Advanced Training with Adobe Premiere Pro CC

1. Introduction to Premiere Pro Advanced training course: Hi everyone, my name is Daniel Walter Scott... and I'm an award winning Adobe Certified Instructor... and this is the Premier Pro Advanced course. So this course is aimed at people... who already know the fundamentals of Premiere Pro. It's for those of you who have your ways of working... but know that there are so many tools, updates, and time saving techniques... that you just haven't had the time to explore yet. If that all sounds familiar, this course is for you. We'll start with the best productivity hacks... and all the little known features to super speed your Timeline editing. We'll dive into color management... exploring color grading, color replacement, and skin tone correction. We'll master all the new Lumetri color methods... and harness the power of skips. You'll learn new ways to pull off traditional and new style transitions. You'd become a master at fixing shaky, hand held, and drone footage... and there won't be anything you can't mask or blur. We'll get your computer running super speedy... with proxies, scratch disks, and cache management. You'll master high frame rate footage so you can get spectacular slow motion. You'll easily create high quality professional motion graphics... and data driven infographics... and multicam editing will be a breeze. You'll learn amazing ways to clean up your audio... removing hiss, noise, and echo... plus markers, subtitles, plug-ins... and lastly, you'll learn all the tricks and settings... to get the most from your rendering... in both Premier Pro and Adobe Media Encoder. So those are the highlights of what we cover in the course. We do cover a lot more, check out the contents... and also check out the student reviews. You will see, we cover a lot in this course... and we'll get you from Premiere Pro good to Premiere Pro great. In the course you'll use lots of real world practical examples... with exercise files that you can download and play along with me. So if you can't remember the last time you sat down... went through all the features and all the upgrades in Premiere Pro... let this course, be your all in one professional development and upgrade. You owe it to yourself, you really do. So sign up and go from good to a Premier Pro super hero. Like a cape... it could be saving edits from evil baddies. You should totally get capes. All right, I'll see you in class, sign up. 2. Getting started with Premiere Pro advanced training: All right, so let's get started. First things first, download the exercise files... they're pretty big, so be careful where you download them... they're about a Gigabyte. There'll be a link on this page here for them... so download those before we get started. Next question to answer, Mac or PC? I'm going to use Mac through this course... because that's what I use... but you can use Mac or PC throughout this course... the shortcuts are a little different... but I'll mention them as I go through... and some of the codecs are slightly different, Mac versus PC... but I'll mention those throughout, so either is fine. I talk really fast, you know that already... but you can slow me down on all the videos... you'll see in this big player here, down here... I think down, down over, yeah, down over here... there will be like a cog or some sort of... like 1x, 2x... and you can slow me down to 0.75... I sound a smidgey bit drunk... but if you, maybe English is not your first language... or I just, I talk with a funny accent... so you can slow me down... I do try and slow myself down, I will try... but sometimes that's a complaint from people. So yeah, slow me down to inebriated Dan... and you do get used to me speaking a bit slowly. All right, let's talk HD versus 4K... or Full HD versus UHD. A lot of the exercise files in this course... are just the smaller ratio, that kind of Full HD... not because I like working that way... I'm mainly working in 4K now. I'm kind of transitioning across... but it's to keep the file sizes not ginormous. They really balloon if they all, like amazing resolution 4K... and not everybody that is doing this course... has got an amazing laptop... mine's pretty good so it runs it... but a lot of people are using older crappier laptops. So yeah, note that some of the exercise that we do... and we're going to do color correction and stuff... we're working on footage that might not be the best... you're going to get better results... is kind of what I'm saying, from your own raw footage... where my stuff had to be, shrink down a little bit... to make it work for everybody... so that the exercise files aren't huge. There are a couple of little topics... that I cover again here in the advanced course... that was from the Premiere Pro Essentials course... so if you have done that course... think of it as like a recapping, and becoming better... because you get to repeat it. Now I've made sure that they're only a couple little topics... and whenever I do talk about them... I make sure that I build on that knowledge... so there's extra bits to make you more awesome... but there are a couple of little teeny tiny repeats. This next bit is optional... when we're opening up Premiere Pro... if you want yours to look like mine... or you're having some issues with it... we're going to reset all our preferences when we open it up... so you don't have to do this. I like to do it beginning of a course so that we all match. So before opening up the program... hold down the 'Option' key on a Mac, or the 'Alt' key on a PC. On a PC, often you can find it in the kind of... like Start menu down here... and just hold that down before you start. On a Mac, mine is in the dock, it doesn't matter... where you find it, in the Applications folder... hold that key down... 'Alt' on a PC, 'Option' on a Mac, and click that... and it will reset your preferences while you're doing it. You can let go when this appears. I kind of hate doing it because I get my preferences perfect... but I got to make a course... and I got to show you how to get them perfect as well... well, the way you like them, click 'OK'. One little extra bit is that if you hold down the... that first key that I said... so 'Option' on a Mac, 'Alt' on a PC, and 'Shift'... that'll do, like even a bigger refresh... it'll get rid of things like cache from your plugins... and if you only do that, if you're having issues of... you're like, "Man, Premiere Pro doesn't work very well anymore"... try doing that, it's kind of a fresh restart... but know that all your preferences that you change... workspaces, all that sort of good stuff... shortcut keys have all been reset and come back to normal... so be careful, but yeah, don't be afraid, let's do it. One last thing before we get started... is that you'll find some footage that I'm using in this course... won't have a watermark, and you'll open up your version... you'll be like, "Hey, mine's got a watermark?"... that's because EditStock has graciously... let us use some of their footage for this course. You can totally use it in your portfolio and things... as long as you leave the watermark there... but if you do want to, let's see... do put some effort into one of these projects... and you want to remove the watermark... you can go and purchase the footage from editstock.com... and you'll find it in here. They are about 50 or 60 dollars, so really reasonable... this place here is a really great place to find footage... so that you can build portfolio pieces from raw footage... that you didn't have to shoot yourself... and there's a really amazing selection here... so documentaries, commercials, music, videos, sports... I'm reading out the list there. I've used it all the time... to really help kind of find different stuff you like. If you don't have multi-cam, and you really want to practice with it... there's a lot of stuff in here... there's just all sorts of other types of footage... that you can use to practice, craft portfolio pieces... yeah, check out EditStock. All right, that is it, let's go into some actual courses... let's learn something. 3. What are Proxies and why do I need them?: All right, we're going to start this course by learning what Proxies are. It's pretty heavy going for the first video, I understand... but it's kind of fundamental to what we need to do. So first up, what are Proxies? They're placeholders. It's so that your original footage... that you've shot or somebody's given to you... that's super big quality, high quality... and it's stressing your machine out. It's either really big, it's using a codec... that your computer doesn't like... there's lots of different reasons... that this footage is just very hard to edit. So a Proxy basically is a duplicate... and it's just smaller and less quality... so that you can edit it quickly, add your effects... you can do everything to it... and what happens is, when you hit 'Render'... it'll go back to, instead of using the proxy... it'll go back to the original footage... so that when it's rendering it's actually rendering... the super duper high quality stuff... and not your proxy. It's just like this kind of... like little bit of form, a little file that you can use... so that your machine doesn't die or melt... but you start with great footage, you'll end up with great footage... does that make sense? Do you have to use proxies... if you're going to be an advanced Premiere Pro user? You don't have to, you should understand them... but like a lot of the time I'm not using proxies... mainly because I shoot for YouTube... so when I shoot on my camera I shoot in h.264... because I don't need the amazing color depth... and it's not going out to the cinema... or broadcast, or a TV show. So I shoot in a format that's pretty lightweight, still 4K... and I can get away with this particular laptop not using proxies... but as soon as somebody sends me some... Apple ProRes or kind of GoPro CineForm... then it's all about the proxies... because poor old laptop here is not made for that heavy duty workload. Let's actually make some proxies... instead of just talking about them. 4. Setting up our Premiere Pro project: All right, this video is just setting up a project... I do throw some tips and tricks in here... so skip it at your peril... but really if you're just looking for proxies... jump to the next video. All right, let's set up this project, and I will share... a couple of tiny little booties in here with you. So let's get started by importing our footage. So 'New Project', 'File', 'New Project', double click the button. Ours is called "Tourism Island Roadrising." It's a campaign we're going to work on. I'm going to browse... I'm going to put it inside of my Exercise Files... which is on my 'Desktop', inside 'Tourism Island'... and let's all put it inside 'Project Files'. That's my file structure that I use quite often. Great for small projects, Audio, Footage, Project Files... is all my After Effects in Premiere Pro... that's where I'm going to put this, click 'OK'... and we've got our project. Let's import all of our files... so let's go double click 'Import Media'... and I'm going to go inside 'Tourism Island'... and I want to bring in 'Audio', 'Footage' and 'Graphics'. I'm holding the 'Command' key down to select all of those in, on a Mac... you use 'Ctrl' on a PC, let's click 'Import'. I'd like to switch mine to this view here, 'List View'... that's where I like to work, it's up to you... and there's all our footage. Now let's create a sequence from this all. Let's select everything but Z, I don't want Z. So all I did was click the first one... hold 'Shift', click on 'D'... and I should be able to select them all. Drag them into the sequence... it'll create a sequence, plus add them all to the Timeline. So it's a great way of getting started. One thing you might not notice... a little bonus tip as we go along... is when you add all of that sort of stuff... you notice it's A, B, C, D... and that doesn't always work. It comes down to a couple of things... A, if you've ordered by Name or Frame Fate, it'll... whatever the Frame Rate is, or media stuff... whatever you ordered your footage by... it will use that as the kind of first to last... and also if you are by Name it is still A, B, C... but if I select D first-- so let's undo this, I'm undoing. So I said 'D' first, I've got Order by 'Name'... select 'D' first, hold 'Shift', click 'A'... because I did that way around, watch what happens when I create the sequence. You end up with D first. That was confusing for me for a long time... you can use it to your power. So just make sure you've selected 'Name'... and you're reordered nicely. So that works for me... except I want to start with A to D, let's do that. We can leave Z off for the moment, or just delete it off the end. Let's rename our sequence... this one's called 'Tourism Island'... this is 'Roadrising 30 seconds' version. We're going to do a couple of different sizes... but that's our 30 second version, exciting. Now I'm inside of footage... I'm going to drag it just to the left. You ever wondered how to reorder that stuff... it can be a bit annoying. Just drag it to the left and it will come out. I might, if I was having lots of different... like a social media project... I'd probably have another bin or folder... that was with our sequences... but I'm just going to leave mine sitting out here. So we've got to here. Now we're like, "Oh, it's playing okay on my computer"... it's not playing okay, it's because I got screen recorder on. It's not even trying, look at it. Real time. So this is a really good example... I was gonna have to fake it, but I don't. Turn screen recording software on... and try and edit 4K footage, and it's just too jumpy. You can get away with this... you can go, "Let's go one quarter." Okay, like that's doing it... but even then sometimes if the codec is not right... your computer just won't like it... if it's on Full or on 1/4, you know, 16th, won't do it. So I'm going to put mine on 1/2. So how do we make a proxy? 5. Make proxies from already imported footage in Premiere Pro: Hey, in this video we are going to create our proxies. We're going to use method number 1. I call this the afterthought method. This is when you've got them all on the Timeline... and things are running slowly... and you think, "I better make some proxies." What are proxies again? I'll show you an actual example of what we're going to make in this video... proxies on, proxies off. It just makes a low quality version. Let's look at it at full view. You can't even tell from this distance away... but it makes your editing a whole lot faster... and you end up with a bunch of files that look like this. Original files... and then some proxy files, that are smaller... and easier for your machine to handle. All right, let's make 'em. Now that we know what a proxy is... creating one's really easy. So I've got our sequence here... actually you don't need a sequence... you just need to have a project, and have footage in it. So I'm going to-- you can do one at a time or select them all... right click any of them, go to 'Proxy', 'Create Proxies', easy. You can decide from the format... I'm on a Mac so I can use Quicktime... and maybe you prefer using ProRes or CineForm... one of that kind of-- like it's definitely going to lower the resolution.-- the pixel height and width. So this is 4K, this will make it... let's say-- I always use h.264... because it's quick and easy, and the computer can run it... and low, I think is 540 pixels across. This one here is kind of standard SD, and this is HD. So this is 720 and this is Full HD, and this is 1080p. You can decide the kind of sizes you want to use. Pick medium, if you're running on a really bad laptop... and it's terrible, pick low, it's up to you. You can go through and create-- 'Add Ingest Presets'... we'll look at that later in the class... but for the moment we'll just use the drop downs. Now this does tend to change... every time there's a new version of Premiere Pro... but there'll be a high, low, medium version of this. So you can play around with it... it's just going to plop it next to my original footage. I'm going to click 'OK'... and medium code is going to open up in a second, I think. There it is, I wish they're called Proxy's placeholders... they seemed this scary, proxy seems, I don't know, technical. All right, here's media encoder, I kind of caught it in the act... it was just running in the background, I didn't notice it... and here it is, it's making all of these... can you see, it's kind of underscoring it with proxy. I'll go show you the actual files that it's making. All right, here it is. So this is my 'Exercise Files', on my Desktop... you'll find my 'Tourism Ireland'... and all my footage is inside of 'Footage'... and there's 'Proxy' folder, they've got the same name... except the hyphenated proxy... and you can see they're a lot smaller. I've already cut mine down to a small size... so let's pretend that was like 500 Megabytes... and it's down to 14 instead of just 13... because I already did some file savings... to make this course run nice... so it's not as dramatic here in this course... as it will be for your work. Now what happens in Premiere Pro... nothing's happened, absolutely nothing. Proxies are kind of happening in the background... but you're not actually using them yet. So if I play, it's still going to have an issue... is it? it's only going to half, and it's still having an issue. Cool, so to turn proxies on you need to go... to this mad button over here. I don't know why they hide some buttons in here. The Button Editor, click on that little option, this pops up... and then you're like, "What do I do with this?" What you do is, you click, hold... and you are looking for the proxy guy, that's in there. It's a little-- it looks like that. Click, hold, and drag it... and drag it down to here, click 'OK'... and now you've got those little proxies... off... proxies are on now. So low quality, high quality, low quality, high quality. Let's have a little look at it... so that you-- I can show it to you. So I'm going to use my Tilde key again... the little squiggly thing, to make it nice and full... and I'm going to zoom right in. So proxies, it's not the best footage, I know, to start with... again, just so file sizes are low... but let's look at this, proxies, not proxies... proxies, not proxies. So that's what it does, it just creates a placeholder... that's lower quality, so that you can... from this view out, it's really hard to tell... that anything's changing... but your machine, with that on... blue's good, if you want to use proxies... that, when it's playing... it's going to play back nicely, nice and fast... because it's using really low stuff. If you're finding that the Medium still isn't working for you, go to Low... and it's going to look even worse... but it's going to play back nicely. So what happens when you-- I don't know, is it your first question, it's my first question... like what happens when I'm color grading, just turn it off. Turn it off... and when you're doing your color grading... do it to the color grading and then turn it back on... to do your flowy editing awesomeness. All right, so I've made my proxies... and I can turn them on and off now... but when I hit 'Render', I've done my editing, it's great. I hit 'Render', it's always going to use... my high quality version, not my proxy... they're just like intermediary things. All right, let's jump into the next video... we're going to look at... I don't know, I call it premeditated proxies... proxies for professionals... when you're actually doing it on purpose... rather than just kind of like, "Oh no, my laptop's dying, I need to do something about it." We're going to look at something called Ingesting. 6. Premiere Pro Update: Hi everyone, this is a little update video for the Advanced Course, our Premiere Pro have done an update and it's reasonably significant for this course, so I'm going to show you what's updated. What you'll find is that nothing has actually physically changed, it's just the UI has changed, the way you interact with some of the features, and it's mainly to do with importing and exporting. In the previous version that we know and love, you went File, New Project and you've got this Window, which we'll cover in this course, but now what happens is this is the newer version, if I get a new project, this appears, and you've probably heard your way through this already, but we'll cover some of the perks of using it. But the main one, if you do want to skip through and get to the normal standard empty project, just going to give it a name up here, My Project [NOISE], give it a location and then just click "Create", and I've already done this recording once and failed [LAUGHTER], I might compress it in down on my garage and ruin the audio, so we're doing it again. Anyway, that's how you get back to this, and Premier Pro is the same, it's just that little first initial screen is different. Now, you can import the same way, you can double-click down here, I'll go to File Import and start importing your footage, or the new way is you can go to this tab here and input footage. Even though you've created your project, you can see the project name is gone, you can say actually I've got on my desktop, I've got my exercise files from this project here, I want to I bring in this, and I can bring it into a new sequence, yes, why not? It's going to use the actual footage to create the sequence and we click "Import", it's a way of toggling between Import and Edit, or you could just stay in Edit for the whole time and go to File Import and just do it that way, up to you. We'll cover a bit more on Import in a second, I just want to cover the Export tab, so there's going to be a lot of exporting in this course. If I now go to File Export, make sure you got a sequence selected here in the Project panel or in the timeline, you can go to File Export Media like before, or you can click the "Export" button up the top here, you end up at the exact same place, so it doesn't matter which one you choose , you end up here. In the old version, it looked a little more clunky, but this version here has the exact same settings, let me give you a for instance, you wait there. I'm back in the old version, I'm going to go Sequence, Export, and let's say that I want to export H.264, I want to use adaptive high bit rate, I want to go through to maybe the audio or the video, and maybe down to bitrate settings and change it to VBR, 2. We're going to do some of this in the course, but what I want to show you is that all those features there in the new way of doing things, it's just in a different user interface, let's have a look, let's try and do the exact same thing [NOISE]. This is, let's go back to Edit, we're in the new version, we go to Export, and we want to find those bitrate settings, we go down to want it to be H.264, great, it's already set to adaptive, we want to go to video, I can't see bitrate settings here, so I'll go to More, scroll down and there it is there, VBR, 2. Throughout this course, I'm going to be using the old style way and instead of recording every single video in this course, which takes months and months and months, I'll be doing this on the video, [NOISE] but you can just find it in this new Export option, they want it to be a bit more user-friendly and I can see why, we all got used to this way, but you remember when you first looked at it and you went, Oh man, [LAUGHTER] what do I do? What do I click? [NOISE] Whereas over here, they have hidden the stuff you're probably not going to need because in here, the very first option is Field Order, do I need Field Order? [NOISE] That's actually silly, you don't need Field Order [LAUGHTER], but you get the idea, they have just tried to simplify it for more general purpose use for general users, but you can get into the nitty-gritty for audio, all of those things are still there, they're just moved around. All right, so Export is the same, Edit is where we spend most of our time, Import, there's some perks in here, let me quickly run through them before we get started because if you're like, "No, I refuse to use the new version," there's some cool stuff in here. I'm going to go to the sample media, they're just giving you some generic sample media to get started with, what's cool about it is you can hover your mouse over it and it will scrub, and you can decide, I want this, I want this, you can decide to view it as list view rather than grid view, change the sizing of it to fit more on. You can create a bin on the fly, you can say I want to put this into my bin called Bin, no, I'm going to call it Footage [NOISE], if you're new to the advanced stuff, then it's another name for a folder, let's do that. My sequence is going to be better than sequence one, this is going to be my [NOISE] go to sequence name, and the other nice thing is you can create favorites, I already got a couple here. Let's say you are in the dips, all of your network drive or you're somewhere on some external hard drive and you're sick of going and finding it, what you can do is figure out where things are, go into it and then decide, can you see up here? If I had a star to it, it appears over here in my favorites, which is handy, so there you go. Those are some of the perks for the new version, let's click "Import", here we go, there's my sequence, it's imported it into the existing project I had open, that's one thing to be mindful of, is I went back to Import but I didn't make a new project, same project. Now I have two sequences, that original one I made, now this new one, and everything went into that lovely bin, here we go, and after I dumped it in there and do it all afterwards, you might like it, you might not, but that's the way we work now, so yes, that is the kind of updates for importing and exporting. You can still do it the old way and that's the way I'm going to do it throughout the course or embrace these new import-export tabs, one thing that doesn't change is export looks differently here in Premier Pro, but if you sent a Media Encoder, you should say Q, remember, if you send it to Media Encoder, it goes back to more of the traditional way of doing things. If you've never done it the traditional way, you can ignore this video and just do it the new way, you can see if I go into this, you get back to this way of doing things, so if you go via Media Encoder, it will give you that old style export settings, whereas if you try and export via Premier Pro, it gives you same settings, different UI, does that make sense? Hope it makes sense. All right, that is it, continue on with the course, enjoy the course, I've come from the future to record this video for you, and I finished the course a long time ago, so the pain of actually making it, it's not a pain, but it's a lot of exhaustion [LAUGHTER] to make them, and I'm super happy with the course, I hope you're super happy with it, and yes, enjoy it, I'll see you in the next video. 7. What is copy & ingest proxies in Premiere Pro: Hey everyone, in this video we're going to talk... about the strange word Ingest, and Ingesting Copy. Basically all it means is... when I drag my raw footage... or import it into my project... automatically, without me right clicking, and doing anything fancy... Media Encoder is going to automatically... ingest the footage and make a proxy. We'll also show you that... if you're importing from, say a camera... you can actually copy the file across... onto your local drive... and make a proxy at the same time. Let's talk about ingesting. First up let's close the project... that we created in the last video. We're going to create a new project. So technically this is where... you should talk about ingesting, right at the beginning of a project... you can do it afterwards, I'll show you how. You do this 'New 'Project' window. So we're going to give this a name... this is going to be my 'Test Project' because I'm not going to-- I'm going to go back to the other one. I've got my test project, where is it going to go? I'm going to stick it onto my Desktop... actually no, stick it back in that same folder... and this bit, Ingest Settings... you might not ever have been in here... so click on 'Ingest', and I'm going to say... 'Ingest' these videos. I would like, when you do ingest them... ingesting is a, there's a terrible word... that just means bringing them into Premiere Pro... importing, when I import these... I want you to create a proxy, what kind of proxy? We're going to use h.264. Yours is going to be different in here... because you might be on a PC... so you're unlikely to have ProRes... and also, you might be in the future... they change these presets all the time. I'm going to use just for, in this case 'h.264 Low Res Proxy'... and it's going to put it in the same place as my project. A lot of the same stuff that we looked at before... the difference is, the word ingest... and what happens is, when I click 'OK'... nothing really is different... it's when I go to the importing... I'm just going to double click down in my project... I'm going to go back to the 'Exercise Files', 'Tourism Ireland'. Let's bring in the whole folder. What did we do before, we did-- I'll just bring in the 'Footage' this time... click 'Import', what's going to happen is... here it is there... Hello guys, it's all there, what's different... what's happening in the background... is that it is busy creating proxies... it's opening up my Media Encoder. So where's Media Encoder? There it is there. They're all being added to it automatically. I'm not doing anything... it's created a proxies folder in there... and eventually it will say something like... well actually, I just normally wait for Media Encoder to do its thing. You can be a bit fancier... and right click in this 'Metadata' here... and go to 'Metadata Display', at the top here, type 'proxy'... there it is there. I already turned mine on... yours will be off, turn it on, click 'OK'... and you can scrub along here... should be somewhere, should be, yours should be at the end... because I've moved mine, where's mine? Come on, there it is, see, offline, wait, attached. This is going to be the last one. If this is really important... or you're doing a huge amount, and you can't see Media Enc-- I don't know why you turn it on... it's an advanced class, we're learning advanced stuff... there is a Proxy tab, and you can just drag it along... if it's really important... to the front, they're all attached. So that's the difference, ingesting just means... instead of me right clicking and saying make proxies... is every time I bring something in... just make a proxy based on that preset. So you as the lonely editor... can just work on whatever comes in here... you don't have to worry about kind of doing proxies every single time. So a couple of things to consider... when you are doing proxies, the first one is... let's say that I don't do it at that File, New, Project... I always forget, or I didn't know that I need it... because the project's not going to-- I assume it's going to be fine and then the computer starts running slow. So you can do this ingest afterwards. So let's close down this current one... we're all very good about it... let's go back to that original one... where we didn't turn on ingesting in that new window. So we did this manually... let's say that we're going to import... a bunch more footage, we can turn it on now... by going to 'Project Settings'... it's under 'File', and there it is there, 'Project Settings'... and General, Scratch Disks, Ingest... we're going to go to 'Ingest'. It opens up that first screen again, back to where we were... but for this one we're going to say... you, you, 'Create Proxies', back to where we were... 