. Now, I'm going to go back to the beginning and I'm going to select my starting point. I have it at about 24, 16, 11 e three. I can adjust this by grabbing all three at once by rolling over the left mouse and just holding it and grabbing all three key frames. H. And now I'm going toggle the other one back on, and we can see that there's still some white in the other graphic that needs to come out. But both are animated the way I want them. Now I'm going to go to effects and video effects and key and color key. I'm going to drag it over the one that's on top, and I want to get rid of that white. So I use the eye dropper tool to select the white, and I still have some jagged edges there, so I'm going to take out the color tolerance just a bit. And it's taking a little bit of the yellow away, so I'm going to edge feather it, and there it's a little smoother, right. So now we have two stars that come in. If you were putting something together and you had, say, five characters and you wanted to put some graphic in the back, this would be a pretty cool way to do it. For the second image of Mike Trout, we don't have to reprogram everything. I can just copy these and paste them underneath that second image, so we don't have to do it again. But before we do that, I'm going to add some brightness and contrast to Mike Trout. It's a little dull, so I'm going to go to effects and under color correction. I'm going to grab the brightness and contrast filter and bring that in and I have the contrast up to 52 and I'm taking the brightness down to about negative eight. A Let's go to the second image, and I'm going to go ahead and grab the free drawer and come over to the image and we'll go around the outside. And then if you select the first dot, it'll end up there. If you need to make some adjustments to each one, you can do that. You can also add other dots in between if you want to get more specific. All right. And mass expansion, you can play with that. If you want to get a little closer to his body, you can do that. I like the outline for this and the mask feathering, I'm going to take that all the way off. I like this hard edge right now. Let's move him up to video track five and highlight the three pieces that are going to go underneath, which is the two arrows in the background. If you select this video track two over here on the left and uncheck Video Track one, the blue toggle, it will place it on video track two for you. All right. Now we have our effects that we don't have to program again. And I also want to copy the effect that I placed on the first Mike trout image, which was the brightness and contrast. And I'm going to select effects. I'm going to paste those attributes. Copy. I hit right click copy, then right click paste attributes, and then check that box and now pasted those right in there. So it saves some time. If you like a certain effect, you can keep pasting those effects throughout your video. All right. Hope those are some cool things that you can use, and if you like that style, then let's move on to the next. All right. So let's see what else we can do with these images. All right, I want to go ahead and replace this color around the outside. I want to make it red and match the team color. So I'm going to go to image control over here in effects, and I'm going to select color replace. I'm going to bring that filter over to that image. Alright. And then I'm going to select the target color, which is that green. And then I'm going to select the replacement color, which is red. Then if I select solid colors, I can use the similarity tool and bring it up to about 18. Go back to the mask. I can adjust the expansion. If I want more red, I can expand it. All right. Let's do something else. Let's go to the beginning of the video, and I did something where he crashes into the wall, and then I use reverse speed to make him come back right after he hits the wall. All right. Now he hits the wall, and we are going to do that reverse effect. So I'm going to go ahead and hit the razor blade tool where he hits the wall. I'm going to select video track two. I'm going to go ahead and hit command C to copy it, and then command V to paste it on video track two. Then I'm going to right click and select speed and then hit reverse speed. And then you see how he backs up and so it's going reverse. And I'm going to trim off the end a little bit by rolling over it. All right, so that's a quick way to do speed and reverse. All right. Now I'm going to apply the same principle, and I'm going to cut out a section of the video, and I'm going to do reverse speed here. It's just a weird little effect that chops up the video and gives it a little more edge. And so I'm going to cut out just maybe a few frames, select it, and then reverse the speed. All right. Now let's go down a little bit and select another section of the video. Just cut out the beginning and the end. So we're just working on maybe 1 second here. I want to change the color. So go to effects and the channel folder. There'll be a filter called arithmetic, and you can drag it over and then select and and use the red value to bring it up to 22f5. All right. I'm going to cut out another section of the video down a second or two. I have the razor blade at the beginning and then go down a few frames and razor blade at the end. For this one, I want to replicate the image. I'm going to go to the stylized folder and select the replicate filter, and now I can choose how many images I want on the screen. I'm going to select two. It's replicating it twice, which would give us four images. I'm going to cut out another section a little ways down, and I'm going to replicate it a lot more. You can see as you roll that number up, you can have tons of images on the screen. When it happens pretty quickly, it's interesting. All right. For this, I'm going to take this last