'Same as Project'... so that's how you can turn it on afterwards. Now if I import footage into my project... it will automatically make those proxies. One other thing to consider when you are dealing with proxies... is where they end up. This project here is going to work great... because it's same as project... and my project is saved on my local machine, on my laptop. You might be working off an external drive... or some sort of, like network attached storage... or some sort of fancy hard drive thing... you want to not save it with your project... if you are saving onto that network drive... it is faster for Premiere Pro to read it off the local drive... so you might say... instead of Same as Project, Choose Location... and put it on your 'Documents', or on your 'Desktop'... or something that is local to your machine, it'll run faster. The last thing that is pretty useful is under here... there's one called Copy and Create Proxies. You can just use Copy, Copy's kind of cool... but let's explore this one here. So we know what proxies are... but Copy and Create Proxies is pretty cool. What it means is, I often-- like I've got my mirrorless camera here... that I do a lot of my recording on... and it's got its own little SD card... so instead of copying it off the SD card to my machine... and then creating proxies... what you can do is, both of those at the same time. There'll be other use cases where you need to copy... as well as create proxies... but let's say I'm going to copy things off my hard drive as well as-- so Primary Destination... this is like where my footage is going to go. So I'm going to 'Choose my Location'... I'm going to say, where it copies them off... it's going to go into, in my case, my 'Footage' folder, please. So copy them off my camera... put them into my amazing file structure... and the proxies can go in the same place... or they might go somewhere else. So copying them off that hard drive... which in my case is off my camera... and make a proxy at the same time. Let's give it a test run. So let's plug the camera in... so there's my camera, Untitled 01, very good... and under this crazy directory structure is all the clips... and let's say that this is not something that I've recorded. I want to bring it into my clip... it is both going to import it, which is cool. It's also going to copy it off my camera. Let's have a little look. Let's go back to my 'Premiere Pro'... let's go back to my 'Exercise Files'... let's go to 'Tourism Island', here's my 'Footage' folder... and look, there it is there, it's been copied off... it's taken a while, it's pretty big... wow, it's pretty big... but it's been copied off... and then, hopefully in Media Encoder... at that same time, is busy encoding it. So here's the file, the big version... that's been copied off my camera, onto my hard drive... and my proxy didn't end up in the right place... that was my fault. You probably saw it while I was doing it... remember, under 'File', 'Project Settings', 'Ingest Settings'... I said, 'Same as Project'. So, I guess I leave this thing... because this happens to me all the time... like, "Oh, it's wrong"... it’s because I forgot to change that... you'll do it. So mine are in where my Project file is... so I do my 'Exercise Files', 'Tourism Island'... 'Project Files', there's my Proxy, just lying about in there. I end up with all of them in here. So hey ho, that's it... but let's actually talk about some of these presets... because there are presets built into here... it says that, it's a preset. Let's say you want to change your preset... there's kind of like two parts to it, and what I'll do is... I'll carve it out into the next video, see you in a sec. 8. Changing default ingest & encoding presets in Premiere Pro: Welcome back, in this one we're going to make an Ingest Preset. It's kind of two parts, you make-- we know what a proxy is... and we know what ingesting is. So what we're going to do is... create both a preset for what we want our proxies to be. It's called an Encoding Preset. We want the proxies to be... a certain kind of format and a certain size... and we're going to learn about - if you don't already know a really great codec... - an intermediary codec for proxies, called Apple ProRes... and also we're going to look at... how to do an Ingest Preset, which is pretty quick... which is basically just applying... that new proxy encoding format to our files. We need to do both, did that explain it? I don't know. Let's jump into the class... and hopefully I can explain it better as we go. Actually, before we get started as well... we're going to learn how to put a word on our proxies... to make it a bit more obvious. We've been looking the blue button down there... it's hard to know that it's on... look, proxy, proxy text... making it a little bit more clearer; right, now let's start. First up I've opened up Adobe Media Encoder. So what we're looking for is... down in Preset Browser here, this + button... if you can't see it go to 'Window', open up 'Preset Browser'... so there's two options here... Encoding Preset and an Ingest Preset. Remember, encoding is kind of... what the proxies are going to look like... the quality, the size... and Ingest Preset is kind of more the file management side. So you can do one... you can just jump straight to the Ingest... if you are happy with those presets... that were originally in Premiere Pro, in the last video. We'll do both of them... you have to do the encoding first if you are going to do it... so let's look at that. So this encoding preset is going to be called Dan... I always, I don't know why, it's-- I wanted something very obvious compared to the other presets. So this one is my Dan, it is 720p. I'm going to make it smaller than my original footage. I'm going to use Apple ProRes... if I can type it out, there you go... and what I like to do is write 'PROXY' at the end, in capital letters. You can use the same encoding preset here for your export. I don't want to use this for exports, just kind of like my working files. So in the format it'd be really common... to use the QuickTime, and it would be really common... to use ProRes 244 for a proxy. Why not my h.264 with the mp4s? Because it makes the file sizes really small. Well your computer, you know, Premiere Pro finds it really hard to work with those... that codec h.264... yes, it makes the file size really small... but it's compressed so much... that the editor, which is Premiere Pro... finds it hard to work and edit that file... whereas QuickTime, and this codec Prores 244... okay, 422... file size is larger but it is an accessible codec. My computer, with my hardware and the software... really likes editing it even though it's bigger, strange. So that's what I'm going to use for my proxy preset... and I'm going to go into 'Video'... and I'm going to go down here. You can't change the quality for ProRes... the directs are fixed... and we don't want to compress it... but what we might do is the height and width. We might say, what we might say... I'm definitely going to do this, 720 is the height... I want it to be smaller so that it runs faster. Now what else would I change in terms of my proxies? Nothing, it's small, it's a good easy codec... and the one thing you might do though, is under Effects... and come down to-- I want to add a 'Name Overlay' to my proxies... and I'm going to say 'Prefix and Suffix' only. It's just going to add text over the top of my video... to say proxy, 'Proxy'... and it's just going to add text to... the center, to the top left, to the bottom right. I'm going to put it into the top left. You can offset it and play around... with the size and stuff, once you've done a little test... but let's click 'OK'... and I'll show you what that does. Let's click 'OK'. So we've created our encoding preset for proxies... now let's talk about the ingest. You can jump straight to ingest if you like... if you're like, "Actually I'm happy with the presets that Premiere Pro give us"... I'm that person, but this is advanced... and we need to see how to do it all. Let's create an ingest preset... this is where you definitely might go... and change, and create your own. I'm going to call mine my 'Dan's Ingest'... you might give it a project name or a client name... or some sort of film documentary that you're working on. I'm going to say... it says Transcode files to the destination. What we're really meaning is, creating proxies. Transcoding is a word, if you're not sure... kind of like creating a file, kind of a transitional file... like an in-between file, that's what a proxy is. It's kind of like something that I'm working on... it's not what I started with... and it's not what I'm going to end up with. It's trends-- what did I say... it's a transition format. So transcoding just means... I'm going to make this in between format. What they really mean is, proxies here... where is it going to go... if you leave it blank, just leave it blank... because then every time you use this preset... it'll ask you where to go... rather than forcing it to go somewhere. You can change that; what kind of format? We know that QuickTime is better for our proxies... and there you go, right at the top there's the proxy that I made. You can use some of these other ones... remember, I said you don't have to create that encoding preset. It's kind of cool, we've added that text over the top... so that might be worth just doing that... but you can see here... you might just use that 422 proxy... it's a great, great preset, already made. All right, that is it for our ingest. A lot going on there... the weird thing now is... ready for witness, click 'OK'. Premiere Pro doesn't know where that is... I don't know why. So what we need to do is... in Premiere Pro we need to bring in our ingest presets, so we go... 'File', 'Project Settings', 'Ingest Settings'... and we're like, great, was that the one I just made... copy and create, I'm just going to go... instead of copying I'm just going to go 'Create Proxies'... and I'm going to say... let's use my preset that I just made... what is that, where's my preset? So we can add a preset... and then you get lost in the kind of wilderness of your computer. So how do we find it? It's a .epr, which is great... the easiest way probably to find it... is to go back into Media Encoder... there's my ingest file, Media Encoder knows where it is... so I can right click it and go, to reveal yourself, preset, there you are, it's in like crazy file format... yours on a PC will be different... but use this method to find it. Copy and paste it somewhere you can find it nicely. You could just copy it to Desktop... I'm going to actually just select the name of it... and copy the words from the name... and in Premiere Pro, I'm going to say... on my Macintosh HD, go and find that file, please. Kick back, relax, there it is there... however you get it in there... it only has to be done once. So now it's a preset that I can use forever... it's going to bring in my proxies... it's going to turn them to Apple ProRes 422... and it's going to put... a watermark on them as well, which is cool. So let's actually go and do that, let's click 'OK'. So I've got my ingesting turned on, click 'OK'. I'm just going to drag a footage in. Where did I say it was going to go? I didn't tell anybody... do it every time, told you. Let's go to 'Project Settings', 'Ingest'... when I do create my ones... put them, not same as project, let's go somewhere random. I'm going to put them in my Exercise Files... into my 'Footage', and hopefully into 'Proxies'. Cool. So let's drag something in... let's find something random on the machine... and when I say random... we'll use something from the exercise files... from a future part of this course. Let's grab Mix Butter... I was going to drag it in... it's going to start generating my proxy... in the background, through Media Encoder... oh, so fast, good work. You can see it made it a .mov. Let's have a look at where it put it. So it put it inside my Exercise Files... I told it to go inside my Footage, there it is, Proxy. Let's have a look at it. I'm going to both open it up on my finder, let's have a look. Can you see, it says Proxy. That's a bit loud. You can see there, it's kind of burnt in a proxy... and where it's quite useful is... let's say that I'm in Premiere Pro now... so I've brought it in, I'm going to add it... I'm going to create a sequence from it... there we go. Watch this, I'm doing it, and you're like... "Oh, where's that proxy thing gone?" Didn't we just add that? Remember our proxy switch, proxy... nope, wrong button. The one next to it, they look similar... come on, toggle proxies, on, off, on, off. So it's a visual cue to know that... you're working on those proxies. Remember, in the earlier videos... we had to kind of zoom in to see the quality difference... if you do decide to use h.264 for your proxies... but now that we've learned about... the QuickTime Apple Prores 422... my suggestion would be to use that... for your proxies for now on. All right, so we know what a proxy is... we know how to ingest things... and we know how to make our own custom ingesting bits. In our case we used QuickTime, and we added a little watermark. All right, let's get on to the next video. 9. Relinking Proxies in Premiere Pro: Hey there, this video we are going to look... at what happens if you lose your proxies. You probably didn't lose them... you probably just inherited a project from somebody else... or from an old computer, and it can't find the proxies... and there's lots of them... and they're going to take ages to remake. So we just want to re-link them, it's super easy. Right click one of them... you can see this proxy is offline... I can go to 'Proxy', and go to 'Attach Proxies'. There are a few other quirks... that I'm going to go through in this video. You'll see it's not terribly long so stick around... but that's the quick way. All right, let's get in there. Let's start with relinking proxies. This happens when somebody sends you a file... you inherit a project, and you've got the proxies... but Premiere Pro doesn't know where they are... so you'll know they're missing for a couple of ways... you'll open it up and say... I'm mixing these files called _proxy... and you can go and find them now. That's probably the easiest way... but we know how to do that. Let's go to 'Offline All', and let's look in here. Now let's do it within the program here... and how do I know my proxies are actually gone... because they're reloading fine. It's because my actual raw footage is connected just fine... but my proxies aren't. I know they're not connected... because A, it told me when they opened them up... and also over here, if I turn this on and off... it's not showing me a different size or a different quality... and in this case, actually I turned that watermarked proxy on, so it's very obvious. So the other thing is... is that down the end here, of my little program window... you can see, I turned... remember we turned on proxy in the last video... maybe you can right click any of these titles here, of the columns... go to 'Metadata', and type in 'Proxy' to turn that on... tick on, scrub to the end... you can see they're all offline. Select them all... right click them, and this is where it gets a little weird. Go to 'Proxy', 'Attach Proxies'... because they're missing. We can pick the first one, which is 'Tourism A'... but it's not looking for the _proxy now. It is, but it's not saying. This might change in the future. So click 'Attach', and I don't want-- I want to find the proxy, I know where they are... I found them... find them on my hard drive, and I moved them. I know they're on my Desktop, under Proxies... and I'm looking for this one here, Tourism A_Proxy. That was the one that was missing, click 'OK'. It's found them all automatically... and hey, look, they're all attached... and I can tell they're attached... because the word proxy's up the top there. Toggles on and off. All right, mission complete, proxies are reattached, that's it. I'll see you in the next video. 10. Exporting using your Proxies in Premiere Pro: In this video we are going to look at... how to export your proxies to kind of like final render. There's lots of reasons why you might... I don't use them very often, but you might be adding... some special magic to your proxies... they are smaller, maybe your rendering time is really long... maybe you're adding Luts... or this kind of watermark... and then you want to export that for the client. To do it, let's hit 'Command M' on a Mac... or 'Ctrl M' for Mary, on a PC... and down the bottom here... just make sure, Use Proxies is turned on... we'll use the proxies that you've made. Remember, you might have added that watermark... like we did on our proxies, or you might add... like you might have added... like a Lut to all of your proxies... or some sort of thing... you just want to use those... tick that box, hit 'Export', and you will have... ones that doesn't use your original files. It uses those proxies that you've generated. All right, nice simple one... let's get on to the next video. 11. What is the Media Browser in Premiere Pro: In all honesty, do I use it every single time? No. Media browser is perfect when I am... both the videographer and the editor... so a lot of the time, is that... if I am doing a really big project... where I'm not the camera person... and I'm just doing the editing... sure that's a great way of doing it... if I'm just doing a small kind of social media video... nah, I just go straight to Project... and drag from my Finder into here... because often I'm dealing with stock images. There's not a lot of confusion about... what kind of format it is, can it be read... so teeny tiny jobs, no... no Media browser, bigger jobs, or stuff that I am filming myself... so I need to connect to my camera... Media browser is great. All right, that's it, let's hope they fix it. All right, first thing is I've just opened up... and saved a brand new project... I called it 'Deleteme01'... because it's a throwaway project... just to show you this feature... and I'm also going to set to editing. We've been on a kind of a learning workspace... we're going to go to 'Editing'... we go to 'Window', 'Workspaces', 'Editing'... and we're going to go to... 'Window', 'Workspaces', 'Reset to Saved Layout'. So everything's the same and we've got... a few more panels open by default. It's a good place to start. So the Media browser is along the bottom here. It might be under 'Window', then come down to 'Media Browser'. So Media browser is just a way... of navigating your machine via Premiere Pro... rather than your... on Mac it's called Finder... and on a PC it's called a Window. So it's just a different way of doing it. Has some perks, let's talk about them. So the first thing I'm going to show you... is more like a, have to get this set up... to make Media browser an useful thing. So Favorites, you need some favorites because otherwise... the kind of way this works, on this left hand side here. You can try and find your files... by going all the way back to Macintosh HD... which is not great... because you've got to find Users and Daniel Scott... and find your documents. On PC it's C drive and Windows, and find all that. Up here it says Users... you can go to Home Directory. On mine it's kind of gone to the right place. On a PC I'm sure it'll look very similar. So I know that my documents... that I'm going to be working for this project... are on my 'Desktop', and under 'Exercise Files'... under 'Tourism Island'... and here's the 'Footage' that I want to look at. Actually yeah, I'll do it straight to Footage, probably. So what I want to do is, set up a Favorite for it... so before I go into it, if you do go in... you can use this little arrow to come back out ... go back out one, there it is there, Footage, I'm going to right click it... and set it as a favorite. Now instead of, like this chronic crazy madness on the side here... you can go to the top here... and you've got your Footage, it's in your Favorites... look at that, close that down, oh, tidy. The one thing to note about your favorites... is that it's per project. So every time you start a new project, you're going to have to create... a new favorites, which is not a big drama... just make sure you go to Home directory, and kind of start from there... a little bit easier. First perk is, let's switch it... from List view to Thumbnail view, this is really handy. So the Media Browser, remember... we're not actually looking at stuff that's in my project yet... it's kind of like an in between... or before we get started... we can actually, just kind of move our mouse. I'm not holding anything down... I'm just kind of moving my mouse back and forth... and it will give me a little preview, which is super handy... before I import to know which one... might be the shot that I'm looking for... and when you do import it... let's say I drag it straight to the Timeline... to create a sequence and bring it in... what it does is it imports it in one file swoop... can you see, it's in my, it's in here... it's created my sequence... but it's gone straight to my project. I didn't have to, like a 'File', 'Import'. So often what you'll end up doing... is finding it on your finder, or in your Windows on a PC... finding it all, getting the right one... then going 'File', 'Import', and then-- it saves a step. That's even more useful when you are looking at a camera... that's connected to your computer. I don't have anything at the moment... but let's say we go to our local drives... you might find your camera in here... and you can preview this stuff on the camera... drag it onto your Timeline, or into the Project Window... and it will import it at the same time... and again you can combine that... with the Ingest that we did before... so we can bring it in, bring Proxies, Media Browser, kind of adds that little extra level of professionalism. Another perk is, actually I showed you... you can kind of just hover, and do it as well. You can click on them, and you see... you've got a little scrubber to go back and forth... rather than the kind of hand mouse waving hover, up to you. The other perk is, you can actually look at them in the Source Monitor. So make sure your Source Monitor is open... under 'Window', 'Source Monitor'... and you can actually just drag them into here... and preview them like full screen before importing. You notice that I'm watching, looking at Tourism B here... and it's not actually part of my project yet. Just a way of kind of previewing it... without actually dragging it into, and importing it... and then deciding you don't need it... and then it's offline, because you deleted it. I'm getting a bit-- Speaking from personal experience. It's nicer just to preview in Source Monitor before importing, save some drama later on. So what else? Actually the next thing I want to show you is kind of weird... because it's broken. I'm going to leave it in this course... because yours might still be broken... and if yours isn't, and it's working perfectly... let me know via the Facebook group... be up on the screen here... just let me know that-- this video... add a link to it, that is ready to be re-recorded... because it's all working again. So it's going to be a little bit of hand waving, but if it's working on yours... or it's fixed in the future, it's brilliant. So let's say that I've got a camera connected. So I'm going to go to my local drive... where I have got a camera connected. This is my Canon, I have no name drive... but in here, somewhere is my footage. I know it's in this one here. I’m going to right click it and say, 'Set to Favorites'... Add to favorites, which is handy... and I can go in here, and this is really handy... we talked about it before... you can see stuff on your camera... but when it comes to working with your camera... like my Sony, which, some reason is not connecting at the moment... which is another bug for Premiere Pro, bad Premiere Pro... but you can go to Filter... and my one has a lot of xml files ... and I don't want to see those. I just want to see the video files. So you can go up to here, and filter... and say, just show me the video files... not the xml or, just, you can turn things on and off... depending on how your camera shoots... and what extra files that it brings along, so you can filter them. You'll notice my filter, I can click on it... and it doesn't work, it's kind of a bug... it's definitely a bug, it doesn't work. What's also really good, and still not working... is that, you notice how my format was a bit strange... you have to go local drives, here, here, here... that's not too bad, the Sony that I'm using uses a different structure... and it's harder, you've got to go... to clip and miscellaneous, and all sorts of other stuff... to actually find the video footage. I don't know why they hide these things so well... but anyway what you can do is... you can actually click on your local drive... say, you know it's a camera... a Canon or a Panasonic, or a Red... and you can go to this little option... go into it, go to this, and click on, say Panasonic... and what it will do is it'll take you straight there... because Premiere Pro knows, it knows that... your P2 camera... stores it here, here, here, here, and down... all these, like wormhole of directories... and will just take you straight there. So it's super handy. Same with Canon, depending on how you're shooting... it will take you directly to that folder... rather than having to dig it out yourself and set a favorite. That's not working at the moment... nothing's working, this one or that one... I've seen conflicting stuff online now that says... "Hey, Premiere Pro are not supporting this feature anymore"... they'd turn it off, I feel like if they were... but it's been broken for a while. So yours might be working perfectly... so, awesome! yours is still broken like mine... ah, Premiere Pro, come on... but anyway, it's worth mentioning... because it's a really handy feature for using... the Media browser when you are connecting... two cameras and like sucking the data straight off... especially when you're going to tie it in... with that amazing Ingest that we learned in the last video. Actually, quickly to recap, if you are using this to kind of... find stuff on your camera, and you are dragging it... to your Project panel or to your Timeline... from here, you want to turn on Ingest... and make sure your Ingest setting's set to whatever you want... if you're not using proxies, or you are using proxies... go to 'Project Settings'... make sure your Ingest settings are on... in my case, let's say we're not doing anything... other than copying... so we're not going to create proxies... we're just going to copy it straight over. Where's it going to go, not same as Project. I'm going to put mine into a folder that I choose... so when I'm previewing on my camera, I'm going to make sure... when I add them to my Project panel... they're going to copy to a place... that I choose in my 'Footage' folder, or wherever it is... that's, you know, it's a nice method... and way to work with your camera and your SD card straight from your camera. All right, pros and cons. Pros, you can work with camera files... and especially ones that maybe... aren't natively viewable from your computer itself... but you can do it from Premiere Pro... via the Media browser. You can preview stuff before it comes on... it can be copied using Ingest... you can filter when it works... and you can actually see directory structures quickly, when that works too. This is a long video, to show this... a lot of stuff that doesn't work in Premiere Pro... I didn't make it, and I will come back... and video this again when it is working perfectly... or gone completely, if these are disappeared. They were turning it off, and I was wrong... and the one con for me... is that you have to set up the Preference-- Favorites... which makes sense for every project... not a huge big drama. In all honesty, do I use it every single time? No. Media browser is perfect when I am... both the videographer and the editor... so a lot of the time is that. If I am doing a really big project, where I'm not the camera person... and I'm just doing the editing... sure, that's a great way of doing it. If I'm just doing a small kind of social media video... nah, I just go straight to Project... and drag from my Finder into here... because often I'm dealing with stock images... there's not a lot of confusion about... what kind of format it is, can it be read... so teeny tiny jobs, no, no Media browser... bigger jobs or stuff that I am filming myself... so I need to connect to my camera. Media browser is great. All right, that's it, let's hope they fix it. 12. Class Project 01 - Proxies & Media Browser: Hi everyone, this video is about class projects. Not everyone does the class projects, but it's up to you. It's a great way of recapping... rather than just kind of watching... and not actually following along. So here's a project that I've set for you. You will find all the class projects in a PDF... that is in your Exercise Files... there it is, 'Class Projects'. I'll run through them in videos, like this... of what you need to do... but yeah, there's a nice little PDF... explaining them all separately as well. All right, let me discuss this one. All right, class project time, homework. I've got a few things for you to do... just to kind of recap some of the things we've done... and set up a project for the next part of the course... so won't take too long. First of all let's delete. We've been going up a bit of adventure, learning about proxies... and you might have set up a project... and things went to the wrong place because we were learning. So what I want you to do is, just go clear everything out. So go into your-- delete any proxies... they might be in your Footage folder. So find the Tourism Ireland exercise files... go into the Project files, delete what's in there... get rid of everything, we can start afresh... and then, same here, in the Footage... if you've got any proxies or proxy folders... delete all of that so we can start again. So create a fresh project, this is the name of the project... save it, and I want you using the media browser. You might have been doing this as we go along... so you're pretty much done... but you may have been just watching... this is the chance to actually do some stuff... with a little bit of editing. So using the media browser I want you... to ingest the footage, using these... use these proxy settings here. So remember, the ingest you can either do... when you're setting up the new project... or you can do it afterwards, under 'File', 'Project Settings'. So I want you to ingest them... I don't want you to copy and ingest. Remember, that was something we did. We're just going to do the create proxies ingesting... and you'll have to create your own custom preset... because one of the things I want you to do is... add that text watermark. So remember, you're going to create an encoding preset... and then a proxy preset. It doesn't have to be Apple Prores 422... you might be using an earlier version of Premiere Pro... and it won't let you, h.264 is fine, anything you want. What I'm really looking for... is that you've gone into there... and dug around and used it, and you-- the way I know is... that you've kind of added that text for the proxy. So bring in the audio, the footage, the graphics... and I want you to do a little bit of editing. You'll end up looking something like this, where is it... so I want to do 30 seconds long, no more... the audio for the, sorry, the music... there's a couple of files... in your exercise files you can pick from. So under-- so you bring in Audio, Footage, and Graphics... we'll use Graphics later on... but under Audio there's a couple of bits of music... that you get to select from, if you've got your own music... or know how to get music... you can use your own totally, so use one of those... and also there is... an Irish Blessing to bring in... and in this case... like there's two readings of it in there. You can kind of see it here... there's the first reading... and there's a second reading. I got it to do it differently... just so there's one different kind of emphasis and tone. Pick which one you like. You're going to have to split it up... to get the timing to work across the 30 seconds. In terms of the footage there is A, B, C, D... just cut them up any way you like, nothing too fancy... there's no like editing score here... just getting a file ready and learning how to use proxies. So do that, import this one called Tourism Z... but don't use it in your footage... we're going to use that later on in the course. You'll have to balance between the voiceover and the music... so that the voiceover can be heard. You' like to lower that down... so no more than 30 seconds... voiceover, add music... and export using your proxies. Do you remember that, remember rendering... and there was that little check mark that said Export Proxies... and that's the file that I'd like to see. So upload it to Behance or Vimeo, or whatever you've got. Don't use YouTube... YouTube get a little bit annoyed... when we upload duplicate content... and it might hurt your channel, if you have a channel... but Behance or Vimeo is great... and share the link in the assignments. So that's the way to kind of... get that assignment up and out. Do these things, make sure you use the proxies... and then use the link that you get from Behance or Vimeo... and add that as your assignment. The other thing to do to get excited about what we're doing... is just let me know via social media... like you're getting started-- well that's not spelled right. Let me know in social media... anyone that you use the most... and just say, "Hey, Dan, I'm excited... I'm just getting started in Premiere Pro Advanced... looking forward to it," something like that... and use this hashtag, #GettingNerdyinPP. So that is our little inside joke, inside knowledge... that I know that you're getting into it, and you're excited. So add that to the assignments, and this is-- you don't have to do this, this is just... I don't know, I'm seeing who's out there... who's getting into it... it's taking me a while to produce this course. I love it when people are doing it. You can share the video link if you want... or you can just let me know you're getting started. All right, that is it... let's get on to the next video. 13. Everything about render In & Out in Premiere Pro: Hi there, in this video we are going to look at Render In & Out. All of these ones, we'll look at all these different options here. We'll start with some simple use cases... some more advanced ones, the short answer is... it's a way of creating a temporary file... quite like a proxy... so that your machine can play back some effects, generally. In this case we've added noise to this... and it's gone red, it won't play it back very nicely. We can select it, say 'Sequence'... and we can 'Render Effects In to Out'... and it will create a temporary file... so that it can play back smoothly. Similar to proxies, there are some differences, let's get into it. All right, to get started with this one... let's just make sure proxies are turned off... forget we even did any proxies. Let's pretend we haven't used proxies in this project. We're going to look at render in and out. So you use it by adding... normally effects that stress your machine out. So I'm going to go into my 'Effects'... and let's say this, I'm using 'Tourism D'... and I'm going to add some noise... noise, there it is there, drag it onto this one... and up here I'm going to crank it right up... and leave it all by default. I'm on Full, let's see if it plays back. It's gone red, which is not good. Let's see if it plays, hit 'Space bar'... "May God hold you in the palm of His hand". It's playing back fine. Your machine might not be playing back fine... so anyway, I tried to stress it out, it didn't work... reasonably new laptop... and not a particularly stressful effects. Your mileage may vary, I imagine... I don't imagine, but a lot of the time effects will start stressing it out... and it won't play back nicely. So you can do one thing... you can start applying it to proxies... but let's say we're not using proxies, and we don't want to... it's confusing, it's hard... it's too much for what we're doing. What we can do is, just, say this red stuff, render in and out. To do it go up to 'Sequence'... go to this one that says 'Render Effects In to Out', that's the one we want... and see that's the shortcut for it, it's the Return key... rather than the Enter key. Have a look at your keyboard... one of them will have that on it, use that one. Mine is next to the square brackets... so the shortcut, so click that. It's going to render all the effects from the beginning of my sequence... all the way to the end... the in and out hasn't been set... so it assumes, mean the whole thing... watch it, goes from red to green. Now it'll play back nicely. "May God..." So that's an alternative for using proxies... because what it's done is... let's say that you do, it plays back fine... but as soon as you add effects... your machine just can't play it back... and something like noise, like this... you really need to see what it looks like... to know whether it's good or not. So you do need to... if you crank down the resolution here... you're not going to get that effect... what the noise actually looks like. So hitting the Enter key will actually... create this preview file on your machine... kind of like a proxy, like a temporary proxy... so that it plays back smoothly. Now if you've got lots of effects... and you just want to render the one that you've kind of worked with... that's why it stays up here... in and out, or Render Effects In and Out. So you just set the in point and the out point... so you might drag the CTR here... hit 'I' on your keyboard for the in point... and over here, for the out point. So it's going to ignore maybe a big long sequence, just do this part... remember, the Return key will render it. Let's say that I want to change mine. A couple other ways you can do is-- so I'm going to go and change my noise... to make it go red again... you see there, it's gone red... I can clear my in and out, goodbye... and I can actually just select something... and there's an option here that says Render Selection... so rather than the in and out I find I use that more. I'm going to do just what I have selected in here, nothing else. You can select more than one thing... "May God hold you in the palm of..." way too much. I'm aware of that, but I was trying... to slow down the machine, way too much noise. Another handy part is the looping playback... at the moment I got to kind of restart... and let's say you were doing some adjustments... what we can do is add this little '+' button here... and turn on this one. When I say turn on I mean click, hold, and drag this down... to be a little option for us. There's lots of handy stuff in this weird button editor... just click 'OK'... and what we can do now is set our in and out point... maybe just a little bit, like this. So I don't need the whole clip done. I just need a tiny little bit to see how good that, or bad the noise is. I'm going to turn on the loop... so when I-- make sure it's in the middle there... hit your 'Return' key. "May God..." Interesting audio snippet, but it means that I can-- let's mute all of these... let's mute all these for you so you don't go mad... can you see, I can start looking at this... and then I can go-- let's stop it there... let's adjust this a little bit... now hit my 'Return' key so it's going to render it again, the in and out point... not the whole thing, just there. That's a quick way to kind of... especially if your effects quite-- takes a long time to actually implement... set in and out point... turn your little loop on, and then, know that the shortcut is that Return key. Now what was up here, there's like Render Effects... that kind of makes sense, right? We've added an effect, not everything else... render in and out... render in and out, now it's an interesting one... so not just the effects in and out, but everything... because you can see along here... this is red, this is yellow, it won't render that... even if I clear my in and out points... if I hit the Return key... it's only going to render out everything that is red. It assumes, anything that is yellow, probably doesn't need rendering. Your machine is fine to do it, so says Premiere Pro. If even this part, your machine's finding it hard to play- - oh, there goes my one. - what you can do is, you can go into here and say... actually render the yellow stuff as well... because hopefully that'll make a difference. So rendering the in and out... which is the entire thing, the in and out... watch, it's going to render all this stuff as well. See, it's going green... that clip, that clip, that clip... it's making a little temporary file, kinda like a proxy... to make sure playback is nice. Oh, look at that, all green, and all go... finally it started jumping. Other interesting facts about render in and out... is that they're actually files on your machine. you'll find them... when you have--you have to have done your render in and out... either effects, or in and out, or selection... whether it matters, it creates this folder for you... and in here are all these mpegs... that I used as the temporary folder... or the temporary speedy video files that you're viewing... kind of like switches them out... kind of like a proxy, temporarily. I make an adjustment, I have to re-render... this file gets remade again. You can see, quite a big file... so if you do, like get towards the end of the job... you don't need any of these... once you've exported and rendered it for the final time... all of these are here, just a little helper files... that you can bin, you don't have to back them up. You can just select them all in here, and hit 'Del'... or you can do the official way and go... 'Sequence', and 'Delete Render Files'... will get rid of everything. If you want to get rid of just some of them... you've got a set in an out point. Let's say I want to keep these, but I want to delete... I don't know why you want to do this... but you're probably going to ask why are there two of them? I've set an in and out point... so if I say delete all render files, everything goes... these ones, that one... but if I just delete the ones that are in between my in and out files... you just want to delete some of them... click that, click 'OK'... you can see that one went red... but these guys are still there... and you'll notice, in my files here, there's still a bunch. So let's do it the other way... 'Sequence', 'Delete Render Files', everything goes... that's back to yellow, and in here... just a bunch of leftover xmp files... but all the big large files, the mpeg4s are gone. Something else to consider about render in and out as well... is you can use them for export. I've deleted all mine, let me render it. Let's render everything... 'Render In and Out'... back in a second. It only rendered between my in and out... oh, do it again, see you in a second. Render In and Out. So we've created a bunch of like rendered files... you can actually export them... very similar to what we did with proxies... when you want to export your proxies... very same sort of reasons, quick export, kind of. So a lot of the rendering's already being done... so you can go to 'Command M'... or 'File', 'Export', 'M', or 'Ctrl M' on a PC... and I can say I don't want to export the proxies... but I'm going to use these previews... so that's the kind of... that's what they call it, the in and out... that we've already generated in that file there. So it's going to use all of these to do it... and it's just going to be super quicker. You might be asking yourself... well, what size is it going to be? Let's go and look at how to check... and change those preview sizes if you wanted to. So let's cancel it, let's go into... 'Sequence', 'Sequence Settings'... no, we're going to go to... yes, Sequence Setting's at the top here... and in here, video... Video Previews, that is all linked to that... Sequence Render In and Out, and you can say... actually the preview format, instead of mpeg4... you might be using, I don't know, Quicktime... and you might be using h.264... and give it a specific size. This is where you get to control what size that preview is. So you've got to decide whether you are bothered... whether you plan to export using the previews... if you don't just leave it as a default... if you don't want a bit more control... it's under 'Sequence Settings'. Where this gets handy, and you want to be really kind of careful with this... well, not careful, we want to be particular about what the sizes are... and the dimensions and the codecs... is when you're working on a really big sequence, massive... and what-- you-- getting towards the end... you've got a couple of sections... that have been signed off and approved... and you can render previews... and let's say there's a couple of bits that need to be fixed and finished... you can make those changes... and because you've already done a pre-render... you've done a lot of the hard work... for some of those large jobs... or at least big chunks of the projects... so that you don't have to then wait... to the end, and the last minute, and try and hit Render... and spend ages rendering... whereas this can save a bit of time if you use this previous trick... as more like a pre-rendering before you get going. All right, I'm going to leave mine as the default. It's really handy as well, when you're bringing in... After Effects files, rendering in and out... because the effects that happen with After Effects files... can be very stressful for Premiere Pro to try and recreate. So if you've got an After Effects clip... put on your Timeline here... you can do 'Sequence', 'Render Selection'... and it will render the After Effects file... and it just playback nice and smoothly... especially if you're not planning on changing it yourself... you just want to see what it looks like. We'll cover After Effects later on in this course... and kind of how to do it... and I'll remind you of that little tip again then. So rendering is kind of like proxies... can you kind of see, it's creating a temporary file... to make things go faster. Proxies is a little bit more deliberate... it's more like, I know that 4K footage... this weird, not weird but like 422... or some sort of raw file format, is just-- my computer can't do it... so I'm going to definitely create proxies and start from there... whereas rendering in and out is... you might have an effect on one clip... that is causing trouble, or just working on a small job... and proxies blow your mind... you can just use render in and out... just to make it go fast. All right, that reminds me actually, can you use proxies and render in and out? Yes, do it all the time. Not so much about the playback... because the playback in this yellow stuff here... should be sorted by proxies... but your proxies aren't going to have effects applied to them. So even though I've got my proxies on... if I want to add an effect to it... it still might run really slowly... because the effect itself is very stressful... even on your kind of, like smaller size proxy... so if I adjust this, it still might not play back nicely... no, it's probably going to play back all right. Yeah, it's playing back all right. Pretend it's not, you're still, even though you got proxies on... you still do the same thing. I'm going to do the selection... I'm going to go to my sequence... and I'm going to Render Effects In and Out... which is going to do every effect on the Timeline... between the in and out point, which is... all the way to the ends here, on top of my proxy. So proxies are handling this thing here, these parts here... where it's just smaller, lower quality, a better codec... and when it gets to here it's going to play nicely... because it's my proxy underneath and my effect on the top. All right, that was a long one, we are done... that's enough render in and outs... let's get on to the next video. 14. Sharing & commenting on video in Premiere & Frame io: Hi everyone. This video we're going to look at sharing and commenting with reviewers. You've made something in Premiere Pro, you want to send it to them so they can add comments that you can make adjustments as the editor. So you can upload it to something called Frame.io, which is being recently purchased by Adobe. The user sees this interface, a web interface gets to a point and they go, [NOISE] can we change this? They're using their little free login for Frame.io. They don't have to use Premiere Pro and I've got a little comment on the timeline. Watch this. If I go to Premiere Pro, look it ends up here, I can jump to it, make my changes, re-upload it, send it to the client they can make more comments. It's called Frame.io. Let me show you how to use it in Premiere Pro. For this one, I've just created a really quick little sequence just of stuff lying around. So what we want to do now is go and share it with people using Frame.io. So we're going to share it under Window. Go down to here, Review with Frame.io. Open that up. Now what you'll find is this panel will launch and it will ask you to sign up. It's a separate account. Frame.io is a company that Adobe purchased and you need to sign up with a separate account. There will be an option that says, please use my Adobe ID to sign in, and that's the best way to do it. Because as part of your Creative Cloud license, you get free account on Frame.io. There are some limitations, but you get unlimited reviews, which is perfect. There's storage, I think it's 100 gigabytes, which you might run out of and you might need to upgrade, but it's pretty good to get started. Sign up for Frame.io by clicking the Use Adobe ID option, the way to sign up might change a little bit. But whatever happens, you'll end up probably something looking like this. It's a bunch of demo stuff. This is a demo project. We've got our projects in Premiere Pro, we've also got projects inside of Frame.io which is little bit confusing. That's separate. This is the project that I'm working on in Premiere Pro that we've done. We need to create a new project in here. Not the Demo project, I want to make a new project for this thing I'm working on. This is my SA Tourism video that I'm making. You can work through all the different preferences when you are sharing with people what they can and can't see. Create and there's nothing in my project. So you can go between different projects, Demo project and my Tourist project. So to add stuff to it, what I want to do is I want to send out what I've made so far to a client or another person in the team, one of the stakeholders, send it to them so they can look at it and add any comments. So to do it I've got my sequence selected. I'm going to click in here and I'm going to say upload the active sequence, the one I've got opened down here. It's gone through and pre-populated a bunch of stuff. I want to keep that name presets. It's not going to send out my 4k video. I wanted it to be nice and small. It looks okay, 1080p is fine. Do I want the whole sequence or do I want to sit in and out points? Or where does it go as well? You might have to set this down the bottom. You might have to go to Custom folder. It depends where it defaults, mine didn't default anywhere. So it keeps asking me to put in a folder we want these renders to go. What I did is on my Desktop and I created a folder called Renders and I say go in there please. Other options. Let's talk about those in a little bit, but that's the main stuff. Let's click "Upload". It's going to open up Adobe Media Encoder in the background. Where is my Media Encoder? Just caught him there at the end. He's busy doing something. Now because I'm connected to the Internet. It's uploading it to Frame.io. It's pretty smooth, it's pretty slick. So it's rendered this out, uploading it. Now what I can decide to do is, let's say I'm sending it to my client and I want them to check it. So what I can do is save this one here. I want to share it, Share for Review and just send them a link. Now, I'm going to copy that link and I'm going to open in a browser, you wait there. So this is what my stake holder, let's call him Daniel Scott. I realize I'm also Daniel Scott, the editor plus I'm the client here. I'm playing both sides. But let's say I am the client now and I'm looking at the thing that Dan sent me, that handsome dude, what has he made? I can watch it in here. Now, what will happen is they can watch it like this, but if they want to comment, they have to sign up for Frame.io and they can have a free account. So they need to sign in. They can watch it, fine, just send them the link. But if they want to add comments, they've got to sign up for a free account at Frame.io. So the cool thing about this is my client can go through, watch it all and then decide, this bit here. I'll just move my playhead to where I want to change it. I'm going to say, can you change this for a nice building? Cool. So done that. Let's click "Send". They can also be a bit more specific. Let's say we get to hear him, we can say actually can see you got lots of different options down here. I can draw this stuff. Let's grab the Rectangle Tool and go this. I want this and I'm going to add a comment about that. I'm going to say, can we wait there? [NOISE] So can we change the contrast there? So I've got my two little comments. What's really nice about it is watch this. I can jump back into Premiere Pro, so I'm back to being Dan the editor, forget Daniel, my client looks like a Dan the editor. Let's jump again. Can you see over here this two comments appeared? So I can open this up, double-click it. You can see there, there's those two comments. Can you change this to a nicer building? You can see here, can you change the contrast? So I can do all of those things. So I can go to here and I can say, actually before we go on, you can click on these or you can click on this option here, Show Comments. If they're a bit long or you want to reply to them in here or give them a thumbs up. [LAUGHTER] Or you can go back to this. So let's save this part. You'll notice that jump to the place in my timeline. You can unlink it so that it's jumping around and not messing with your timeline, if you're finding ad up. You might want to do that. So let's go to here and I'm going to say, yes, I can change this out. I'm going to go back to my Import. I'm using Sample Media here for this particular exercise. I'm going to say, yes, it was another building. That will do. I bring in that one. I don't want to make a new sequence from this one. I was going to import it into the project that I'm working on. Here we go. So there it is. Where is it? There it is. I'm going to replace this one out. So you can obviously stick it in there, do some editing, getting at the right one. A little trick, we'll cover this again later on, but we're here. Watch this. If I click hold and drag and hold down the option key on a Mac, alt key on a PC watch this. I just replaced it. Same editing, same in and out points at least. So I just switched that out. This one's got a watermark on it. But hey, whoa. So I've done that change, I could reply. So back to Frame.io I can say here or this one change to a nicer building? Mine one's not jumping as nicely as I'd, is it? How did we get here. Mine one is a little glitchy that way. It's showing me the beginning. Maybe the comments just a bit early, anyway. So I click on this comment. I can say review and I can say, are you sure or we were asked specifically to use this one. So that commenting, I haven't changed it yet, but let's have a look at what Daniel the reviewer sees. A new show, I can say [LAUGHTER] I'm sure I'm the boss. So you can have a live conversation. [LAUGHTER] It's realizing [LAUGHTER] When you actually done the changes, boss wants to change it, that guy Daniel. Let's change it. Now, to update it I need to go back up here to this one. What I'm going to say is, go back to this one as I'm going to upload again my active sequence because it's got the same name. I'm going to leave everything the same. It's going to auto version, which we'll talk about in a second now. Let's go and upload it. It starts separate and then switches itself together in a bit. Watch this. Hey, look, there's two versions of it. Version control, so nice. I love it. So it's uploading to the Internet using my slow Internet connection. Come on, rural broadband. [LAUGHTER] Let's see what happens. The person I've shared it with will get an email notification now. I don't want to show you my emails, but they'll get an email notification and they'll end up back in here. So what ends are happening is they log back in and they'll get to here and they'll go, let's go in. They'll log back in and you can see there's V2. They've updated it. Comments are gone. But now I can scrub through and say here you go. Did he listen? Oh, that's excellent. Don't have to fire Dan the editor. They've done these changes. If you're like me and you are the reviewer, could be like, can't remember what I asked. [LAUGHTER] You can go back to that V1 version and the comments are all still in there and you can go, yeah. Actually let's mess with Dan and say, "Can you move it back [LAUGHTER] to the old version? Because I like the old one." Anyway, you get the idea. So as a reviewer, you're using a web interface. They don't need Premiere Pro, they just need to login with a free account for Frame.io and they just use the web interface. That's all they see. They see the thing that you've sent them. When you get to a point where they're like, yeah, this is fine ready to go, look status. I approve, it Needs Review, In Progress, Approved. So I've approved it now in Premiere Pro. I can see look, it's been approved by the client. Thank you, Daniel Scott. That is Frame.io You can go a little bit further. So up until now we've just shared a single video for commenting. But let's say we're working with somebody that we work on a regular basis on a bigger project. They're going to be collaborators instead of just reviewers. So I'm going to already edit it. So I can click on this and add a name or email address. I've already added my extra person and that person gets an email to let them know that the collaborator, there on my team, they're not just a reviewer. What they see differently is what we saw before was, where is it? That's it. I'm a reviewer, I get a video, I go into it, and I can work on it, it comments. If I'm asked to be a collaborator, this is what I see. I get to see everything that that person is working on. So all the other things that I have uploaded to the project, I'll show you here. I've got different projects going. I've got this SA Tourists one that we made together, but I've also got this Island Tourism project that I'm working on, that I've uploaded to it. So that collaborator gets to see everything that I'm working on so they can jump between them. So it might be another editor that you're working with, the director wants to see the different projects, the agency, whatever it is, they'll probably be better as collaborators. They can see everything. Whereas if it's going to the client or just one person needs to add commenting and you want to keep it simple, just use this option, Share for Review. Now the one limitation for, you can Share for Review to, it says unlimited at the moment of this recording, you can only have two collaborators at once. Two collaborators as part of the free part of your Creative Cloud option. They might change, it might go down to one, it might go up to 50. But obviously you can purchase more through Frame.io if you want to do that. That is Frame.io amazing way of reviewing footage, getting comments in and out of Premiere Pro, back to the client. Remember the client doesn't need to have Premiere Pro. They can just use the web interface, the web interface works nicely on a phone as well. It's all very lovely. Thank you Frame.io and Adobe.com [LAUGHTER] for purchasing Frame.io. One last thing is if you are an After Effects user, Frame.io is smushed into that just the same as it is here in Premiere Pro. People, I will see you in the next video. 