part of the video and I want to make it red. So I'm going to go ahead and copy the other part of the video where we added red. And then I'm going to paste that attribute. If I right click and hit copy, if I right click and hit paste attributes, then I can select the attribute that I want to paste in there, and for this, it's just the arithmetic. So I just check that box. Now what I want to do is there's this effect. I almost looks like an old film. You take out every other frame. To do that, you've got to zoom in all the way. And then we are just going to use the razor blade tool and take out every other frame. Now, once I've done that about ten times, I can highlight those frames, copy them, select video track two over here, the blue toggle, and I can paste them in another part of the video. So that gives it a crazy look because you've got this one image on top that doesn't have a complete stream of video because it has the frames cut out, and then you have the other video underneath. And so if you do that, it's a quick way to add a little chaos. Now, something else we see quite often. I think MTV was one of the first to use this maybe 20 years ago, is this flash to white. If you go back and grab that background that we created, just the BG title, and bring it into the sequence, preferably where two videos meet, where there's a razor blade line. Place it there and then use the opacity handles. You can fade in. And fade out. If you have three opacity key frames in there. And then that's a good way to add a flash. Once you have it the way you want it, then you can copy it and you can start pasting it in parts of the video where two videos meet. It's a good transition and you see how it works. Now we're starting to see a lot of different effects that we've applied to this video. Alright. Let's see if we can add something else here to this part of the video, so highlight this section. And we're going to see if we can play around with the color in the back and the color of him. So grab this color pass tool under image control. So you've got the image control folder and grab color pass and drag that over. And if you select the color red on his jersey, and then roll over the similarity. You can see that it'll block everything out except the red. Now something else you can do is if you select the green and bring the similarity up to about 15 or so. He's black and white over the color. It doesn't take out every single color. You could play with that a little bit more, but when it happens quickly, it's a pretty cool effect. Again, if you wanted to be perfect on this, you could keep identifying the colors that are not being replaced and you could keep working on that by adding in that same effect over and over again until all of those colors are gone. But for the most part, that gets most of it. I hope those were some interesting effects that you can use if you like those let's go ahead and move on to the next lesson. A. 46. PROJECT 12: SKEW BACKGROUND AND TITLES: To. Let's start with the back layer, which was the brick wall. That's going to go on track one. Now notice it's too small, so I'm going to go ahead and scale that up. And there we have that. My next track is going to be my name. I'm going to use the T title here. And just so we can see it, I'm going to toggle this off with this I tool and I'm going to type my name. And hit enter and there we have my name. Now, I want it centered, so I'm going to go ahead and click inside and hit command A, and over here under essential graphics, you'll see the centering tool, and it pulled the name off, but it centered it the way I like it. Now, I can also scale it up or down. I can also change the font size here, and I can also scale it up or move it over this way. I can also center it here with the align and transform. These icons will let you put it to the left to the right like this. And I also use a ruler sometimes just to see where I'm at. Now, I'm going to go ahead and lengthen this so it matches the brick wall on the bottom. And if we toggle the eye back, we can see the two layers. Now I'm going to pick my green screen footage. So I had selected this portion here, so I have my point and outpoint. I'm going to go ahead and just drag the video only, not the audio. If I wanted all of it, I would grab from here, and I would bring in the audio, see down below, but I don't want that, so I only want the video, so I bring that in. Let's go ahead and have it match. So I'm lengthening the two sides to have it match. Now, I can't see the other two things. So the last thing I want to do is add in ultra key. So type in U LT Underneath keying is ultra key. If I drag that on to the clip. Now I have my effect controls and I use the eye dropper tool and notice the green is a little bit darker on the bottom and a little bit lighter on top. If I select in the middle, that's probably my best guess for making it work the best it can. Once I have that, I've keyed out the background, I can make some other adjustments. I like to use this pedestal and crank it up to get rid of any shadows. If you really want to see what's going on, you can get rid of the brick and you can I don't see any shadows there if you put a white background that will probably be even better And the last thing I need to do is add my soundtrack, which is the SNL soundtrack. If I double click on that, I can see it here, and I just bring it into my bottom layer. That whole thing is only 6 seconds long. Now what I need to do is I need to make sure that the rest of my video matches it. I'm using the slider down here at the bottom to zoom in. And I'm going to go ahead and highlight all of it and roll over all three at one time to bring that in to match the beginning, and I'll do the same thing here. I'm going to grab all of it and bring it to the beginning. And I want to just highlight that. I have my point and