15. Clearing cache & scratch disk for faster editing in Premiere Pro : Everyone, we are going to learn what Media Cache is... and what a Scratch Disk is... and how we can bend them to our will... and make our editing process faster. So first up, what are the differences between the two... because they get lumped together all the time... because they do a very similar job. Media Cache is a bunch of files... that Premiere Pro create in the background... without you knowing or asking... to help it run nice and fast. For example, when I bring in... say this mp3 here for my music, Premiere Pro goes... I hate mp3s, they don't run very fast when they're editing... and it could try and do it with the native mp3... but it would be slow and jumpy... and we'd blame Premiere Pro... but it's a super compressed file. So what it does in the background, is it makes another file... in this case, a cfa or something... that it loads and uses for us, we don't know that... that process is happening... but that file gets created in the background... for us to have our editing flow be nice and smooth... thank you, Premiere Pro. So that happens with a bunch of different files... it creates lots of little mini files in the background... just to help us work. Scratch Disks are very similar... they're all kind of like supporting files... that are in the background... but they're a bit more, like purposeful. It's the ones that we make, we made them earlier... see these ones here... remember, that's our project file... and we looked at the video previews here. Remember, we made these for render in and out... and there's a bunch of files... that get created in here to help us. You can see, my Timeline is green. So Scratch Disks are more like... the files that I create for my little previews to help run fast... and Media Cache is the one that... Premiere Pro don't ask... and just do to make the flow go nicely. So that's the difference between... Media Cache and Scratch Disks, very similar. Why do we need to know about them? Mainly because they can get big and bloated... and especially if you're on a slower machine... it can really slow things down. So why are they slowing me down? Just because they can get really big. Here's my Media Cache files here... don't go and try and find this file... it's buried deep in the machine, and it's very hard to find. I've dug it out here just to show you... you don't need to find it, but you can see here... I've been working on one project for like a day with you... and are already at 200 Megabytes. I've reformatted this machine... and cleared it all out just for this tutorial... and before I did that it was up to 4 Gigabytes. Now that's fine on this machine because I've got lots of space... but it can get really big... and if you are on a machine that has-- it's either older, slower, or it's full already... Media Cache clearing can be super useful... to kind of speed things up. Let's look at Media Cache first. All right, to find and manipulate our Media Cache... go to, on a Mac go to 'Premiere Pro'... go to 'Preferences', and go to Media Cache. If you're on a PC go to 'Edit'... and down the bottom here will be 'Preferences'... and go to the same one called 'Media Cache'. So the quick and easy one is... just go and say delete all that media cache... clear it out, don't need it anymore... and if you've got a project open... you can only delete the unused cache... because it's got a Timeline open... and it's got stuff that it's using. It's only going to delete the stuff that hasn't-- it's not being used now... that'll happen if you say import an mp3... play it, don't like it, take it off again... it'll have generated it... it'll be sitting in that folder but not used. So it's a way of clearing out unused ones... and have the project close down everything... and go back to preferences to delete everything at once. That's my advice, because what happens is... if you delete everything, don't worry... as soon as a project opens back up... it will generate them all again... where I wouldn't do this is if I'm working on a really big documentary or a film... where actually there's quite a lot of Media Cache made... so to open it and to have deleted them all... it's going to take ages to generate. You'll notice it down here... there's like a little bar that appears, little blue one, have you seen it... when it starts generating things in the background... you never notice it that much. So that's the time that I wouldn't maybe generate-- delete all of them... so just close down your project... that will become available. So you've cleared out your cache. What else can you do? This one here is super useful, what to do... I don't know why it's not deleting them automatically. This seems like a really good idea. Let's click 'OK', it's going to automatically delete... cache files older than 90 days, that seems good... but even 30 days, 60 days... it's up to your workflow... like hey, if you haven't touched it for that long... it's not a big drama to regenerate those media cache files... or you might decide that you do it this way here... delete it when the oldest cache files-- delete the oldest files when your cache exceeds this much Gigabytes... that feels like a lot of Gigabytes of my hard drive gone. I don't set it to that, I turn it down to like, I don't know, 10 Gigabytes. Have a look at your hard drive, how much free do you have... you might decide that you're happy to give Premiere Pro 10 Megabytes, sorry, 10 Gigabytes... and everything after that it will delete the oldest ones first. This is the one that I more likely use... and 90 days is fine for me, maybe even shorter. We'll talk about the database location in a second... we'll separate it in a separate video... because it relies on you having an extra SSD or hard drive... but I'll do that in the next video. Let's look at what we can do with our Scratch Disk. All right, let's clear out our Scratch Disks as well... to give us a bit of a performance boost... and it's only going to give you a performance boost... if your machine is lacking hard drive space. So in this case it's in a slightly different place... we go to 'Sequence', and we go to this one... we've done it before. Delete our render files, we'll get rid of everything... remember, Delete Render Files In and Out... will mean only delete the files in between here... my in point and my out point. I'm using the I and O shortcuts there... to set my in point and out point... but if you just want to clear everything out, just use that one. All right, let's jump to the next video... where we talk a little bit more... about Scratch Disks and Media Cache... and external hard drives. All right, see you in a sec. where we talk a little bit more... about Scratch Disks and Media Cache... and external hard drives. All right, see you in a sec. 16. Working from another drive to speed up Premiere Pro: All right, this video we're going to talk about... storing all your files on a separate hard drive... I know, wait, you might not have one... but listen to this video and decide whether it's right for you. It can be, probably other than proxies, it's going to be... the biggest workflow update... that I found in my experience... to make things work faster. Even if you've not got a... like if you've got a slower computer and it's full up... it's going to be amazing... even if you've got a pretty good computer like I do. It is worth it, it makes everything run... and preview, and render a lot faster... and I promise we will get onto... some more exciting Premiere Pro features soon. I feel like productivity is all about... getting our system working fast, and our workflow nice... before we start jumping into the stressful parts... of our kind of super features... I totally should have started... with something a little sexier than proxies and media cache. Anyway, let's move on. Now keeping all of your files on a second hard drive... if you've got like, say a desktop style computer... either Mac or PC, often you can put... an extra hard drive in it, which is good. If you're like me, working on a laptop... there's no room for an extra hard drive. So I'm using an external hard drive... and as long as it's fast enough... it works nearly as good... so just make sure, when you are picking a hard drive... that you're going to shift this on to, it needs to be super fast. I'm going to give you... my recommendations for today, with my knowledge. I'm not a hard drive expert, but you need to-- it needs to be an SSD, which is a Solid State Drive... but who knows, next year there might be... I don't know, a floppy state drive, I don't know... but just have a research about... what the best speeds are for your particular computer... and your operating system. So at the moment SSD with the USBC... or if you go to Mac, Thunderbolt 3 is super fast. So PC, you're probably at USBC 3 point something at the moment... so just find a nice fast hard drive... doesn't have to be huge, just has to be fast... and what goes over there? So I find everything over there is great... even like the project file, doesn't have to be... and the trick is, just leaving your hard drive... to only run Premiere Pro. So everything, like your project files... your source files, which is like the videos and audios you're using... should be on this extra hard drive, or the media cache... which we talked about in the last video... and your scratch disk, or on this external hard drive... the second hard drive. That frees up your kind of the hard drive... that came with your computer, to only run Premiere Pro... and that sort of balance works really well. So for your project file, to get it over there, it's easy... just 'File', 'Save As', and put it onto your external hard drive... and just use that as the way you're working. Same with all the raw files or the exercise files that we've got today... just move them onto that other hard drive. In terms of the scratch disk and media cache... they're pretty easy to change as well, so let's do that. I'll show you kind of a work through. So again, let's get to that media cache... on a Mac it's 'Premiere Pro', 'Preferences', 'Media Cache'. Remember, on a PC it's under... 'Edit', 'Preferences', 'Media Cache'... and all you do is, say both of these places... you want both the cache files and the database... to be on the external drive. So let's go to 'Browse', let's find my external drive. I've got a fresh one for you... I'm going to make-- this one's going to be my media cache... media cache, it's a hard word to spell, is it? I don't know, it is for me. Let's click it in there, and that's it. We'll do the same thing for here. It's going to go to the right place, and it just means-- it's going to say, "Hey, I've already got... some media cache for this open document... do you want to remove it, or delete it?" Let's delete it, start fresh. The cool thing about this is that from now on... it will always be over there... obviously there is a trouble... when you are out and about, you can't work on your file... unless you bring your external hard drive with you. So there are some compromises... but I do my video editing at home, plugged in... I do bits of editing out and about... and I just got to remember to take my hard drive with me. So there might be some projects that end up living on your hard drive... your main hard drive... and some that end up on the external drive... because it is a lot faster working. Let's click 'OK'. In terms of the scratch disks... remember those other files, like the render in and outs... you can put those over there as well... and they are great over there. To move them, they are slightly different... they are in your project settings... because scratch disks are set per project... because they kind of follow along the project file. Remember, they're kind of here, where are they? Gone. So these scratch disks follow along... often where the Premiere Pro project file is. So this is a bit of a pain, you've got to remember... every single time you set up a new project... to make sure the scratch disks are set up to that external drive. For me, I've already got this set up... so how do I do that? I go to 'File', I go to 'Project Settings'... and I go to 'Scratch Disks'... and I can say, I want you to be over on my Lacie drive... and I'm going to make a new folder called Scratch Disk... and it's going to go in there, and you go browse... browse. It just remembers the last place you went... and it's going to rebuild all those preview files. You can see, it's already building them. You do that... and now every time I do a render... render in and out, it will end up on that external drive... leaving the internal hard drive... to run Premiere Pro in my external drive... as long as it's nice and fast to do the data transfer... between the software and the actual physical files... as physical as files can get. We did that for an existing file, for new files... as part of your workflow. So if you've got a new project, you'll find it there... scratch disks, looks the same... just you can see that it's already browsed out to my scratch disk. So it remembers the last thing I did. All right, so that's it, you don't have to have... an external drive or a separate drive... but if you do, keep your project files, your source files... your media cache and your scratch disk on them... and let your kind of internal hard drive run Premiere Pro... and it's a great little workflow. All right, on to the next video. "I hope it's more exciting than Disk Cache, Dan." 17. Preferences worth changing in Premiere Pro: Hi there, in this video we're going to look at Preferences. I know, in the last video I said it's going to be exciting stuff... this is exciting, it's nerdy exciting for Premiere Pro. We're going to look at the preferences... that are actually worth changing... not just all the preferences. Now most of these are just personal preferences... and personal peeves of mine. To change them all makes the whole experience nicer for me at least. The first one is in your Project window. If you open up a bin it opens up in a separate tab... and then you're like, this one, you've got this one open... and then, oh, it's a big mess down here. So what I prefer to do - I'm going to close these down... - is 'Premiere Pro', 'Preferences', 'General'. On a Mac it's 'Edit', 'Preferences', 'General'... and I like that, when I double click a bin... it just opens in place, click 'OK'. It means, now when I open up 'Footage'... that same panel is updated... and I can go back, and into this next one, and back... thank you, very much. You might not like that, next preference. This one here is just super useful... and it's not on by default at the moment. Go to, back into your 'Preferences'... go to 'Auto Save', and turn this one... it says 'Save Backup Project to Creative Cloud'. I know it's not on at the moment so just turn that on. They seem to work good... automatically back it up every 15 minutes... up until maximum of 20 versions, that's fine... but also save it to the Cloud, why not, it's useful. Let's click 'OK', Premiere Pro doesn't crash... nearly as much as it used to. You will find them, let me find it for you, there it is. So here's my Creative Cloud, in here, under-- I've just logged into creativecloud.adobe.com... my work... and you will find... under 'Sync Files', 'Premiere Pro', 15, whatever version you're at... auto saves, and it will just back them up in here as well. So that there, if things go wrong... you can find your project files. Yours corrupt, so you lose it... it's backed up here as well... or there'll be 20 versions going backwards. Super useful, especially if somebody else is working on your project... and you're just kind of sharing the project file. All right, next preference. For those of you who are using a computer that is... not quite up to Premiere Pro specs... and it reminds you that every time it loads... it says, "Hey you don't have the right machine"... you're like, I know, I know, and it works good enough. So I ignore it, you can go and turn that off... 'Preferences', 'General', and say... stop showing me compatibility issues every time you start up, once it's fine. Don't keep reminding me of my slow Paru laptop. It doesn't fix them, just the warning dialogues. All right, next preference. Now this next one is... I'm not sure if this is on by default anymore, I know... was definitely on by default... and it was a pain that I had, and a lot of my students had. It might be off by default, we'll check. So what happens by default is... wherever I move my CTI, can you see... it actually selects the clip underneath... and changes up here, in your Effects Controls, and I hated that. What we can do is, you can go to 'Sequence'... and say, actually, don't... selection does not follow the Playhead. I've got something selected... my Playhead doesn't kind of keep jumping around. It may or may not be on... and you may or may not hate it... you might love it, you'll be like, "Man!" I'm going to turn that back on... because, look, it selects it every time you move. These preferences are personal preferences. All right, next one, don't forget to turn it off... now, next one. This next shortcut is for those of you like me... who use a mouse with a scroll wheel to do your editing... and you end up doing this. Everything is up, hiding all the time... you're like, "Oh, how do I get it back, why can't I see anything?" The scroll wheel, by default... vertically scrolls up and down the Timeline... and if you find that frustrating, like I do... go to 'Premiere Pro', 'Preferences'... remember, 'Edit', 'Preferences' on a PC... go to 'Timeline', and say... actually, the Timeline mouse scrolling, be 'Horizontal'... that's way more useful, let's click 'OK'... Now I've lost them... you come back down, you there... now your scroll wheel goes back and forth. I find that helpful. You can do some other things... like you can still go up and down... by holding the 'Command' key on a Mac... or 'Ctrl' key on a PC... and just hover above the different ones. You can still disappear them, and scrub up and down your Timelines. Another little shortcut, if you are a scroll wheel person... hold down the 'Option' key on a Mac... 'Alt' key on a PC, and it zooms in, in and out, using the scroll wheel. So 'Command', up and down now... 'Option' to zoom in and out... and the regular old, just using the mouse, with nothing... the scroll wheel, with nothing held down, will go left and right. Now the question you didn't ask, and probably didn't even think about... but I'm going to tell you anyway... is, "What mouse is he using?" So what is the best mouse for video editing? For me, I use this one, it's not the best mouse... it's the best mouse for me, because-- it's called the Logitech M720... it's called Triathlon, I think. Why? Because I'm just not a full-time video editor... I do as much Graphic design as I do Web design... as UX design, as teaching. So I need a mouse that can do a bit of it all... and this is a nice good compromise. It's got some extra programmable buttons... some good scroll wheel functions... you can connect it to different devices... like my phone and my iPad, which is crazy cool... and it's not super expensive. If you are a full-time editor, which a lot of you will be... you might want to consider some of the surface controls. So type in 'service controls' and see what's out there... like there is an amazing array of service controls... just make sure it's compatible with Premiere Pro. You can see, there's some crazy cool things... you can kind of set up to get your workflow going... plus you look like a serious legit video editor... if you've got something like this on the table... but for me, my desktop service is super valuable. I've got no room for it... and I've tried it before, and I just-- it ends up in the drawer of junk... that I thought I needed, but I don't, but I know for sure... if I was a full-time editor, I'd try and look like this guy. All right, on to the next preference. This next preference setting... it's less of a preference, and like tuning off two preferences... that are meant to be helpful... but for me, run into too much trouble. The first one is... well, it's Snap and set in and out points. There are shortcuts on your keyboard... that somehow magically I hit all the time. I never want to use them... I never do it on purpose... but the S key, which is Snap... there's the icon version of it there. I always turn it off and it stops snapping... and you're like, "Why aren't you snapping anymore, why isn't that lining up?"... you're like, "It's because it snaps off," and you're like, "Where is Snap?" Know that there's an icon there now... which you probably never looked at before... and you go like, ah, 'snap', and you turn it off. I'm going to turn that off, as a shortcut, you don't have to, I do. The other one that is, I don't know... I do it all the time by mistake, is I've got something selected... and I'm looking down to kind of resize my Timeline... because I'm zoomed in too far. I'm going to zoom out, and what I do is... I end up setting in and out points... because, instead of the backslash, which I want... I click the forward slash, '/'... and I'm like, "Oh, not that." I'm like, "How do I get rid of that again?"... and I right click and clear in and out... and then I hit the backslash key, '\' to fill the Timeline. I'm going to turn both of those off. Let's go to Edit... no, on a Mac it's under 'Premiere Pro', under 'Keyboard Shortcuts'... on a PC it's under 'Edit', 'Keyboard Shortcuts'. I'm going to disable a couple of them. So I want to find Snap... I just typed it in there, I want to say, you are gone. So when I hit 'S' now, it's not going to do anything... and the other one is, I want to set in and out points... where is it, scroll, scroll, scroll, scroll... no, it's not called set in and out points, wait there. All right, you're back, it's called Mark Selection, good preparation, Dan... this one here, goodbye. You might love those, leave them in there... but know that if there are ones in there, you can turn them off... and the cool thing about setting these... preferences and keyboard shortcuts is that... because Premiere Pro is this, like subscription service... and there's all this Cloud stuff... under 'Preferences,' and under 'Sync Settings'... it will sync your keyboard shortcuts changes... and your workspaces, and the preferences... so that when you get a new computer... or formatted, or changed to another computer... or start working internally at some other company... you can log in with your user name and id... and it will bring them all across... and you can continue your amazing flow. One of the nice things about Premiere Pro, and that Creative Cloudy thing. All right, for this next trick we are going to look at the Timeline... and the way this thing snaps, by default, it doesn't snap to anything. Now you can hold down the 'Shift' key ... and it will, while you're dragging your CTI, snap to everything. So that's a handy shortcut... but I like it on by default... so you can go to 'Premiere Pro', 'Preferences'... remember, PC, it's 'Edit', 'Preferences'... go to 'Timeline'... and go to the one that says... this one, they all look the same... and they're moving around. So you might have to look for it, Snap Playhead. It's just going to have it on by default only when Snap is enabled... so you can turn it off by just clicking this... not the S key, because we just binned that one... but it means that they're going to snap to this. I find it's more useful for my flow... try it for a little while, you might hate it. You can turn it off, you want to be a bit more exact... holding the 'Shift' key down, that's what I do. There's a lot of, like getting it to the right point... and then using the Razor tool, or some of the other shortcuts. By default it just snaps, it's up to you. Now I'm going to cover a few shortcuts in this course... actually, loads of them, it's the advanced course. What I'll do is I'll produce a shortcut sheet... that you can print out, it'll be in your Exercise Files... obviously, hopefully in there, doesn't exist yet... because I'm still making the course... but it'll be in there in your Exercise Files, you can print them off... you should write them down, but print them off now... and you can kind of circle the ones that you think are great. All right, let's get on to the next video. 18. Replace video on the timeline with new files in Premiere Pro : Hi there, in this video I'm going to show you how to replace something... that's already in your Timeline with some new footage... but just a general note... we've switched to a new category... we're going to be looking at Timeline kind of editing tricks now. So yeah, this is the stuff... we've kind of done the things that helps speed up our computer. Now we're going to look at the things that speed you up as an editor. We want to replace clip D with something new... either we've decided, or the client's come back and said... "Don't like this one, can you try something else?"... but we've done a bit of work to it. We've got cuts on it, we've got an effect, in this case, noise... and maybe Lumetri color grading, anything. So we can switch it out easily by finding it in my Project panel. In this case it's Tourism Z. Click, hold, drag, drag, drag... and then hold down the 'Option' key on a Mac, the 'Alt' key on a PC... and just kind of like dump it over the top. You'll notice, give it a sec... it has matched the cuts, it has taken on the effects... in this case, noise, anything else that's applied? Simple, quick and easy switch. It will work for any type of footage... either images, audio, anything you like. There's a long way, you can select it... actually let's select it over here in the bin as well... or potentially open in the Source monitor... and then you can do the long way, we got to right click, and go to... 'Replace Clip' with either the bin, if you've got it selected... or the Source Monitor, which is there I've got there... and it will switch it... or just hold down the 'Alt' key for a PC, or the 'Option' key for a Mac. Again, this will be in your shortcut sheets. Not every single thing I'll cover in the course will be in there... but a lot of the hold-down-the, hard-to-remember shortcuts will be there. Remember, circle the ones that are important, don't have to remember them all. All right, next video. 19. Zooming all the way in aka Zoom to frame in Premiere Pro : In this video I'm going to show you... how to zoom all the way in... boom, into the Timeline here... and then all the way back out again. Spoiler alert, there is no actual zoom all the way in shortcut... so we're going to create one. I think it's worth bothering making, let me show you how. You probably know a few of the shortcuts... '+', just to zoom in, right? and if you want to get all the way back out... it is backslash, '\' on your keyboard... shows you the entire sequence... but there's no way of zooming right in. You have to do this ' + ', '+ ', ' + ', '+ '... that gets you in, and you can start seeing per frame. I like getting in that close, it needs to do with sound... but that's okay, a complete zoom in would be handy... there isn't one, there isn't a shortcut... but we can make one, super quick, super easy... on a Mac it's under 'Premiere Pro'... go to 'Keyboard Shortcuts'... and on a PC, remember... it's under 'Edit', 'Keyboard shortcuts'... and the term we want is something... called Zoom to Frame. So type it in the search... it's going to say, here it is, there's no shortcut... and if '\' is the zoom out to the entire sequence... what I'm going to do is click in here... and go 'Option' on my Mac... and hit '\'... or if you're on a PC hold down the 'Alt' key and hit '\'. It's not being used by anything else, which is good for me. So I'm going to click 'OK'. So now backslash, '\' all the way out... 'Option \', all the way in... hey, instead of zoom, zoom, zoom... All right, it's kind of a trick that we had to make up ourselves... but I find really handy. This won't be in the shortcut sheet because we made it up. You can make it anything you like... so just make a mental note if you did make that change. All right, next Timeline trick. 20. Making track height bigger & smaller in Premiere Pro: Hi there, in this video we're going to deal with track heights. It's these things, these are tracks... these are how high they are. There's a couple of different shortcuts... you need to decide, out of the many that I'm going to show you... which works for you... because nobody likes doing this, up a little bit... make this one up a little bit... and this one's up, and what's even happening to the... to the audio down here. All right, let me show you the shortcuts. The first one, probably easiest one is... make sure that your Timeline is selected... otherwise the shortcut doesn't work. Hold down 'Command' on a Mac, 'Ctrl' on a PC, and hit the ' -/+ ' key. It's up on the top right, so try and find that. ' + ' zooms in, and ' - ' zooms out, there you go. If you want to do it for the audio as well... hold the 'Option' key on a Mac, the 'Alt' key on a PC... and it zooms in and zooms out. Where's the top of mine, there it is. So for me, if you're not super advanced, those will do... but if you're not a shortcut person... you can just double click on this, like random gray area... it does lots of stuff, this random gray here. We're going to look at this later on... but like random gray area, double click it... full, double click it again, small, double click, full, double click, small... there's a way of just getting them bigger and smaller... without remembering shortcuts. You might not like them... so just double click this area, big, small. So we've learned 'Command +' zooms in the video... 'Option +' zooms in on the audio... but if you hold 'Shift', what does that do? Ah, it goes all in, it goes full song, it goes... 'Shift +' goes all, everybody big... and ' - ' goes everybody small. That might be the one shortcut... that you circle and write down, and go... that's the one, that's all I need, full in, holding 'Shift', Mac or PC... and hit ' + ' or ' - ', full in, full out, so many shortcuts. Incidentally they're all hidden in here... see this little wrench... maximize all, minimize all... I already have minimized, didn't I? That's what that does, say, same shortcut... 'Shift +' or ' - ', really they don't show you the shortcuts in here... but hey, you know them now. You say, hey, I don't want them all to do stuff... I want an individual, like... I like my, say A-roll here to be like nice and big... and my B-roll to be big, half the size... because it's not as important. I'm going to hit the Tilde, '~' key, so I can see it a bit more... and let's say that you want this... generally ends up being kind of like graphics and stuff. So you end up keeping it teeny tiny, and you end up with this... like lovely, background music, ends up getting small. You get it perfectly, you're like, "Oh". Imagine if I could go back to that every time, on every project, you can. So once you get it, well you want to... adjust the heights and then go into the little wrench again. You can save a preset, give it a name. So this is going to be 'Dan's Unicorn Timeline Height... Going to give it a shortcut. This is where it gets a little bit weird. You say, I'm going to set it to track height preset one, perfect. Now what's the shortcut? I will show you. So you save it... and the long way is you end up adjusting it, and moving it around... or you start a new project, you can go manually... just into the wrench and say... actually, let's go and find, there it is there... Dan's Unicorn Preset Height... you might just use that, but shortcut people... you might have two or three different ones... so you can save a second one, not the Unicorn one. There might be, I don't know, working on laptop one... working on dual monitor version... a couple of different ones... but how does that shortcut work, what was it called? Hang on right there... wrong one, wrong bit... 'Manage Presets', I set it to Track Height Preset 1'... that's the thing you need to remember... Track Height Preset, I can do that. So now go to your shortcuts... remember, it's under 'Edit' on a PC... 'Premiere Pro' here on a Mac... and over here type in, what was it, 'Track Height Preset 1', then you connect it. So I'm going to double click it... I'm going to click in this random area over here... and come up with my shortcut. You're trying to find ones that aren't used... 'Command 1', weirdly is not used... on Mac, 'Ctrl 1', give it a test, on a PC, it's probably not used... if it is, try your number keypad... come up with some other random one. If there is a conflict, decide if you're ever going to use it again... that's how you assign those shortcuts. Kind of a convoluted way, in my opinion... but hey ho, we're done. So working on a project, and using my shortcuts... let's 'Shift -' all in, I'm doing some stuff... and then I can go, 'Command 1'... back to the the heights that I love. All right, that's probably enough for track heights. How long is this video? There's a lot to do with track heights, it's important. You've all done it, you've all probably been... very annoyed by doing this, and getting it right... and then either shortcutting it... or not seeing the thumbnails... yeah, you understand, I know you do. All right, that's enough for track heights... let's get on to the next video. 21. What is Sync Lock vs Track Lock in Premiere Pro: Have you ever wondered what these things do? You're like, "Oh yeah," there they go... Toggle Sync Lock... that description doesn't help, does it? Let me show you how they can be useful. So sync locks, they're on by default. Basically they are syncing all of these tracks together... they're locked together in synchronicity... that's my explanation. What it means is, when I insert edit... something into the track... they all move along together. So let's say I've found this clip... I've set an in point using the 'I' key... the 'O' key for my out point. I'm going to use my super duper shortcut for insert. You can see there, it's the comma. So I'm going to hit ' , ' and it's going to insert it. Keep an eye on the Timeline, boom, it worked... but these are all synced together. So they all get a big cut in them and all get pushed along. That's where Sync Lock can be useful... especially for music tracks or dialogues. I find that's always annoying... you're like, you stop getting pushed along... and you click on 'Sync Lock' to turn it off... so he's now no longer synced with his buddies. Let's do the same thing, use your other shortcut. I'm not-- click the button, you see that... they all moved along, and he stays the same... and if you're like... "What's the difference between just locking the layer?"... so let's turn the Sync Lock off and just locking the track... nothing, it'll do the same thing... except I can't edit this now... I can't adjust the volume... I can't do anything, it's locked. So Sync Lock is like a soft version of a lock... that's a big old mean lock... this is just a little soft lock. So it means I can-- it'll insert edit, but I can still grab it... and adjust the volume and do other things to it. I find it's quite useful for adjustment layers. So let's create an 'Adjustment Layer'. Yes, yes, yes, in the wrong bin, fine. Stick it on there, I know that my sequence... has to be 30 seconds long. So I don't want you to move, go like that... but because he's got sync lock on... and I hit my shortcut, the ' , ' to insert... it gets pushed along and cut up. So I can say, you have Sync Lock off. I get to click on my 'Adjustment Layer'... adjust my, say Lumetri... or whatever I've applied to the adjustments layer... I don't have to keep locking it and unlocking it... but that's what it does. Often I just fall back on locking it... except for the music track. It's quite handy just to sync lock that one... or at least turn off the sync lock, does that make sense? Another good use for it is when you are... if you're a fan of using the Ripple Edit tool... we'll look at that later on... but if you click on this, and let's say... your dialogue, you don't want it to move... it's timed with things down here... but you want to trim this up a little bit, do you want to trim it up... but see, the audio comes along... you're like, stop moving along. It might be images or things up there, something else... but again, sync lock means I can still edit these... but they're not affected by the Ripple Edit... look at that, they just stay where they are... like a mini lock, but they remain editable. Now we know what a sync lock does. I've come back from the future... and I've come back from the captions video to add to sync lock... because this is a really good use as well... that I didn't think of when I made this video. So we've got captions along the top... which we'll discuss later on. So we've learned sync lock... is if I hit my insert from source monitor, enter here... I'm going to insert it, push everything along. You're like, not that... I want that to be broken as well, and if I insert it... it's going to push the captions along. You're like no, no, no, the captions need to stick along with the audio. So I'm going to say, you break the sync lock as well. So now when I hit my ' ,' it pushes them along... these stay in place without having to lock them. I can still lock them but it means... I get to work on my captions, adjust them... without having to unlock them, block them again... you get what I mean. All right, I'm going back to the future... you carry on with the next video. 22. Coloring your clips to organize them in Premiere Pro: Hi there, in this video I'm going to show you... what all these colors mean, on our clips and our footage... both in the bin and on the timeline. I'll show you how to take it from this, and customize it like this. Look at all the colors... there's colors going on in here... this color going on over here. It's great for kind of organizing our material... let me show you how. What do they mean... why should you bother using them? Instantly, by default they're reasonably useful... you can see that this one here is different from this one. Why are there different colors? This one here, if I click 'F' key on my keyboard... it'll open up in the source monitor. You can see, it has both audio... sorry, video and audio in the original footage. This audio is not very good, but it has it. This one here, if I hit 'F' key... actually click over it and type 'F' key... it'll open it up here, and you can see, there's only video... in this original footage, no original audio. You can kind of see it down here... in the thumbnails as well... you can see, this one here only has video, no audio, this has both. So it ends up being this blue color. Audio is green, well audio only is green... and adjustment layers and stills are this kind of magenta pink color. Why are they useful? You can make them more useful. So let's say, for you... let's say that we want to start organizing our footage... so that we can visually see it over here. Let's say for instance, we've got some footage... that comes in, that needs to be reshot. So let's say this one here... this one you know from feedback, or for yourself... that it's good but you need to find something else... either reshot, or find some more stock footage. So you can just right click it and say... actually, I want you to go to the 'Label'... and let's say 'Brown'... it's going to be your reshoot color. Just a visual cue to say that needs fixing. So that's kind of handy on its own. Another way you can use it... instead of just kind of like marking up an existing clip... you can use it over here, in your project, you can color these... to give yourself a visual cue of like what things are. Let's say that we have a mixture of 4K and Full HD footage... let's bring in some Full HD... let's bring in, I don't know... let's bring all of that in. What you can do is you can mark-- it might be from different cameras... it might be different frames per second. Let's say the Ls, I know that, where are we... scooting along, where is it? Video info. So there's a bunch of them that are 1080p... and you can say, actually, all of you guys... regardless of whether you've got audio or not... or just video, I can right click them and say... actually, I'd like you guys to be something strange, 'Mango'. It's quite different So when I add these to my Timeline... I'm editing away, I'm going to add this one to it... it's going to be this mango color. So I always know that that is a smaller... obviously, quite obvious as well... but it's a way of just kind of marking them before they come in. It might be frames per second... so you might have a bunch of them. I've only got one, but let's say you have a bunch that are a mixture... of 30 and some of them are 23.967, or 76... and you can say, actually I would like you... before you come in I want to mark you all... as something... either stock footage, or needs to be reshot, or has bad audio... needs to be cleaned up, or hasn't been graded yet. This one's going to be 'Rose'... and now I'm going to add it, and I'll always know that... that rose color for me means 100 frames per second... or whatever your thing is. What you will notice though is... let's say that it's already on the Timeline ... let's say-- we know that-- let's again get our frame rates... let's say all our 23 frames per second... is going to be this new color. It's going to be... yellow. Do you notice, these didn't update even though Tourism A is part of it. It's over here but not over here... that sometimes is useful, so you mark them before you move them in. If you want your timeline to update as these update ... strangely you need to go to 'File', and go to 'Project Settings'... and open up 'General'. It's in the weirdest place... 'Display the project item name and label color for all instances'... not just the ones that are to come... all the ones that exist... and now you can say, actually, all of these guys... yellow looks terrible. So I'm going to go and, not use proxy. I'm going to use label, where is it, there it is. I'm going to make you all 'Forest'. I decide that actually reshoot color is going to be-- remember, 'Premiere Pro', 'Preferences' on a Mac, 'Edit', 'Preferences' on a PC. I'm not going to mention that again... you're like, "We know, PC, Edit, Preferences... Mac, Preferences"... and let's go to 'Labels'. You might decide that actually I'm going to make my own. I'm going to say, actually 10... I'm not going to use 10. I'm going to use this one, reshoot. Oh, look at that. It's going to be the color of black... and that's going to be my-- needs to be really short footage, or find something new. You can see all the other defaults in here as well. We talked about the audio and video... is that iris color, which is blue... which matches that one, where is the iris? You can go in here and do this yourself, and change them. I'm not sure why you want to. I love the names though, Caribbean, Iris. I don't even know how to say that... Cerulin, Cyrillin, Swilleen... you're all at home, laughing. I probably know that word if we'll say it right. Let's click 'OK'. So now I can go in here and say... actually this one, and that one... so I'm holding 'Shift' to click more than one... that aren't kind of two separate ones... 'Labels', you're going to be my 'Reshoot'... where are you? Reshoot, there it is. Now I know for definite these need reshooting. Black's probably not the best color... because I can't read the name. Hey ho, you get the idea. Where I find it most useful is this whole-- need to find something new, something obvious that needs to be redone... and I'm going to do it in the future... and try not to forget. Don't make them black though. All right, those are labels, let's get on to the next video. All right, I had to know... and I feel, like as a designer I should know what Cerulean means, I didn't-- there you go, I've expanded my knowledge of color... "Oh Dan, you're a great designer"... don't know this word... did you know it? Let me know in the comments... you might make me feel better about myself or worse... I'm prepared for it though. All right, let's get on to the next video. 23. Unlinking audio & video using Linked Selection in Premiere Pro: Hi there, in this video we're going to discuss what this icon does. It's called Linked Selection. I'm going to show you the shortcut version of it... which is probably a little easier; what does it do? Let me show you. So have you ever wondered what it did? Probably not, probably never even noticed it was there. What it's there for, is when I bring in... a bit of footage that has both video and audio... natively, or naturally, or by default, they're connected. Turn that off, and click off, and now, they're not. It's a good way of separating them, normally end up dragging things like... this Tourism Inn, and it has... for some reason I have got an audio track that does nothing... so with this off, I can just click on it, delete it, and it's gone. That was the long way. "Why is he showing us the long way?" I'm not sure, actually. 'Sequence', 'Linked Selection', that button. I only know it exists because I turned that off by accident... and it really messed up my project... because I couldn't figure out how to turn it back on. Now I know. What I normally do is just have it on... and what you can do is-- see it's on, and it selects both of them. Let's undo that, so selects both of them together. What I normally do is use a shortcut. So hold down the 'Option' key... and it will temporarily disable this, watch. There you go, hit 'Del'... but you can just turn it off forever... depending on the type of project you're using, maybe there is no need... to have them connected. Anyway, that is Linked Selected, now we know what that does. Let's get on to the next video. 24. Thumbnails on the timeline in Premiere Pro : Hi there, in this video you can see... look we're going to mess around with the thumbnails. You can put them just at the beginning... beginning and end... smear them along the whole clip, like I did... I'll show you how to turn these names on and off. Oh, it's very exciting, let's jump in. All right, first things first... you need to have this track big enough to see a thumbnail... if it's too small you're just not going to see it. We're not going to drag this anymore... because we are super advanced Premiere Pro users. Who remembers what the shortcut is to like... just make them all bigger? You hold down 'Shift' key on Mac or PC... just hit '+', they all get nice and big... or, I've got my shortcut... remember, 'Command 1', that's what I set mine to... 'Ctrl 1' is a shortcut we set earlier in the course. We pre-defined it ourselves... anyway, I can see my thumbnail. Now I've only got it at one end... what you can do is, you can say-- actually you can go to this little Burger menu... there are some weird places in Premiere Pro... like, in this Burger menu there's lots of useful stuff... and here you can say... actually I want the video, the thumbnail... to be at the head and tail. So I can kind of see both sides... especially when I'm kind of, like along here... there you go, I can see the join, with it off, I can't see this one... and I have to kind of like, oh, what is this one, and kind of like scroll back. So I get it at the beginning and the end. There's another option in there... same place, there's one called Continuous... and it just kind of repeats the thumbnail over and over. I find this too hard... you might find this super useful if it's... maybe you're dealing with a lot of images, I don't know... just repeats it over and over. Know that you can do it... I'm going to turn mine back to 'Video Head and Tails'. The thing is, with this as well... if you change any of these settings... in this like little Burger menu here... it will change for all projects. It's not one of those project only settings... there you go, oh, one thing I didn't say is... you can actually turn it off. So thumbnails in here somewhere, you can say, actually, just turn thumbnails off... can you see it... "because it's not even in there, Dan, it's in here." 'Show Thumbnails', you might for some reason, just want them off. I'm not here to judge, you do what you want with your thumbnails. One thing that you might, I don't know... you might have seen it there, you can turn the-- I'm going to turn my thumbnails back on because I do like them... I'm going to go to my wrench and go to 'Show Video Names'. Can you see that there... you might be like, "I don't like those names there." Let's just keep it nice and clean. Turn the thumbnails off, turn them on... names on and off, up to you. I'm going to turn mine back on just for this course... because that will stay on permanently, remember. So let's turn on my Video Names, and that's it... that's all we need to know about thumbnails in the timeline in Premiere Pro. 25. What does the FX icon in the timeline do in Premiere Pro : Hi there, in this video you can see... look we're going to mess around with the thumbnails. You can put them just at the beginning... beginning and end... smear them along the whole clip, like I did... I'll show you how to turn these names on and off. Oh, it's very exciting, let's jump in. All right, first things first... you need to have this track big enough to see a thumbnail... if it's too small you're just not going to see it. We're not going to drag this anymore... because we are super advanced Premiere Pro users. Who remembers what the shortcut is to like... just make them all bigger? You hold down 'Shift' key on Mac or PC... just hit '+', they all get nice and big... or, I've got my shortcut... remember, 'Command 1', that's what I set mine to... 'Ctrl 1' is a shortcut we set earlier in the course. We pre-defined it ourselves... anyway, I can see my thumbnail. Now I've only got it at one end... what you can do is, you can say-- actually you can go to this little Burger menu... there are some weird places in Premiere Pro... like, in this Burger menu there's lots of useful stuff... and here you can say... actually I want the video, the thumbnail... to be at the head and tail. So I can kind of see both sides... especially when I'm kind of, like along here... there you go, I can see the join, with it off, I can't see this one... and I have to kind of like, oh, what is this one, and kind of like scroll back. So I get it at the beginning and the end. There's another option in there... same place, there's one called Continuous... and it just kind of repeats the thumbnail over and over. I find this too hard... you might find this super useful if it's... maybe you're dealing with a lot of images, I don't know... just repeats it over and over. Know that you can do it... I'm going to turn mine back to 'Video Head and Tails'. The thing is, with this as well... if you change any of these settings... in this like little Burger menu here... it will change for all projects. It's not one of those project only settings... there you go, oh, one thing I didn't say is... you can actually turn it off. So thumbnails in here somewhere, you can say, actually, just turn thumbnails off... can you see it... "because it's not even in there, Dan, it's in here." 'Show Thumbnails', you might for some reason, just want them off. I'm not here to judge, you do what you want with your thumbnails. One thing that you might, I don't know... you might have seen it there, you can turn the-- I'm going to turn my thumbnails back on because I do like them... I'm going to go to my wrench and go to 'Show Video Names'. Can you see that there... you might be like, "I don't like those names there." Let's just keep it nice and clean. Turn the thumbnails off, turn them on... names on and off, up to you. I'm going to turn mine back on just for this course... because that will stay on permanently, remember. So let's turn on my Video Names, and that's it... that's all we need to know about thumbnails in the timeline in Premiere Pro. 26. How to find stuff in the Premiere Pro timeline: All right, let's continue on our mastery of the Timeline. I've got a slightly more complex Timeline... you're potentially going to have a lot bigger... but we need to find stuff... we've got amends to make, got to find videos. What you need to do is... make sure that you've clicked into your Timeline... so little blue lines around the outside... and just hit 'Command F' on a Mac... 'Ctrl F' on a PC, very common 'Find' shortcut. Oh, I've come back from the future... I just realized I didn't show you... the actual long way for the Find... I just showed you the shortcut. So make sure you've got your Timeline selected... and you go to 'Edit', 'Find'. For those people who, yeah, "Sick of all the shortcuts, Dan"... there's an easy way, anyway, continue on... and you can do things-- oh, you can see, I've already been playing... I've given away my plan... but you can find anything, probably what I use the most is Name... and I say-- the Name contains-- and quite often I'm adjusting things like text... I do these little pop-ups as part of mine. So I'm going to find anything that has... actually a file name of pop... because I know I use that when I have these little text popups. I hit 'Find', and there it is there. It's gone straight to it and found it in the Timeline. I use it quite a bit, so 'Find All'. It's going to select them all for me... and I have the battle of like, should these all be a bit lower or a bit-- the volume up and down. There's a way of selecting them all... rather than trying to, like Shift click them all... especially if they're kind of spanning lots of different tracks, anyway. So that's how to find stuff. You can find all sorts of useful things... so again, just clicking in here, 'Command F'... let's look at-- let's say... instead of just names of files... let's look at, say Effects... let's find something that has the noise... hit 'Find', and there's my video that I had the noise on. Let's type Lumetri, which is a really common one. Actually, if you hit Enter, it does jump to it... but Find All or Find, up to you. In my case I'm going to find the next one... there it is there, I've added that... let's look at combining the two. So I want something that's got Lumetri... but also a Frame Rate of 60 frames per second. So you want to find everything, maybe in your document... that has these two things... Find All, I've only got one of them... that's it, yep, Find, it's useful. You might find it even more useful... depending on the Metadata that... you've got in your kind of original footage. Can you see here, if you've got a lot of... kind of great stuff with client names... and different things, different cameras... as long as the Metadata is there in the actual file name... you can find all sorts of good stuff. Me, I use mainly Name. Markers is good, but there's actually a better way of doing markers... and we'll do that later in the course. All right, Find over. 27. How to use match frame to find original footage in Premiere Pro : Hey there, in this video we're going to look at something called Match Frame... and then Reverse Match Frame. Let's work out what Match Frame is first. So Match Frame is really useful for... especially when you've got a really long interview... and you've kind of cut it up into lots of little pieces... you're like, "Where's this bit in the big long video?" So just put your CTI, your Playhead... just above the clip, wherever you want it to be... you can be very precise... but just jam it in there somewhere... and tap the 'F' key, boom. What it does is it jumps back... to that original footage, there it is here... and it's showing me the snippet... and if I zoom out of this, you can see... it's part of a really long interview, can you see... and that's just a tiny little bit. If I find another piece of it that I've cut up... this bit here, just type 'F' key... you don't have to select it... but it will jump to that snippet there. So I can kind of work out where all these bits have come from. One thing to note that it is to do with your track targeting... say this column here, if I say-- I've got it hovered here now, I'm going to find this... if I use this somewhere, type the 'F' key... you notice it's not grabbing this, is grabbing the track that's underneath... it's because of this. I'm going to turn that off, turn that one there... Now if I hit 'F', it's going to find that track. So I'm going to turn it back. So that is Match Frame, super useful. Where it gets kind of weird, and you might already know Match Frame... a lot of people do. Let's do it another way... like let's do this one, and let's double click this. It does the same thing, it opened up here... and you're like, what's the difference between F key, which is Match Frame... and just double clicking some of the clips? Well, the difference really is... is that this is not showing me my original clip here in the Source monitor... it's showing me the instance... that I've chopped it up, so watch what happens... when I say up here, if I zoom out... and I just start adjusting... I'm like, I don't want this bit anymore... I want this bit, and I want this, maybe just here... can you see, it's adjusting that clip, that's the difference. If I double click it and open it... I'm kind of opening this instance of it... and I can edit it. It's generally not what you want. My advice is, don't double click stuff... saving project, please hold... that took longer than normal. Screen recorders is pretty stressful on your machine. I'm going to undo that. So instead of double clicking just use the F key. F key means that I can go in here... I can still see where the original edit is... it kind of tells me, but I can zoom in now and I can say... actually, I don't want that anymore, I want this bit over here... over here, and this bit over here. You see, it's not editing that original. Anyway, that confused me for a little while. Don't double click, do editing on the Timeline... and just use the 'F' key. Little thing to note, it's not what you got selected as well... sometimes I think, oh yeah, select that... hit 'F', it's not... it's wherever the Playhead is. So doesn't matter what you've got selected. The other thing to consider is that... say you don't want to find it up here... you want to actually just find it in this big mess of a bin that you've got... no folder structure, you live life on the edge... you're a renegade rogue editor... and it just all piles up in there. You're like, "Where is this thing?" You can right click it, have to select it this time, right click it and say... show me, in the 'Reveal in Project', there it is there... and it'll open up, well, not open up, it'll just highlight it... then you can double click it in the source. You're kind of back to where you were before... but at least it shows you in here... because often you end up, with things in the wrong bins, let's say. I'm not judging... The next one we'll thrown in at the end here is the Reverse Match Frame... this is not very good, I'll be honest. There's a better way which I'll show you in the next video... but you might have a really good use case for it. Let's say that it's great, well, I can see why it would be great-- This doesn't work, for say something like B-roll... say you're in here and you're like, uh, where's-- might be wrong. There's something, so open this up, I'm like, "Oh yeah, this is good, man." Have I used it? Hmm. That is my big question for B-roll, like I'm-- I abuse B-roll a bit... I'm like, I use them for other projects... there's a lot of like my world, there's a lot of... like person typing on computer... person reaching over, short or pointing... you're like, "Did I use it for this project?" I'm not sure. So you get the kind of CTI where you think you might have done a cut... and you hit 'Shift R'... and if it doesn't work, you haven't used it... unless here, 'Shift R', I did use it... there it is there on my Timeline. So Shift R is-- that's the annoying part of it. You have to have the Timeline where you think the B-roll is. It's good when it's clear but this one's got a couple... of different parts I might have used. There's that bit, you tied it a couple of times... oh, there's a zoom. So you have to have-- you could be submitting, forever going 'Shift R', 'Shift R', 'Shift R'... oh, found it, like that's-- so that's why I don't like Reverse Match Frame. It could be useful for what you're doing... so there you go, you know. Let's jump into the next video... where I'll find you a better way of doing that... like, have I used this B-roll in the Timeline somewhere. I'll show you how in a sec. Actually, before I go, I feel like I've slammed Reverse Match Frame... but Match Frame, you are good. Remember, anyway you want, 'F' key, takes you right there. Anyway, let's jump into the next video. 