outpoint. All right. So that's pretty much how I did this. I also added some animation. I also added a filter, which is a perspective. Over here, I type in basic, and I get under perspective, I get a basic three D. Now when I drag that over to my name and also drag it over to the brick wall, it allows me to see that under effect controls under the basic three D. This tool right here, this swiveling will allow me to swivel the wall and also swivel my name. Now I'm doing it the opposite way I had it. So if I go back this way and then to the wall, I can do the same thing, and now I've got some three dimensional perspective there. And I can also adjust my name. How I animated my name is I used just this. I used this x and y coordinate to bring it in, and this is where it lands at this point in the video. I create a position keyframe by toggling the stopwatch. If I go to the beginning of the video, I pull it off the screen and I get another key frame when I add that command. It does that for me. Then now I've added that in. And there you have it. Now, my brick wall could be a little bit scaled up and moved over, so it fills in the composition. And I can also move myself by using the x and y coordinates like that. Now, I did a couple of things. I added black to my name. So if I type in drop, I get a drop shadow, and I can put that on my name there. Under here, under drop shadow, I used shadow only, and I can crank up the opacity because it's only half there. So if I go up to 100, it's all there, but I wanted it to be a little bit more dull, so it's still a little bit see through. And I also wanted to soften it up so I used this soften tool and it made a shadow on the wall. Can change this to black and white by typing in BL A, and Black and White shows up under image control. I can just drop that on to myself, and I can drop it on again to the brick wall. And there's my black and white composition. The last thing I did over here is I added in jump cuts. So if you wanted to do that, zoom all the way in and hit the razor blade and just cut your footage. And then what you can do is I'm holding shift down so I can grab them all at once, and then I highlight five at one time and then hit delete. And then now I can start mixing these things around. And put this one maybe here. And I can also lengthen this one. I can also duplicate this one by hitting option and dragging this over, and I can do it again by hitting option and dragging this one over. So what it does is it makes a quick copy. And now I've added jump cuts, and you see it there. So that's a basic introduction of who I am combined with how I introduced myself using Adobe Premiere Pro. Come. 47. PROJECT 13: RETRO PREMIERE 2017: KEY OUT LETTERS: Alright, so let's take a look at this. You'll be able to make a title and then take out the background for each individual letter with four video clips. So the first thing we'll do is, let's go ahead and make this title play. So go to file new Legacy title and type in play. And for this, I used Aerial. So we'll select Aerial, black, and all caps, and we'll scale it up. And position it in the center. And then the next thing I want to do is grab the square tool and just make a background, and we'll make it black. And then we'll right click and arrange it and send it to the back. All right. So we'll x out on that and I have my title play. So I will just drag it right into the original project file that I created in the same sequence. All right. So now we have play. And then you should have been able to download some New York City stock footage clips. So I will just grab a few here, and they won't be exactly the same as my original, make this one a little bit different. I have my marker in and Marker out Tool, and then I'll just grab it. Now, if I select my play title, I can go over here to the opacity under effect controls and select multiply, and now we can see through it. It'll take that white out for us. Now, if I grab this open baser, I'm going to create a small mask. And so if I hold the button down four times and go around the y, what it does is it clips out that area. And that's how we make that letter. So let me grab one more video, and I'll bring that right in and extend it. And if I highlight that and go to effect controls again, I grab the open zer, and let me mask that out just around the A. And if I click out, now, we've clipped that, and we've got our video only showing for that section because we highlighted that section. Now let's grab our third video clip and bring that in, extend it. If I highlight it, Again, go to effect controls, grab the Open zer, and click once twice, three times, four, five, six, seven, connect it, and then click out. It's only selecting that part and allowing the video to show through that. And I'll select my fourth piece and just grab the video only. Highlight it. Go to effect controls. Grab the Open zer, one, two, three, four, five, and connect, and then click out. Now, I only selected that part in that clip to show through. For Part two, I want to add some color to each letter. What I want to do is if I go under eff under the channel folder, I can drag the arithmetic filter over to this part of the video. Under effect, I can control the RGB values. For this, I have XOR as the setting, which is a funky blend. If you don't want it to be as funky, you would select and. But as I play around with these values, then I can change the color. I'll do the same thing again for P, grab the arithmetic filter and play with the values. Now, if I wanted to compress this file, I could do a few more things with it. I will go to file Export Media, and I'm going to check this box up here to just match the source sequence settings, just to give me the highest resolution, make sure it's 1920 by 1080, and I'll export it, and then once I have that file exported, we can do a couple more things. All