28. Has my footage been used already on my timeline in Premiere Pro: The question this video is going to answer is like... "Have I used this B-roll in the Timeline somewhere?" If I have, can you show me where, please, Premiere Pro. All right, so there's two ways, both of them are a little weird... because, what I tend to do, well... I need to write this down, because every time I look in the wrong place... because you'd be like, "All right, just click in here, right click, say..." 'Reveal in Sequence'. It's showing me in my Finder, why can't it show me on my Sequence? It knows, but it's not in there, if that's where you're looking. The first weird way is using the icons. Let's down the bottom here-- I'm on List view... that's just a personal preference, you might already be on Icon view. When you're on Icon view, what you'll notice, or may have noticed-- I'm going to go to full screen, remember, the Tilde, '~' key on your keyboard... to make that panel nice and big. Can you see, some of them either have gray stuff... because they have audio, and haven't been used... or nothing at all, so this one here, no icons. It's because, see this little blue thing, that means it's being used on my Timeline. See it there. So I know that's being used, that might be enough. You might be like, "Oh yeah, being used," don't try and pin at the tied about... know the timed about B-roll on there, you've already got one. If you want to actually find it, let's go back to, I think, Tilde again. Let's find one of them, let's say this one here... because I got two tilt ups, I'm like, "Which one do I use?" Clearly this one, easy, it's being used one time even. If you click on it, it will actually tell you the time code. If you use it more than once, it will have a couple of options here... you just click on it, look. Takes you straight to there, in your Timeline. That's probably the easiest way to do it. If you want to be-- it's a different way of doing it in List view. So in List view, what you can do is-- I'm going to go full screen again. Remember, the Tilde key... you've got all this Metadata along the top. So we've kind of talked about adding more, let's add another one. So I'm going to right click, 'Metadata Display'. Go, and in here, you can never find them in the search... you got to type them in. Hah, I couldn't find it, was typing in "used"... it's "usage," you can see here... I want to turn on video and audio usage. It's under the Meta-- if you can't remember either, it's under this first one. Can never seem to remember which kind of folder these are all added to. Let's click 'OK'. You'll see, all the way down here, where is it... did you know, I'm using my scroll wheel, you can use the slider down here. Is this a tip, I hold Shift, and use my slider wheel... like my scroll wheel to go back and forth this giant list. Where is it? There it is there. So I'm going to drag these along, because, maybe I want them. It's more important for me to know where they've been used... maybe in this instance, maybe you're tidying up, or you don't B-roll... you can slide them along, hit my Tilde, '~' key... you can see, where is them, you can see, this guy's been used four times. So you can tell all the different-- you can see all the different times there. Here you go. I use mainly the Thumbnail version of that... but you can obviously use this List version. Remember the word usage, okay. We're going to do this later on, but... hey, I'll throw it in here, you can save a view preset of like... all of this stuff, of like where your Frame rates are... where this kind of organization of these columns. You might use this 'Video Usage' all the way up here. So it remembers every time that you work on a new project. All right, that is how to find if something's being used... in your sequence already. 29. Playback tricks for Premiere Pro: Hi everyone, in this video we're going to do... some playback tricks for Premiere Pro on our Timeline. There are some good ones in here. The first one I'm going to show you is... the J, K, L, you probably already know... but the Shift J, K, L, what does that do? So J, K, L on our keyboards, all kind of next to each other. If you're editing in Premiere Pro, and you want to be advanced... you rest your fingers on those. - L goes forwards... - "...final font." Let's mute this. That handsome man, J, goes back, and K is stop. You probably already know that if you've done the Essentials course... but if you don't, that's a bonus. You can go double speed by tapping L twice. I watch a lot of my videos in double speed... even with the audio one, I'm like... "I like to select video..." It's like, when I'm doing my checks, and I'm like... I know that there's-- it's good, I just need to kind of read through it to make sure there's no-- I'll watch through it to make sure there's no big problems... before I do a final render. So double speed, you can go triple, 1, 2, 3... you can go super speedy. So we probably already know that... but did you know you can hold 'Shift' and use those same keys. So if I go 'Shift L', look, it goes in super slo-mo. So it's kind of like frame by frame, especially when you're like... this point here, I'm trying to get it so that when I kind of time it... and I start using my mouse... rather than pointing to the screen... it switches to the B-roll. So 'Shift L', I'm going to get a bit closer to it. 'Shift L', and just kind of wait for it. I've already done this... you can see the B-roll there, but that's what I did. Hold 'Shift' down, just wait for it... and then kind of hit 'K' to stop... and then you can kind of get your B-roll ready for it. All right, J, K, L, Shift J, K, L... or double tap J, K, L to go in kind of chipmunk mode. The next one is... could be the best one of the whole course, yep. I'm going to put that out there, the best shortcut of the whole course... first of all, because I'm-- I've been working a long time... I haven't been-- my editor Tayla's been working... a long time on this clock thing... and there's a lot of, like timing, and trying to get it right... and what you can do is... instead of kind of like going back, hitting space bar... and kind of checking the timing-- first of all let's render it. Who remembers what render in and out shortcut is? Oh, it's a test. That's right, 'Enter', but what we'll do is we'll set our in and out points first. So it doesn't render the whole thing. Back in a sec. You know it's a bad day when the estimated time is going up not down. All right, speedy time. I'm giving up, one thing you can see, is... you don't have to actually wait for the whole render... can you see, a bit of it's green... that's good enough for this tutorial... and it might be good enough for you. So let's leave this in the course, that's enough. Let's say that we are here... and we're kind of just playing with this timing... and we've got no in and outs set. Instead of kind of like setting in and out... and trying to like play from that... watch this, you can just hold 'Shift K'... it just jumps back a chunk of time. How far? I don't know... long enough, I'm sure there's an actual timer on there... 5 seconds, 10 seconds, right there. I went and checked, it's actually 2 seconds. It jumps back, carry on... but look at that, you can be just like here... do your adjustments, and then 'Shift K'... and because, I don't know, does everybody do this? You're like, get it right, do your adjustments... and then go back here and hit space bar... then kind of do it, you're like, okay, okay... then you go back, hit space bar. So the new shortcut, you ready? 'Shift K'. Remember, J, K, L is the forwards, backwards... but Shift K just jumps back a little bit. So you can play with your timing... no in and out points, just keep hitting 'Shift K'... it will jump back enough over time... to kind of compare or at least jump back a bit, so you can see it. You know what I'm talking about. Shift K, I'm excited, you might not be as excited by it. What are some other playback tricks? All right, second last one, not as exciting as Shift K... but still, it could be useful for you. Let's say you're zoomed in and you're playing... you hit space bar, actually zoom in even more... hit space bar, and can you see... the way that the play line-- Timeline works... can you see, kind of shuffles across... kind of goes across, and then jumps to the next section. You can change that... so it kind of continuously follows the Timeline. I've got used to it this way... but it was very hard to get used to. Let's test it out and see what you like. So I'm going to go to 'Premiere Pro', 'Preferences', let's go to 'Timeline'... and there's an option in here that says 'Page Scroll'... that's what we were seeing. So Smooth Scroll means that... this will always be in the middle, let's hit space bar. When you zoom out... this might be a nicer way of working for you. Yeah, I can see why... like if that was first I'd definitely use that... but I've got used to Page Scroll... so I'm going to go back, but yeah, there you go. There is no scroll, you might like that too... but you might be the only one. Back to Page Scroll, thank you. The last one is kind of looping, it's kind of two parts. The new version of Premiere Pro, or the one I'm using now doesn't have-- actually, let's get rid of this. What it used to do... if you have changed it like mine, there's a little side note... if you have changed it to mine... and you've got this really teeny tiny line... you're like, "It keeps snapping, I just want to, like just get it..." Remember, hold 'Shift' while you're doing it... and it will kind of ignore the snapping... or you can go turn that off again in your Preferences... if you're not as excited by it as I am. So at the end here, say you're doing something here... you're working on your logo... actually, oh, this would be better. So I've got like a logo at the end here... it appears, and I'm kind of previewing it... and it gets to the end and then... it stops. In previous versions of Premiere Pro... it would always loop back to the beginning. I think they've changed that from now on. If yours has, you're using an older version... you can do it in the Preferences... you can't anymore in this new version... but you might have turned this on... and it might be happening to you. So see here, Loop Playback... if you can't see that button hit this little '+'... and you can drag the looping play button, there it is, down into it... and with it on, you're working on the end thing... you're trying to get your timing right... and then every time... "...computer ketchup." Going back to here and you're like, "Not all the way back there." I just want to stop at the end here. So just turn that off and it'll stop looping. Now looping can be really handy... because there's a time where-- we're just here-- How do we jump back a little bit so it plays? That super fantastic shortcut... that Dan likes so much, that you're unsure about? Shift K. Shift K, comes back... then we can kind of loop it again here... but that's not going to work when we are doing something like... a longer edit, you want to review the whole thing... so you're doing touch-ups down here... but you want to see all the way back here... and see how it all connects with the music, and the background. So you set the in point... then over here you set the out point. What'll happen is, it'll get to here... and it'll stop. So what you can do is, actually, just say Loop Playback. As long as you got in and out... it'll only loop within this in and out, watch... then you can kick back, grab your cup of tea... and say, "Wow, how good is this!" It's not great, but... you're like, "Okay, I need to make an adjustment." Let's hold 'Shift' and decide that, actually, we're going to do-- you can leave now if you want to, I'm just... doing it for instance... this is what I'd be doing, be like, how good is that fade? Remember, I can hit 'Shift K'... but I actually want to see this whole big chunk of it. So I'm going to hit space bar... kick back... feel the music... oh, empowering. "May God look hold you in the palm of His hand." Listening to the balance of the audio. "...awaits you." How good is that fade? I think it needs to be a little different... hang on, one more time. So just though-- you get what I mean. Playback looping can be good especially when you set... your little in and out points. That's going to be it for playback tricks. Remember Shift K, is my gift from this course. Anyway, let's get on to the next video. 30. Fancy editing tricks for Premiere Pro: Hey there, in this video we're going to look... at some fancy Timeline Editing. Let's first of all recap some of the editing from the Source window... when you're kind of dumping it onto the Timeline first... just so we know where that is... then we'll do some rearranging of the Timeline. From the Source window we want to add stuff to the Timeline. I've set some in and out points, we can-- up here we can use the button, oh, the long way... you might love the long way, it's fine... clicking your button is not long... but you can see there in the brackets, is the shortcut, so it is comma, ' , '... and it'll do an Insert Edit. You can drag from here, I'm going to drag... and I'm just dragging the video because I don't want the audio. I'm dragging this and I can hold down the shortcut... and hold down the 'Command' key... can you see, the Command key changes the-- I'm going to turn on and off... normally it just goes over the top... but if you drag this down, and hold down... the 'Command' key on a Mac, 'Ctrl' key on a PC... it will do an Insert Edit, all the same thing. Everybody's covered, button people, shortcut people... holding down draggy people. One thing I do want to throw in there though... for, I don't know, I forget this most myself, is... watch this, I can drag it... and you can actually do them all without remembering the shortcuts. You can just actually insert before, undo... over here, I want to put it over the top... no source patching, oh man, track targeting, sorry. So that's kind of really handy as well. You could override replace... remember, we held that shortcut earlier on. So let's say that I've got this and I want to switch... let's, oh, what are we doing? Shortcuts going everywhere. It's like this, we want to switch this one out... we drag it down and then we did this one... we held down the 'Option' key on a Mac, 'Alt' on a PC... and it switches it, and you're like, "Oh that's cool." What I should have just showed you back then... is, with it selected, here, I can actually just go Override... nope... I'm going to Replace, and it switches it out. So those are a bunch of, like editing techniques... from your source footage onto your Timeline. What about when you're actually on your Timeline? You're like, "I want this to move around"... and like, I don't know, have you ever done this? I've done this loads, you're like, I want you first... so I got you, no, a different size. How are you going along there? No problem... and you, down there, you laughing because you've done it. To avoid those sorts of shenanigans. I'm going to show you... how to switch them using shortcuts... and if you are finding, like... "My goodness, there's been so many shortcuts... how will I ever remember?" I get asked that all the time. You won't remember them all... I don't remember them all. I know a lot because I teach it... but what you need to do is just write down the ones... the ones that you think are going to work for you... and know that the rest of them will exist... and you don't have to remember off by heart... because you'll be doing a job, you're like... "Oh, wasn't there a way?"... you can come back to this video, figure it out, but you know it exists. This one here is kind of handy. We're going to switch these to, A is at the front, Z's here. You need to say, change the position. Great for videos, or like, say images... that you've all got kind of stacked up on the Timeline. Hold down the 'Command' key on a Mac... plus the 'Option' key... on a PC it is 'Ctrl' and 'Alt '. So hold those two down, and then say 'Z'... let's change A over here. So I'm going to click, hold, and drag it... and what you naturally want to do, is kind of do that... and nothing changes, you're like, "Hey, are you still at the front?" What you need to do is put it after. So I need to go over that side... and that will switch it, that's kind of little unnatural... but now you know, go back the other way, kind of same thing... it needs to be kind of, like way after, not on top of... and then it will switch them back... that didn't work at all. When you're coming back just stick it to the front... I know, strange, and to be honest, I do that every single time. I've recorded this video a couple of times... because I know it and I know the shortcut... but first instance I always just go like this, and go... "It's not working, oh, why is it not working?" Same with going this way... why is it doing something weird? It takes me a second, but often I'm rearranging quite a lot... and it's worth kind of trying to remember what it is... and what it's not, it's not really switching them... like trading places... it's just kind of like moving this one here... and pushing the rest of them along. What I mean by that is-- let's zoom out on my Timeline. So I've got Tourism, let's say, B here... and Z at the end. They're not going to trade places, if you know what I mean. So hold down my two keys, you remember... 'Command Option' on a Mac, 'Ctrl Alt' on a PC... I can click, hold, and drag it, and see, B's at the front here... it's not going to go to the end. B just gets shoveled along... along the little groups there, and that's just... it's worth remembering if you are... doing a big job with lots of B-roll or lots of images. It's super handy. One last thing is you can do an Insert Edit... down here in the Timeline rather than up here. Just hold down the 'Ctrl' key on a PC... the 'Command' key on a Mac. So I'm going to move you down to here... and what you'll notice is that it moves it down... pushes these guys along... but leaves a big hole, I have no use for that... you might be like, there's that Insert Edit... pushy, leave a big hole thing, for you. The one I use the most, remember, is 'Command Option' for Mac... 'Ctrl Alt' for PC... and I hope you found something in there... useful for your kind of on the Timeline editing... plus a recap of some of the kind of, like Insert Edits here... from the Essentials course... and kind of earlier on as well. All right, on to the next video. 31. Editing Zen - cleaning up your timeline in Premiere Pro : In this video, my friend... we are going to find editing zen. We're going to go from this messy Timeline to this... look at that Timeline, it is... do you feel karma, do you feel more creative? You might not, there's a couple of little tricks in here, with learning... before, after, before, after. Let me actually just show you. All right, to find that happy place for editing... I'm going to show you one new thing... and then we'll combine a few of the things that we've done previously. So at the moment I've got a bunch of different tracks... this is a small job, and I've ended up... only using two of my tracks. It's really common for a small job... for bigger jobs, I don't know... you end up using like all 10, and keep adding them... but let's say-- I'm going to zoom out, so I can see what I've got. Who remembers the shortcut, like pop quiz... shortcut of shrinking all the tracks? You don't remember, do you? It's 'Shift - ', that'll get it all the way small... 'Shift +', all the way, big... 'Shift -', I've got all this stuff I'm not using... same with an extra audio track. You might have loads more, so let's clean it all up. To do it you right click in this kind of... like random gray area, any of these ones... this random gray area has useful stuff. Premiere Pro does some weird things... so just any here, right click... you don't want to delete track because that'll just delete the track. You want 'Delete Tracks', plural, click on that... there's an option here, it says delete... delete all empty tracks for audio and video. So let's click 'OK', look at that, nice and clean. All right, that's phase one of our editing zen. Phase two is, let's get our-- this is really opinionated, you can-- I'm going to show you all the things you can do... you get it how you want... and then we'll save a preset. We've got lots of bunch of icons in here... and if I make them a little bit bigger... let's say that I do-- I'm going to use a shortcut... remember, it's 'Command +'... to go in and out a little bit... and 'Shift' to go full Monty. So I'm going to go to say something like that... that feels nice and manageable for my screen... but there's some icons in here, I'm like... I don't use that. Sync Lock, you learned it in the earlier video... be like, "I'm not going to use it." Let's just make a tidy version... I'm like, "I don't use the eyeball enough." So what we're going to do is... we're going to say, we're going to right click in this gray area again... we're going to go to 'Customize'... and this is really weird... if you've ever tried to change this... you might not have, but it can be really weird. So what we want to do is... I'm going to move the eyeball... it will always show this top line. So if you don't want to see it on this top line... you need to move it down, so you go, "Ugh, Ah..." You can't drag it down... you've got to drag the icon version of it, down to the next line, you're like... "That seems weird," it totally is. You'll get baffled a little bit... but just know that you have to act... have to operate this thing to change it... so you're like... video, I like the video, it's called v1, with track name. Let's say that I do want to... I want that up here... because it's part of my zen. All right, you don't do it up there, I get confused too. I want that there, you're like, Sync Lock, I want it around... but let's say I just don't, oh man. Drag it down here. So this is going to be like a mini version... that's a slightly bigger version... and this is when it's fully open... and you can start seeing keyframes down here. So this seems like a really good use for it. If you're totally lost hit reset and forget I said anything. Let's click 'OK'. It just means that when it's bigger, you can see it all... but when it's set to like minimal view, the view that you like... you're like, "Oh, that's nice." You can still see the video name... that brings me on to another part of the zen, it's renaming. So know that you can see it... you need to be able to see the Video 1 to rename it. So if you can't, you need to make it bigger... because, if you right click, and it's grayed out... it means you haven't made the track big enough... but because I've moved mine to the top... I can see it there, I can say 'Rename'... and this is going to be my A-roll. We're going to have, of course... B-roll... B-roll, even. You can do the same with your audio tracks... because there's lots of stuff down here. We're going to need to do some zen cleaning. Let's do the same thing down here... right click, 'Customize'. So there's a lot more down here... so if there is things that you use all the time... you can-- come on, auto save... but just know that anything in this top line... or this top line here can be moved. So you can say, actually, I don't use Sync Lock for audio... maybe you do for audio, and you do use mute... but you use solo, but not very often. Just going to go down to Layer 2. Audio 1's going to come up, don't drag him... say with A1, he's going to come over here. I'll put it this invert, I never use the voice over thing... here in Premiere Pro, I very rarely. So you are going to go down to the second line as well. So on this top line I just have Sync Lock, and I have my track name. Actually, let's put mute there as well. Why is it mute there? I think it's tied in there... it's jammed in there, using the same position for some reason. I don't know why... it's a little weird, let's click 'OK'. See what happened... kind of worked, my Sync Lock's gone... right click, go to 'Customize'. I leave this in there because it is problematic. It's both of those two, now it's working. So now, look a bit tidier down here... what are you liking, you're thinking... and let's say our music track, we just want to be-- I'm not too worried, that music with the audio... we do need a bit more space to see... because we want to see, and kind of time things. How are we feeling so far? A little bit of zen in there. For this instance I'm actually going to make it... a little bit bigger just before, there you go... just so that I can see the thumbnails. So I can turn them off... who remembers where that is... it's in one of these two, right, in here. Let's go to 'Show Thumbnails', and turn it off, because we're looking for zen. Also, see this line in the middle here... we're going to look at that later on, and turn it back on... but for the moment let's turn off our keyframes, that's what that is... get rid of the little line, let's get rid of the effects... that was in there too, fixed badges... clip names, I'm probably going to leave that in there... that seems quite useful. I'm going to leave the keyframes for my audio... because I adjust the audio quite a bit using keyframes. Last one is, I'm going to select them all... and you guys are all going to be labels... of Violet, or some other color... just to get a bit of zen, not zen enough... but it should be zen enough as Caribbean, but it's too tied to audio for me. I'm going to use Teal, oh, Tropical ocean, look at that. Now the coloring is mainly just here for show... to make it look cool on the intro bit... because every time you add something new... it's going to remember its color... and you can go and change all these colors, but you might be fighting... fighting a battle, because every time... you import something it's going to come through new. You can go and change the colors in your Preferences... depends on how much zen you need out of this, coloring those labels Just top it all off, and to make everything-- oh, one thing, I've got this here, subtitle... you're like, "I don't have that on mine"... we do this later on in the course, mine's on now... because I've already prepped for this course. So there's a lot of things that kind of-- anyway, if you have got subtitles... because you might be coming back to this video... and you might have subtitles there too... you can kind of right click in this gray area here... and, nope, see it says here, Caption Track options... click on that and say... Hide all Caption Tracks, oh, even tidier. Look how tidy that is... and now I can have like loads of space... oh, don't change tracks, loads of space here... for my actual work. Our program monitor's nice and big... and to finish it all off we're going to save this Timeline layout down here... by hitting the little wrench... and we're going to say 'Save Preset'... give it a name... this one's going to be called 'Dan Short Job'. It's not going to record everything in here... mainly just the heights, let's click 'OK'. That is how we potentially find our kind of calm working area in Premiere Pro. Now just to recap... we only learned two new things in here... we learned how to delete all the tracks... remember, you right click in here and say... delete, is it track, no, click 'Tracks'... and that will allow you to delete all the empty ones. The other thing we learned is, we can reorder them... and we also learned that reordering them... by going in here and saying-- customize, is not that friendly but worth wrestling with. All right, on to the next video. 32. My most used editing Shortcuts in Premiere Pro: Hi there, in this video and the next one... we're going to look at some of the shortcuts... that aren't big enough to have their own videos. I'm going to kind of slam them all together. This one here, this first video here... the ones at the top of my list... the ones I use the most... that really help me go fast as an editor. So the first one is something called Ripple Trim. It is your Q and W keys on your keyboard. I'm going to start something in here. It's weird, sometimes I double click, and I find my in and out points. I use my audio kind of slider there... and I find my in point, I set the 'I'... go along here, I set the 'O', and then I drag it in. I do that a lot of the time. You got to go back to video to do that, and drag the whole thing in... and you've got a nice cut... and then the other half of the time... I don't know why I just dump it on the Timeliine and do my editing on here. It's not better or worse, but they require different kind of techniques... or at least different shortcuts to make this nice. Let's say-- the same thing in here... I like to make my audio nice and big so I can see close to where I get it... get back a bit, and the 'Q' key, look at that... just trims it up and Ripple deletes it... get to the end here, and go 'W'... and it trims the end, nice, huh? It's called Ripple Trim. That one there, when I load that one, I don't know... I feel like I've saved a lot over my lifetime with that one... because obviously the alternative is... grab Razor tool, where are you? 'R' for the shortcut, get close... then delete, and then delete. Now there's nothing wrong with that. One thing that might speed it up... if you still end up with the Razor tool... Ripple delete is, if I select that... and I want to have this come back in... hold down the 'Option' and 'Del'. If I just hit Del, leaves a big hole... but if I hold down 'Option' key on a Mac... 'Alt' key on a PC, and hit Del... hey, Ripple deletes as well. All right, so Q and W, those are really handy ones. Now the next one is not my favorite... but it has to go in here, because it matches. It's right next to the Q and the W... look, right next to him, he's his buddy, it's E, he's down there too. So what does E do? I don't like it because it's a little bit problematic to you. So let's say you kind of did some rough cuts... you're like, actually no, it needs to be a bit further out here... you can hit 'E ', that's what I wanted to do... and I want to jump out from there to there... but you have to select this bit first... then click 'E', it will jump out to wherever your Playhead is. So yeah, you might like that... I don't know why I don't like it, but for it to work though-- let's bring in this here... it won't work if I get to the end here... and, say I want to extend it out to this... I click the end, like Dan said, I hit 'E', nothing happens... because there's no-- you've got no post roll, you've got-- you have to like tighten it up... so that I know that there's a chunk... hiding in here that can be jumped out. So make sure it's selected, hit 'E'... and it will jump out. I really like E, sorry, E. One of the other ones I use a lot - let's go back, so Q and W are cool... - but another one you just need... is just to do a straight up cut... you're like, actually, I want to cut it... but not like ripple delete everything, and all that fancy stuff. I just want to cut it here... and then, Razor tool, slow, slow, click. Okay, it's not that slow, but if-- wherever your Playhead is hold 'Shift K'... that's not the one you want... 'Command K', that's it. Shift K is my all-time favorite shortcut of all time. Shift K loops back a lot, jumps back two seconds... and then starts playing... but Command K, just as a cut... Command K. Just straight up cutting without going to the Razor tool. One thing to go even further... because hey, we're here for advanced stuff. Let's delete these, 'Option Del', remember, or 'Alt Del' on a PC. I've got this other clip here... so I am going to... just after the flick... just... just after the flick... actually, use the flick on this one... and hold 'Shift' if you don't want it to jump... if you've turned on my little snapping feature... just before the little flick... again, I'm using my W... I'm going to get to here. I'm going to keep this one, I'm going to hit 'Q'... oh, look at this, we're editing... but what I want to do is-- let's say I just want to use the... Command K.. we'll do a cut. The problem with Command K is, let's have a look. Well, the extra thing for it is... if I had some, say B-roll over the top of this. and I now use my Command K for cut... it's only doing the layer that's targeted over here... I can change it, so I'm going to undo... there's no cut, I can say, you are targeted... and then do my Command K... and that's fine, but if you want to do two, you're like... I'm going to switch it to this one... turn both of these on. What you can do is a little shortcut... is just 'Shift-Command-K'. 'Shift-Command-K' does all the layers, all in one... and you can kind of, like trim quite a few tracks off at once... not worrying about the targeting. So for no good reason, Command-Shift-K... all you guys trimmed off. All right, those are my favorites... those are my daily driver shortcuts. If you remember nothing else... Q, W, Command K for a cut... and Shift K to jump back along two seconds. "...the future, let's make it now." There we go, let's get on to the next video... where we do a lot of shortcuts... all together, in one big giant video. 33. All the other useful shortcuts in Premiere Pro: Hi everyone, this is all of the other useful shortcuts. There's going to be some in here... I put them in my order of usefulness. There's lots in here, I've just included the ones that I know... I know friends and colleagues... and I know that you... there'll be some people out there, like... "Ah, there's one thing that's going to save the day." There's not a quiz that you have to remember them all... but just jot down the ones that seem useful to you. Let's get going. First up is your left and right arrows... I use this a lot, it is... like say this, I'm trying to get this timing... let's unmute it here, listen to it... I'm trying to do this flick, like this... yeah, it's not quite right. So to do it I come in here, I zoom in... and I use my left and right arrows because you can see... see the time code here, or here... it's jumping one frame at a time, left and right... and I can kind of start getting like-- I'm going to open this up... and I'm going to see where it is. I'm going to say... just try and get it left and right. That's kind of just before the click. Now I'm going to hit my 'W' key... same for this one here, I'm going to open it up and say, when does this start? There it is there, I have my 'Q' key... and try and use that for my timing... better-ish. Where it gets used quite a bit as well is... for some reason-- whether you've got it on by default... or you're holding Shift and snapping... to the end of these tracks... notice that the end of a clip... sorry, track, I mean clip, and it's black... you're like, "Well, why does it go there?"... You have to go one backwards, so you click on it... and then you hit one frame backwards... and now I can be working on this... whereas if I drag it to the end... and I go into my, say Effect Controls... and I want to play with my opacity... and I turn it on, and I'm up and down I'm like... "Why can't I see it?" It's actually on that track... but go one frame back and it's a lot clearer. So that's the left and right arrow. Oh, that's right, it gets better if you hold down... the Shift key and use your left, right arrow... it'll jump in five frames forward or backwards... so you can kind of get in close... kind of jump forward and backwards, left and right... and then let go of the Shift... and it'll just go one frame at a time. If five frames for whatever reason is too much or too little... you can go into Preferences and change things like that. So in 'Preferences', 'Playback'... you can see there, 5 frames... you might go 30 frames or 50 frames... or whatever makes sense for your workflow... and the kind of content you're creating. All right, I'm happy with 5. Next shortcut... the next one is, I use this quite a bit, it's the... I don't know, relatives to the left and right... the brother and sister, the up and the down... up and the down, can you see my Timeline down here... it just jumps to the next significant part of my Timeline... where I've got edits, this is just really handy... just kind of up, up, down, down, down... to kind of get to the next bit rather than dragging around. All right, I'll mute that from now on. All right, next trick, the next one you know I love... but let's throw it in there, it's the Tilde, '~' key. It's a little wavy key on your keyboard, somewhere. Everybody's keyboard's slightly different... but it looks like a little wave... click on it, wherever your mouse is hovering... it will make that screen nice and big, great for Timeline. I use it mostly for my Project window... where I'm-- I just want this to be kind of... yeah, get in amongst my files, you know what I mean. The other thing I do use it for... is when I'm just watching a playback over this program monitor... tap it once, turn it off. All right, this next one is... I've got this kind of like clip... let's listen here, "It's the wrong laptop, I've got another..." So I kind of, like I added a bit of applause in here, in the final edit... where I kind of like, I made it faux pas... I'm like, "I used the wrong laptop for ages in this video"... didn't even have what I wanted on it. So I had this kind of applause. Now getting the applause timing right... you can drag it along, that's fine... but it's really handy to kind of just nudge it a little bit. So I'm going to zoom in a little bit, and I'm going to play... "...it's the wrong laptop." So it needs to be across a little bit... but instead of trying to drag it and snapping, all that sort of stuff... with it selected hold the 'Command' key down... that's on a Mac, and 'Ctrl' key on a PC... I've got it selected, and just left and right arrows again. Just kind of nudges it at one frame at a time. You can just get the timing right, you're like... here we go. "...that's the wrong laptop." Not quite right 'Shift K' to... "I realize after waiting for 10 minutes, that's the wrong laptop." I'm talking to you, like it's a bad... So Command left and right arrow... just to get the timing right... and then again, 'Shift L'... "I realize after waiting for 10 minutes, that's the wrong laptop." Nope, still along... so Command-left and right arrows... just probably somewhere around there... 'Shift K'... "I realize after waiting for 10 minutes, that's the wrong laptop." Nope, still across, I'm not going to keep going with that... but you get the idea. I find it's really useful when audio is out of sync as well... and you don't have like a good track... to automatically sync it up... you can just nudge things around. It works the exact same for graphics. You might have something on the Timeline... and the timing's not quite right. It's done the B-roll in there again. Instead of doing edits or dragging it... you can just nudge it. So hold down the 'Command' key and the left, right arrow. Another little tip is... if you hold 'Shift', it'll go in big chunks. So holding down just the Command key, right arrow, one frame... hold 'Shift Command' on a Mac, or 'Shift Ctrl' on a PC... it goes in a bigger chunk. All right, next shortcut, please. Another handy shortcut... is adjusting this kind of time code here. You can drag it left and right... you can hold Shift and drag it to go fast, if you do that, I don't ever... but I know you can. What I end up doing is, I get feedback quite a bit from my videos... from other stakeholders, and I say... like 1 minute and 10 seconds... there is a spelling mistake, that happens a lot... or I kind of miss, say something. So I need to go and edit it... so I know that when I click on it I can say... at like 1 minute and 10 seconds... and then you put in 00 for the frames... and it jumps to it, cool, huh. Let’s go 30 seconds 00 frames, it'll jump to that part. It gets even better, instead of like clicking here... and then going 10 seconds - my microphone's in the way. - 00, you can use a number keypad. I'll show you what I've got set up. Now a number keypad is the keypad to the right of lots of keyboards... not the numbers on the top, they don't work for this trick. So you need one on the right. So this is my setup, I don't have a number keypad... because I've got a MacBook Pro... and I've bought this plug-in number keypad... and I use the shortcut enough, that was worth buying... and when I say worth buying... like that thing there was about 10 bucks, not expensive. Don't get the Bluetooth one, that's my opinion... especially if you've got a Mac. It never connected properly, it wasn't worth it... it's in the junk drawer. So let's jump back into Premiere Pro. Now why is that hassle and drama... and that really ugly chord across my desk? It's so that I can stop clicking on that... and then typing in the code. I know, you're like, "That doesn't seem like all that nice." So 1 minute 2 seconds, I have to kind of... get my mouse click over here, take both hands off my keyboard and start typing... whereas my number keypad... I don't have to click up here, that's it. I can just type on my keyboard. You can't see me tapping... but I'm just going to go, ready, steady... 1 second-- 1 minute, 5 seconds, 00... it'll jump to there... and when I'm doing my kind of edits and fixes... based on time codes, oh I love it. So let's go to 5 seconds, 00... 1 minute 20, 00. Yeah, you have to kind of change, move up here... You might like it. Now that I explained to you it seems ridiculous... but hey, that's what I do. Let's get on to the next tip. The next one, a nice simple one... is you can hold down the 'Shift' key... and click any of these icons, and it will do them all. Same with, like muting. I do this mostly with muting... you want to mute all the tracks... hold 'Shift', click one mute and they all mute... holding 'Shift' again and click them, they all come off. I've turned all the eyeballs off in here... I never do that but you can... you can say, Sync Lock them all. Anything, I'll lock them all... holding 'Shift', clicking one of them, we'll do them all in one go. All right, we're getting into the dregs of the shortcuts of the ones that I see. There's a shortcut for everything... and we're going to cover a few more in the course... but I guess I wanted to find all the tasty ones... and put them together for you... like at least the ones I use occasionally. The last one in this little group is going to be... the Shift 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. So hold 'Shift' and tap '1'. Can you notice, it's gone to my project... watch the little blue bar around the outside. Let's jump to my Project panel, 2... look at that, it's opened my Source monitor, 3... it's gone to my Timeline, 4, 5, 6, 7. You can jump through and pull them up. Now why that's useful is that... when you're in some sort of strange kind of thing... you're into the Libraries, and... Program window, I never change, and down here though... it's always on, something wrong... not wrong but just like something else. Same with up here, you're on Source monitor... and you want to be in Effect Controls. These are the main ones, 1, 5, and 7, those are the ones I remember. So 'Shift-1', opens up my Project panel, no matter where I'm at. 'Shift-1', back open, 'Shift-5' is my Effect Controls. So I've got something selected... I use that quite a lot, and I'm always on something else. So Shift 5 and 7's the other one... 7 jumps to my Effects panel... where I'm looking for stuff. I don't use 2, 3, 4, 6, 8, 9... but just decide on that, maybe the one that you use the most... or the two for me, it's Shift 1, 5, and 7... for the Program panel, the Effect Controls... and the Effects itself. One last thing before we go, why not. If you're doing this kind of like folder structure, like I am... when you've got lots of things... and they're all kind of nested and using List view... what you can do is you can hold down the 'Option' key... and click on any of these little chevrons. It will close them all up, can you see, tidy... hold that down again and click one of them... they all open up, even all the, like sub categories. If you just want to like dive in there, hit 'Utility' key, and see everything. Hold the 'Option' key down, click '1', nice and tidy. Option, I'm saying, Option on a Mac, and that's Alt on a PC... open all bins, close all bins. All right, that's it... we'll do a few more through the course... where they're appropriate in the different sections... but hey, I hope you found it useful. There's going to be some in there... you're probably going to be a little bit overwhelmed too, so many shortcuts... but hey, we're in advanced class... and again, only a few of these... are going to apply to you, that you think are like... "Oh man, that's the thing that I keep doing all the time... I'm glad I know it." Don't think you have to remember them all. I try to-- I feel like it's a personal challenge as a Premiere Pro instructor... but hey, it's good sometimes... just to know that they are there... when you are working on a job that has quite a repetitive thing... that you might be doing, that might be new. All right, on to the next video. 34. Introduction to advanced color correction & grading in Premiere Pro : All right, I'm back, live in action... just to check you're still awake. This next section is all about color. I put this little intro in here... because color is quite broad in terms of-- we're going to look at... we did a bit of color correction... in the Essentials course... but we're going to go a lot more advanced now. We're also going to look at some color grading... and for me, kind of like a sub group of all of that... and super important is... kind of consistency of color across different clips... which is probably some of the hardest things to do. So yeah, it's a long one... there's a lot to cover, and when I say long one... I don't mean, like long and boring... I mean long and interesting. It just means that there's a lot of different ways... to approach the same thing. We're doing the same thing... we want a certain look, both correct... and have a certain kind of visual appeal... but there's lots of ways of approaching it... and I guess I want to show you... a bunch of different ways, not every single way... but all of the big ones that you'll find... because people get a little bit-- if you look online there's a lot of people... defending ways of doing stuff... "You must color grade this way"... or, "You must fix skin tones this way." I'm going to show you a couple of different ways... of approaching the same thing, and it will be right... one of them will be right for you, circle that one, go... "That one's awesome, that suits my needs greatly"... but it's really interesting to figure... see what all the different ways of approaching it is... because you might find that the job you're working on now, it's going to be... the technique will be different for the next job... there's things like budget, both the, how much money is in the project... and your time budget... and what you're allowed to do. Also, things like, are you the videographer... are you shooting it... or are you able to influence the shoot... which is going to make a big difference... to what you get, and start editing. Also, are you dealing with stock video... and where is it going, is it going to feature linked film... or is it going to a YouTube, sorry, Instagram story. They are going to decide a lot on... like what techniques you want to do... have time to do, can be bothered doing. So yeah, I'm going to run through... all the great ones here. The other thing to cover quickly... before we get started, is proxies. Proxies are super helpful... when you're trying to do your edits... but when you come to things like... color correction, and grading, and contrast... it's best to either turn them off... if your machine can handle it... because you want great pixels there, to be adjusting... you don't have to, if you-- many people still, professionals grade with proxies... because they have to. You've just got to make sure you're using the right kind of proxy. So if you are very interested in correct color and matching scenes... it's probably best to use a proxy... that is something like the ProRes 2, sorry 422... or maybe the Go Pro Cineform... that's a nice one that works across different Mac and PC... those are great ones that won't... degrade the color and the depth of color too much. So make sure proxy's either turned off... or you're using a proxy, like I mentioned before. All right, let's get started. Are you wondering what happened there... where is it... yep, banged into a shelf... that's what happened there. All right, let's get color grading. 35. Matching the color of 2 different clips in Premiere Pro : Hi there, in this video we're going to look at matching two different clips. This is the same interview, shot on two different cameras... two different lenses, two different sensors. So the colors don't match... and a lot of the work we do, is trying to get consistency... across a bunch of different shots. Imagine if there's a button that did this, ready, 3, 2, 1... literally a button you can click, so good. It's called Color Match, it's a Lumetri color. Actually, let's do one more. So we need them both to match, three to one... oh, pretty good, it's not perfect... but it's pretty good one click solution. Let's jump inside Premiere Pro, and I'll show you how to do it. Actually, quickly before we get started, you get a little bonus. I, at the beginning said, let's make a new project... and you make one, and it opens here... but the old project's still open, you're like... "Oh, why are the two of them open?" It's kind of handy but kind of problematic. So there's the project that's kind of like... forgot to close before making a new one... and this is the old Timeline. So as long as you've got your new project... that's what I've called it, 'Color Matching'... and as long as you've got that open... you can go to 'File', and just go to 'Close All Other Projects'. So it's going to close everything else, but that one you have selected here. I find that's quite useful. Do I want to save that one? No. So now, just Color Matching is open. All right, let's get going. So this one, we're going to use the Tourism footage from before. I'm going to use A and D... hold down the 'Command' key on a Mac... or 'Ctrl' key on a PC to select them individually. I've probably covered this already, I don't know... I do a lot of this, just dumping it straight into the sequence. It imports, it creates a sequence, puts them in it. So now we're going to match this one to this one. You can see, they are very different in terms of their colors. This one has a really kind of dark moody blue... and this one here has... yeah, it's a sunnier day, it's warmer... but we need them to be consistent for our ad. So let's look at using that Color Match. All right, Color Match is hiding under 'Window'... it's under 'Lumetri Color', click on that one. You can kind of close this down... you can see, there's Basic Correction, you can close that down. Creative, we want the one that says... 'Color Wheels & Match'. They do change it, they change the name of this little tab a few times. So if you're watching this, and you're like... "I have no Color Wheels & Match"... keep on clicking them, you'll find something... that has these little wheels on them. What you're looking for is Comparison View first. So you click on that... and we've only got two in here, so it's pretty easy. Let's say we've got a third one right there. So I've dropped that one in there... and I want to move it along, and just put it in between-- remember our shortcut, dragging, dragging... hold down the 'Command' key... and it pushes along, look at that. So I've got this one, A, that I want to match to D... but I want not to do B. So that's what, this has got a reference siders. I'm going to make my reference bigger. So this is the side that it's going to take the color from... and dump it onto this side. So it's not this side... so this side is controlled by the CTI... you put it kind of where you want it to be. So I want this one. Find a good shot, this is pretty easy, because it's the same... it's a really slow turn of a drone, so it's not going to be... there's not a lot of change in it. So find a good generalized place to start... and same with this reference side... this reference side is a bit weird to use. You see the slider here, you kind of just drag it left and right... or you can use this little slider, and that's your entire Timeline. You've got to kind of guess... that's the middle there, and this is the end. We're not going to match to the same... it might be different parts of this, that's going to be too hard. Let's just do different clips. So right back here is that clip... now I don't have proxies on, do I have proxies on? No. Remember, proxies off, my button's gone... where's my button gone? There it is there... come back, proxies, and just make sure it's off. I haven't made proxies for this one... but if you have, turn it off, and all you do is... hit 'Apply Match', ready, steady, go. Oh, so good, this is definitely... probably the most exciting update for me... it gets you like 90% of the way there... and often for me, don't tell anyone, that's enough. So there are some yellows in there... that probably still need a little bit of work... still too warm, but that's pretty amazing... let's undo, redo. I'm just using this, shortcuts, undo, redo... I'm using the side by side. I can't remember what it is by default, it's probably side by side. You can do vertical split or horizontal split... and you can drag this line on Comparison view... but I'm going to go side by side, that looks good. So it gets us close. One thing I didn't mention was this, you can switch sides... so it doesn't change what your reference is... but you see, the reference just moves from that side to that side. You might like that. The other thing we might do, what we're going to do is... it got it close, it's not perfect... so these here, this is what it's adjusted. Let's go 'Edit', so watch this... actually, I'm going to undo with my shortcut, and let's all watch this. So undo, redo. It’s basically moved the targets from the center here, out a bit further. You can see, definitely in the mid-tones. So what I want to do is, look at-- it's done a pretty good job everywhere. I'm looking at it, going... it's still probably the mid tones, they needed to be bluer... but maybe even a little bit more. So I'm dragging it down left and right. If you're dragging it, it's going very slow... that's meant to be like that. It's meant to be very slow, it's like fine adjustments. You can hold down Shift if you want to drag this thing... and go all over the place... without holding Shift, it will just kind of move really slowly... and that's meant to do that. It's good. I'm looking at these highlights here... you can see, I like these mid-tones, this lower color... but can you see the trees here versus the trees here... there's a bit of blue creeping in. So I'm actually going to see if I can grab the shadows and say... actually, warm those up a little bit, weirdly, to try and-- All right, too far... almost there, there's a little bit of contrast... that needs to happen, I think so. Can you see here, the shadows versus highlights... this is the brightness of the shadows and highlights. This is the kind of fine tuning... I still think there's probably... too much warmth in these greens here... in these mid-tones... and in these highlights. I'm going to make them a little bit bluer as well. You can't do it all from this panel... because I think as well that the contrast... is maybe a little high on the blacks here. So I go back to Color Correction, and maybe the Shadows... I want to just... wash them out a little bit... too far obviously, but... there's a lot of kind of back and forth... but Color Wheels get us pretty close... and remember, you can drag these mid tone shadows... and highlights to make adjustments. You can make mid tones brighter... and darker... or you can hold Shift on any of these things... to make everything just run a bit smoother... and face detection there, will just protect skin tones... without trying to make too big a changes to those skin tones. It's pretty clever. Now that's where I should really leave this Color Match... and that's what I did with my notes, I'm like, move on. The problem is that these are still too rich, you're like... "Hey, these greens don't match, he said they do," but they don't... and we just can't do it all in the Color Wheels. The Color Wheel & Match is great... gives 90%, and you can do some more adjustments here... but you end up crossing over a few different tools... to kind of get the look you want. We're going to jump into, we're going to do this later on... look for a video called Selective Color Adjustments... but we're going to have to jump to it now. I'd love to separate these videos out nice individually... but hey, that's not real world. So we're going to use this, Hue Saturation and Luminosity... luminance, lightness, they're all the same thing. So what I want to say is-- we're going to cover it better later on... but I'm going to say, greens, I want down here... I want to do some correction. I'm going to use just the single one, rather than individual... and I'm going to say, the greens, I want you to be a bit more blue... and just keep an eye on at the top there. I'm going to go really far, you see what I mean. So it's just picking on the greens... it's leaving anything else. So the warmth, and the buildings and stuff. So I'm just kind of dragging it down here... again, holding Shift will speed it up... or you can just drag it around. We'll do that more in depth there, so there you go. It's getting better, close. So what else? Let's do another color match. We're going to use two clips from... the 'Exercise Files', under 'Color'... and we're looking for '02 Color Match'. So grab both of these two for me, and bring them into your project... either using the Media browser, or dragging it in, like I am. What I'm going to do is make a clip from this first one. So right click, 'New Sequence from Clip'... and we'll dump in this other one here. So I've got two of them, still the same. Good work, Dan, Cam A and Cam B... where are we, Cam B. Does everyone get lost a little bit... when the sequence gets named the same as the clip? Ah, all the time. I was going to call this Color Match. So I've got two clips in here... remember, open up 'Lumetri', open up 'Color Wheels'... have the reference of where you want it to match... like I want it the other way around... I want... like, can you see, they're shot on two different cameras... so there is a very different look... different cameras, different lenses, different sensors. So these are similar but not the same. So what I want to do is, I think I like this camera B... and we're going to try and match the close-up. So I want the close-up to be here... and I want to steal from this one. So yeah, this is the end result, this is the one I want to change. So I'm just going to hit 'Apply Match'. Oh, pretty good, pretty amazing, I love it... like there is some, maybe pink in the skin tone... we'll do skin tones later on, and I'll show you... I'll separate that one out completely... but man, pretty good. Maybe just a little bit too much in the Magenta. It's probably the same in the original one as well. We're trying to match this original shot... which we're trying to do... but there's a little bit of pink in the skin... so at least they're consistent. All right, my friends, I should have started with that one... because it's a lot easier... just like Apply Match, and it works. I probably use this a lot, I like it... because I end up shooting, like in my office... and then downstairs, and around the place... and it just adds a bit of consistency to the shoot... like I said, it gets you 90% there to get started. All right, let's get on to the next video. 