right. Now that I've exported this file, I will drag it into my project bin and bring it into my sequence timeline, and now it's a compressed movie clip. If I go to effect controls, now I can scale it as one entire piece. I can zoom all the way in or zoom all the way out or move it left or right as one title. And let me add some key frames here for scaling as I scale it in. And I can have it come off the screen. Something else I can do is grab the color key filter and toggle out the black with the eye dropper and then drag in some footage underneath. And now we've got this title over the New York City Bridge. And something else I can do. Now that I have that black area keyed out, I can create a white background if I go to file new legacy title and just create a square, and I could bring that square in the background, and that gives us one more option. All right. So those are some quick effects that you can add to a title that looks a little bit different. 48. PROJECT 14: MATCH A YOUTUBER'S EDITS: This is a pretty famous YouTuber Alex Harmozi. What I did was I looked at the most popular video that he had in the last three months and I had over 1 million views. I went and recreated the effects for the first 1 minute or 56 seconds. I want to give you this project file, and if you look at it, you could go in and retype the titles and keep the same effects and replace the video with your own. It's a great teaching tool and also shows you the path going forward and about how often there should be a cut, how often there's an effect Looking at the very beginning, so if I uncheck this, this is the first title. I went and found the matching font through Adobe Fonts. You can send a picture in and they'll find the font for you. The next cut happens at 1 second. You can really get the timing and flow down as an editor of what it takes to be successful on YouTube. This is what I'll give you, and so you could actually type in those titles yourself, and I keep the same effect. Have the title at the very bottom of the screen that I recreated. And if we just uncheck that, you can see that it's just a duplication of that. Then there's a Zoom in lens flare, and then it cuts to this title that comes up that's crop. So it basically comes out of nowhere. I did this also for you, so you can see this title comes out of nowhere. There's just a cropping effect that crops out the bottom half. Then I go to another transition here, and then we've got the two titles. He has it as red. I made mine just as a different color, so you could see the difference. But notice he keeps the top title there, and then there's another title that comes in down below. Staying on one particular topic, but then it moves three times. And he does the same thing with this PowerPoint presentation. So I have my recreation. I made a different color, so you can see the difference. So I have a color mat in there that you can use for a white background. This is his right here, and I kept the video just a little bit smaller than the frame, so you could see the difference. But here, now that he's established some attention, there's three more cuts. There's one right here. One right here and one in the end, and then it goes back to him. And notice there's no titles on the screen for this part of the video. So we've had titles all the way through and then no titles. And then just about when you're getting tired of that, it cuts back to his cell through for his company. And notice I've color coded each of the things down here, so you can see just about how many cuts there are and how long they last. So if you wanted to, you could just remove the bottom layer, and you could keep the layers that I've created All of these on video track one. That is just an adjustment layer, and I just labeled it for you so you can see, here's the heart of the message and I color coded everything, so you could follow the same template and just put something on the screen for each color coded section. I think there are about 17 cuts, and that happens in 56 seconds. This is a really good template for you to have, and you can just download this project file and you can recreate your own video and get started on the same exact flow. On something that's already very successful, and you could copy it, replace items that are here, but you could keep this as a template, so that way you know what to do. 49. PROJECT 15: CLONE YOURSELF TO THE VIDEO EDITING WORLD: All right. I want to show you how you can duplicate yourself on the screen. If you just shoot a 32nd video without hitting pause, you can go from one spot in the video to another spot and then bring it into premier and cut the video in half and stack them on top of each other. Here's my video. I'm standing in the garage and it's the same video, and I'll take out a section and place that on the bottom and then cut out another section when I'm on the other side of the car and put that on the top. Here you see both sections. Then if you go to effects, go to transform, and select the crop filter and just bring it over to the video on the top. Then if you go to effect controls, you can start taking away the left side of the video, and it's covering the video underneath. If I toggle out, you get a better idea of the top video layer. Basically, there's the same video, it's cut in half, one's placed on the bottom, and I use the effect controls, and then I look for a spot in the video that is the most seamless without recognizing that line. This particular shot of the garage has different lighting going on. If you had an even light all the way through, that would be even better. But it still works. I've done this before where you might have to touch up the line in photoshop, but for this, it's hard to see where it blends. That's how you do it. I have my video there. I apologize for looking so mean. I'm really not I'm somewhat friendly.