36. Class project 02 - Color Matching: All right, it is class project time. I'd like you to do some color matching... I've got two files you can practice with... they're in the 'Exercise Files', under 'Color'... and you'll see 'O2 Color Match'... and there's one called 'Interview 1' and 2'. See if you can match these two up. You can see here, they're from the same documentary... but they are shot at different times of the day... in different rooms, with potentially different cameras. So I want you to match them. You can get started by using the color wheels in here... don't just stop there. You'll find you get close to it... but you're going to have to probably dive... into some basic correction as well... to kind of get them to match. Yeah, so practice with that... then I'd like to take your kind of skills... and I want to give you... kind of a real world project, real world-ish. So what I want you to do is... I want you to go to pexels... pexels.com is a place where you can... get free videos to use commercially, which is handy. What I want you to do is... I want you to go there, go to videos... so go here, click on 'Videos'... make sure you're on 'Trending'. Work out your lucky number, mine's 7... so 1, 2, 3, 4, 5, 6, 7... I've got this like dancing thing going on here... that is, whatever it is... that's the video you're going to match. So I'm going to right click and say... open that one up in a new tab... and this one here, I can kind of tell... that it's something about dancing. You can kind of hover above them... and they kind of tell you-- you can see... vertical video of two people dancing in party. So I'm going to go into here and find another one... dancing... and I'll find something else that's kind of similar. That's going to give me a bit of a challenge. I'm not going to try and find the exact same clip... but let's say this one here... I'm going to download this one, and that one... and try and match them using Color Match... using all the tricks we learned so far. Start with in here, start with Match... and then start playing with Color Wheels and Basic Correction... and if you're brave, this HSL Secondary... and then I'd like you to take a shortcut of the before and after. So line them up like this, this is the before, take a screenshot. On a Mac it's 'Command-Shift-4'... you can drag a box around it. On a PC you'll have to Google that... I can't remember off the top of my head. So that's before, and then let's say I do my Color Match. Let's click on this, click on this... let's go down here... turned it off by accident. So I hit my Color Match... and I can take a screenshot of the after. So before, you can turn this fx on and off... and just take two screenshots, one before and one after. I just want to give people some real world-ish practice with this... rather than just following my one, that I gave you, which I gave you... not easy one, but an easy enough one. So I want you to practice, see how you get... and then I would like you to upload it. So upload it, your before and after... to the Assignments Project section... and also share it on social media. It's really interesting to see where people got to... in terms of their matching... and also drop in there as well... like the problems you had... and any of the features inside of Lumetri... that really helped you in that case. It will help other people go, "I never thought of using that." So that's the only one I want to see... the pixels match, you can just practice this one here. All right, there is your assignment... go forth and color match. 37. Adjusting Tone with Curves in Premiere Pro: Hi there, in this video we're going to look at curves. We're going to use it to, quote unquote, "fix an image"... ready, bam. We're going to look at both, the generic kind of all colors... we're going to step through all the different RGB channels... and if I'm honest, it's probably... the one I use the most to fix my images. I'm using air quotes, you can't see me... actually I do that a lot in this video... forgive me for my air quotes, that you can't see. Let's jump in and look at curves. So I'm going to use the same project from before... and what we're going to do is... we're going to use this one here. We're going to use the file called Color Correction A... sorry, 02 Color Correction A. I want to grab it and dump it into my Project panel... and I'll show you another little trick for starting a sequence... because it's going to fill up. What you can do is you can right click it... and go to 'New Sequence', or you can just click and drag it onto this... like little new thing, a little turned up page... and it will just make a sequence based on your footage. I'm going to give it a name, this is going to be my 'Curves'. So Curves, this one here... I'm going to turn my Comparison view off as well. If you can't see that, remember... it's under +, and drag down the one that looks like that. So this one here, put it in and just turn it off. I'm going to go up to Full resolution... and make this a little bit bigger. If you drag the kind of joins right in the middle here... you can kind of manipulate it all, I'm going to get to about there. So what I'm looking to do is... under 'Curves', so 'Lumetri Color'... go down to Curves, this thing here... you're either using it loads, or you're scared of it. It's a kind of a scary thing. Curves are wonderful, and probably for me, the most used tool when I'm correcting. You can't see me, but I'm doing kind of like finger quotes, me correcting. I want to mess with the lights and the darks... the mid-tones, and basically... like 99% of the time your footage isn't like bad... just needs a bit of pop, shall we say... and you end up just doing this. This will work on just about every single image... and make it better, again, more air quotes, in my opinion. So I'm going to turn it on and off. You can see, I've made the blacks kind of richer... and the whites brighter... and it's a nice way of working. They call this the S-curve... because it kind of looks like a smooshed over S. That works, like if you don't, take nothing else from curves, try that... like that little S curve there is amazing. You can double click anywhere to get rid of your... say you've made some-- too many points by accident... and you're kind of following along, and you're like, "Hey!"... just double click anywhere. So let's understand it a little bit better. We're looking at all of the colors... every single thing in here, that's this little white box here... and we're going to say, down the bottom here... this is our darks. This is the dark parts of our images, the shadows. Mid tones are in the middle here... and over here are the highlights in our images... along here is more or less. So if I want to make the darks darker... I grab my darks, which is kind of anywhere down here, we don't generally-- you can grab this end point, there's nothing wrong with it... but you end up kind of clipping some of the colors, some of the black. So it's best to start just a little bit up here... we want to say, most of this black stuff, I want it to be blacker, drag it down... and if you want the whites to be whiter. So remember, along here are whites... and you want them to be whiter, lift them up... so you get more white, look at that... that's our S-curve. You might decide that, actually you want the whites... because it's kind of overexposed... you want to actually just kind of like bring them down a bit... and you might go... "Oh the mid tones, what happened to them?" They're all kind of washed out... you can grab that and drag it up a little bit... so you can get some really nice control... and it's this curve, this lovely curve... that gives you consistency, in my case I liked my original S-curve. How do you get rid of all of these? Do you remember? Double click them anywhere, and it will get rid of them all... and again I want my darks to be darker... and my lights to be a bit lighter, more light. So we're using this kind of white dot, that is all the colors. So that's a mixture of Red, Green, and Blue, RGB... that make up this image. You can work on them separately. So let's click on 'Red, 'Green, 'Blue'... We're going to work on the 'Red'... because this has a pretty clear color cast that let's say I don't want... I want to kind of try and remove it. So I'm going to try and remove some of the reds... and we can work on this red channel. It's a little confusing, this white little squiggle through. That's just showing you that original one... and doesn't really affect it, other than being annoying. We're looking at the red line through the middle. You can grab the middle... so remember, the mid tones... you can make them, in this case... more red or less red, more, less. So I'm going to cut this down, and I'm going to go down. You can go quite far, you get that kind of like... what's the term? I can't even remember, the 3D glasses effect. Let's get down to here. That kind of is a nice way of getting rid of the middle... like the mid tones of the red... and in this case... you know, how in this white one here, we didn't touch these ends... because it ends up clipping the color. You can do it with... when you're working on these kind of, like individual channels... you can say, actually the whites here, in the highlights... let's say there's reds in here, keep an eye on that... I can grab it, let's first start and drag it down... and we'll remove any reds from those highlights. I'll drag it right down, you can start to see... so just a touch in there... and are there any reds in the shadows.? Have a look at maybe this part... and this is where you can't, you can only drag it up... look, I can make more reds in the dark... but to remove them you can drag it to the right, there you go there... you see, before, after. You end up doing really subtle changes in here. Often I'm trying, I'm doing a little bit more broad, just to show you, but yeah... you might decide that there's a bit of green in there as well. So go into green, do the same thing, drop it down... go maybe blue, maybe, do we lift the blue up? I don't really want to do this... but hey, we're looking at them all. So I feel it's a little bit more natural... more air quotes that you can't see. So before, after, before, after. So that's curves... I might have called them levels a couple of times, I do that by accident. So curves in here is a nice easy way. I like it because I can just-- it's very simple with the S curve... and it's very hard to break it... it's just subtle adjustments. It's going to be, I don't know, it's pretty forgiving. Now one question you might have is... like what's the difference between using curves... to kind of fix something like exposure or basic correction? We've got this tone one here... exposure, contrast, highlights, there is no difference. It's a different mech-- different levers to pull... to get to the same point. Can you use both? You sure can... but they're not doing different things if you know what I mean. We're still working through highlights and shadows... again, when we used our color wheels... we're looking at the shadows and trying to change the color of them... to remove the red. You could do that... or you could do what we did in here... and try and remove the red. So these are different ways of... going about the same job. You might find yourself working with teammates... who are like die hard curves fans... and life can't exist without curves and white... and, "Why are you using these other things, curves are the best"... and there's no real, like, I love curves... but I'm not going to go into battle for them... but you will find people that do... and you will find tutorials online... that use curves, and then another one that uses this, you'll be like, "Hmm."... but it's just different ways of tackling the same. It's handy to know curves, because it's a really great way to add... some of the color grading when we're looking for... say, let's for example, like the cinematic look... getting into curves and digging around... can like add effects to it... rather than, like what we're doing here, was a bit of correction. All right, so that's curves. Let's get on to the next video. 38. Class Project 03 - Curves: Hey there, it's class project time. Now ideally I'd love you to use curves to correct your own video... something else that you've got... something on your hard drive, taken on your phone. I'd love you for you to use that instead... but if you don't have anything you can use the file that I've got. It's called Color Correction B, thank you, Tima. Where is it, looks like this. Needs a little bit of, well, it doesn't need anything, but like... we're going to use curves to... quote unquote, "make it better." So I want you to practice with it... and I'd like you to take a screenshot of the before and after.... and post that in the Assignments or the Projects section... depending on where you're watching this. I want you to then also share it on social media... the before and after... but again, I'd love to see your own work done... before and after, that would be cool... but if you don't, use Tima's one. All right, on to the next video. 39. How to change a color in PP using hue saturation curves : Hello you, this video we're going to look at... using these things here, Hue Saturation Curves. They're not very exciting in terms of the naming... but they can do things like this... see the blue jacket, boom, green jacket. So complete color changes are nice... and in this case here, at the end of the video... I'll show you not only just how to change the color... but maybe to enhance... make the greens more green, there we go... and maybe add a bit of saturations, just with specific color. That's what these, under 'Curves', 'Hue Saturation Curves'... are really good for, let me show you how. Let's first bring in the file we're going to use. I'm going to use 'Command I' on a Mac... 'Ctrl I' on a PC to import, just to change things up... under 'Exercise Files', in 'Color'... you're looking for the one called 'O2 Color Correction C'... from Cottobro, thank you very much. Let's open that up and let's make a sequence from it. I'm just going to drag it into my new little icon thing there. We're going to fix on this one... so we're going to change colors using kind of curves. So curves are in here, the ones that we want... we've worked on this in the last video, we're not-- we're going to close it down... and we're going to open up that one, the 'Hue Saturation Curves'. This is a strange new feature, it's good... but it's a little, like I remember... when I was first time, I was like, "Man, my brain hurts." I've done the pain for you, so yeah, it's not that hard. So I want to change the colors of this blue. You've got a couple of different options in here... let's run through them all, because that helps explain... what the one we, we want Hue vs Hue... but let's start with this top one... because Hue, Hue, Hue, you can see, these three start with the word Hue... and then down here, we've got Luma, Saturation. So whatever the first one is, is the line across... and what this means is... I'm working on changing the Hue. So I pick a Hue and then I change the Saturation... I pick a Hue and then I can change the Hue of that Hue... I can pick a Hue, say the blue... and change the Luma of it, which is the lightness. So that's kind of it... you're like, "I still don't know what he's talking about." Let's do it, so let's say that I want to pick blue. So what you do is you grab-- if you hover above this line here... you say, between this blue and this blue-- my little dots have disappeared. Please hold. Yeah... they were there, I just turned it on and off... I don't know why, I'm going to undo, undo, undo, undo... undo is not working either. Well, that might happen to you... I'll leave it in there, let's clear it all. Remember, the clearing shortcut for lots of the things in here... I just double click anywhere, they all disappear... unless they don't. I'm going to restart Premiere Pro, wait there... and you're back. I just restarted Premiere Pro... and I'm going to, hopefully, it's going to work now. It is, cool, oh, I just restarted it... it's never happened before, but hey. So what we want to do is, Saturation, where are we? I'm a bit frazzled, Hue versus Saturation. So Hue along here, and Saturation up and down... Hue along here, Hue up and down. So what we do is, we say, I want to, somewhere in between these two. So I'm going to click in either side of blue... these blues in here. So there's a bit of light blue going on... and a bit of medium blue. So I kind of just straddled them there... and then I click in the middle, and another point... and you can move that up or down. So can you see, I'm kind of adjusting... in between these blues, I'm making the Saturation less or up. Less or up. It's kind of not really what I want. I'm going to untick that one, or... remember, how do you get rid of it all, clear it? That's right, just double click anywhere. So we're going to use Hue versus Hue. That's what we came here for. We're going to say, somewhere... these blues in this range, either side, just click once... I'm going to grab them in the middle here. I'm going to say, yup, yup... and that's how you change color. Yeah, it's really easy to do... once you understand these little lines here... and it gives you a really nice kind of gradient... kind of like sloping adjustment, which is really nice... and you can focus on one color. Now we came here to kind of focus on Hue versus Hue... which is grabbing one Hue and changing it... but while we're here, just so you can solidify... the understanding of these strange little graphs here. These curves graphs is, say Hue versus Luma... so I want the blue colors, Luma is the lightness... I want to make it brighter, or less bright... and you've got to make sure you grab the right colors. So I need to probably drag mine up this way. You can, afterwards, if you get the blue color, the wrong one... you can just drag it right... you see, the dot doesn't drag as such... it kind of just moves along the spectrum... you can say, "I want to include a lot more of the blues... that I didn't really get," so up, down... Luma versus Saturation, you can say... I want the colors that are, say mid tones... I want these to get more saturated... and anything here. Add your own sound effects. Now you might find, like, "How do I know what is affecting what?" So I'm going to double click it to undo it. This is the Eyedropper tool... so the Eyedropper tool is really handy, because you can say... actually I want, say the colors that are... in this kind of part here, I want these... you see, the Eyedropper tool kind of gave me... a nice kind of little three grouping here, to say... I want these to be lighter and darker. So you can use this, perfect for Hue as well. So I'm going to double click to get rid of Hue versus Hue... I can say, Eyedropper tool, I want... these kinds of blues to be different colors. You can see there, it didn't quite grab everything. So I'm going to expand it out a little bit this way... and probably a lot this way, to grab the lighter ones. We're getting the hang of it, Hue Saturation Curves... it's not a very sexy name, but are super helpful... especially when you're trying to recolor things. There are effects that can do it... but this is the new way of doing it... and it's really good once you get the swing of... that line there, versus whatever is on the second bit. So Hue versus Hue, in this case. The other thing I want to show you... is not so much changing the colors as in, like... "Hey, I've got green, I want it to be purple grass"... which you can do, using the technique from before. Let's say-- I've imported this one here... remember, Tourism B from our Irish Tourism project... I've got this one in here, throw it into a sequence... and in here I can do things like... I want this Hue, this green to kind of... I want it to pop more... or I want it to be just a bit richer. So what I can say is... Eyedropper tool, I'm going to pick kind of-- it's hard because they're all kind of different patchworks... again, I'm going to grab that... and say, I would like it to be a little bit more saturated... a lot more saturated, or just a little bit. So you can decide... how much more. I tick on, tick off, so just a little hint... if you find your grass is maybe a little yellow... you can change the Hue of it. So we're not making it purple grass... so Eyedropper tool, grab some of this... and instead of making it pink, you can... can you see this slider here, this cross hairs... you can see, where I slide that to... is what color it's going to be. If I slide it down to blue I got blue grass... slide up to red, red grass. So I want it to be just a smudgy bit more green. So drag it to the green, and the green slider. Preview on, off, turn the whole lot on and off at once... fx on, fx off. Super subtle, you're like, "Did he do anything?" Not really. Let's just bang that up a bit more. So you can see on screen, it's probably too rich now... but, I don't know, that's the trick, right?... being a really good colorist is... so that nobody knows you've been there, just like little hints and adjustments. This needs a lot of work, in terms of the contrast and other things as well... but you get what I mean. All right, you got to the end of this video. I'm going to give you, because you got to the end... I'm going to give you one last little trick, that you don't need. If you have got lots of these open... you've noticed I've been quite deliberate, trying not to confuse you in class... when I've got all of these open... these get real confusing, you're like... "Oh man, there's so much going on here"... like, "How do I know which way I'm going?" If you hold down the 'Command' key on a Mac... 'Ctrl' key on a PC, and click any of these names... can you see, Basic Correction, Creative... Color Wheels, hold 'Command' key down on a Mac, 'Ctrl' key on a PC... and just click one of them, and they all collapse. Now I can go in to be a bit more deliberate, and go into these. So 'Command' click even these chevrons... and they will all close down as well. So it's just a nice way of just tidying things up... there you go, useless shortcut to end out the video. All right, let's get on to the next one. 40. Class Project 04 - Hue Saturation Curves: It's class project time, yay... or boo, depending on your outlook. This one's a nice easy one. I want you to do what we did before. The last video, I want you to change the color of something. So using the Curves/Hue Saturation Curves... I want you to completely change the color. I want you to find your own example. So use pexels again, or anything you like. If you've got something lying around. I don't want to give you examples... because we end up with everybody doing the exact same thing... and what I want you to do is, go to 'Videos', and in this 'Trending' one... just find one that is... you want to find one that is easy to change. Let's say that, if I wanted to change this here... I wanted to change the color of the sweatshirt or t-shirt. The problem is, it's very close to the skin tone... so I'm going to have loads of problems. I'm going to show you later on when we get a bit more skills... on how to separate and mask, and stuff... but for the moment look for a distinctive color. I could change the blue in there... but look for something that's kind of unique... where is something unique? Like there, blue coat, blue bike... that would change, or the red mailbox. That would be easy to change... because it's pink and it's all by itself. In here, there's a couple of good colors to change. So find something that you want to change the color of. Bring it into Premiere Pro and change the color using this technique... and I want you to do a before and after screenshot... and show me the befores and afters. It's all listed in your Class Projects. Anything else I've missed? So make sure you upload it as part of the assignment/project section... and also on top of that, share on social media, your before and after. Here are the different places to find me and the different groups... that bring your laptop inhabit. All right, so that's your... not homework, your fun, exciting project. I will see you in the next video. 41. Selective color adjustments using HSL in Premiere Pro: Hi there, in this video we're going to look at this, the HSL Secondary. It's not a very exciting name... but it does have some amazing features. We're going to use it to change color... watch her coat, blue, and then this color... very similar to the technique we did earlier on using the curves... but this one has a lot more control. We're also going to introduce a couple of ways... of using more than one of these Lumetri Color. Corrections... so in this one here, we have separated the sky from the ocean, let me show you. I have gone 'Ocean Adjustment', you see it changing there... and I've got one, that's a 'Sky Adjustment'... it's more than one Lumetri... affecting different parts of the images. We're going to be using this HSL Secondary twice... once on the sky, once in the water. We're also going to be introducing masks... so that we can separate some of the similarities... between the sky and the ocean. It's a little bit long, this one... but there's a few things to introduce. I promise it's going to be worth it. So that before we get started... is that, I was having problems with Premiere Pro... mainly with Lumetri color... and not being able to see those little dots I was making. So I restarted Premiere Pro, kind of fixed it... what's fixed it permanently is under 'Help'. I went to 'Updates', there was an update for Premiere Pro... I run the update, took about 10 minutes... and we're back, and it seems to be working perfect. So anyway... first thing we need to do is bring in some media. So the files that I want are Color Correction D, E, and F... bring them into a project, and we'll start with D. So let's make a new sequence from it. I was messing around with mine, I'm going to go 'Fit'... so changing this color is going to be easy... there's a nice distinctive color change here... and the reason we like HSL... it's going to do a very similar job to when we went to Curves... and this Hue Saturation... remember, we went, blue, blue, and adjustments... clearly the wrong one. That's Hue versus Saturation, let's turn that off. So let's go blue, blue, and try to move that, and Saturation. So that works, but we have very little control. We can play around with this... but it is a little bit of, like, hope for the best. So I'm going to turn Curves off... that's where HSL shine, a bit more control, a lot more control. So it's all down to selection... Key, Refine - let's twirl these up. - these first two chunks actually have quite a bit of things in them... all they do is make a selection... and then you make the correction down here. So let's look at a real simple use case. So let's grab the Eyedropper tool, and say... I want the blues to change... under 'Correction' I want to drag it from blue to red... and it kind of worked. I could have made it kind of a pink color. Let's have a look, it is working... remember, hold 'Shift' if you want to go faster. You can kind of see, I'm changing the colors in there... so that's a quick way. I didn't-- sometimes you can get away with that... but let's reset it. So to reset it, double click it anywhere... and it goes back to normal, let's close it down... and let's look at this part in more detail. So I'm going to reset it again. What you can do is you can manually pick the color... or use these little dots up here. So you use the Eyedropper tool to pick the blue... or you use these and say, I want to adjust the blues... which is probably where I'm going to start in this one... or you can drag the middle, not the top... not the bottom, the middle part... and decide where you want it to be, say in the blues. So let's do this option, blue... because what it does is it picks the blues... can you see, that's where the center of it is... but it also gives you some range... it says, like blues, but a little bit this way, and a little bit that way... not just perfectly kind of like a royal blue... but a little either side of the blue. How do you adjust that? Use that top slider... this top slider says blue plus all the greens, plus all the yellows... like you can grab lots of it. So you can decide. Now what you'll notice, while you're dragging this top one... can you notice that the Program window changed here... and it went kind of a gray color. It's to do with this down here... you see, this toggles on when I start dragging it. What we might do for this one is just turn it. You don't normally smile, up to you. I'm going to turn mine on for the whole time... just so that I can adjust it, and have a look... so I can see that it's grabbing all the blue in here. You'll notice that there's some blue in her eyes... but I'm going to ignore that for the moment. I'll show you how to mask that out later on. So this gives us just a bit more control... it allows us to pick the blue... but also because the Eyedropper gets pretty narrow... look how wide of scope we've got here, if I use the Eyedropper tool. So I'm going to reset it, we'll reset it and use the Eyedropper tool... and I'm going to turn that off. So turn that off, reset it, use my Eyedropper tool, and pick this... the kind of blue that it's picked is pretty narrow... and if I turn that on, it's only going to select that... but that's why that initial selection... was kind of changing it, but kind of not. So what we're going to say is... actually I want blues not just here, but... remember, this top slider, expand the scope... you're like, "It's not working." Can you see, the center line here... is kind of more in the green part. So I could say, actually I want the blues, but over here. You can kind of drag them back and forth to find where the sweet spot is... you're like, cool... I've got that, what's this... why do I still not have this edge stuff? So it's got a very narrow search on... the Saturation and the Luminance... can you see down the bottom here... there's a gray and a really strong blue... and down here I've got black and white. So what we're saying is... I only want to select the blue in this kind of narrow saturation range. What I can do is, grabbing the top one... we're ignoring the bottom one for the moment on purpose... what I'm saying is... actually grab more of the saturation, grab loads of it... can you see, the eyes aren't included yet. If I grab it all, still no eyes, that's cool. So we're getting there, perfect... we've got lots of it back and forth... that seems to grab most of it... and then the lightness, so there's bits in here that are just... can you see, it's only selecting the stuff that is quite dark blue... but let's say we want to grab the light stuff... that's kind of up in here. So grab the top slider again, expand it out... expand it out, expand it out. So those are what they do... you pick the right color, and then you want to select the kind of... right saturation and the right luminance... and use these top sliders to kind of expand it out. Use the middle one to kind of get it in the right zone... and you're looking just underneath it. So we're going to grab all of that... and then you expand out the range... to kind of go a little bit left, a little bit right... of where I've got my selection. So what do these little sliders down the bottom do? They just expand, they've got like a bit of a... this top one is everything in here... and then this little, there's like a taper like... kind of this stuff, this is like the fuzzing of the edge. You can say, kind of this stuff, you can grab it out to say... I want to grab all of this blue, but then some green... a little bit of, when we get into yellow. So this is kind of like a way of just easing the edges of your selection... so it kind of picks everything into there... and then kind of eases down to there. You can have it right there... to have a very narrow selection... only pick these colors forever... or just a little bit of easing. Same down here for Saturation and Luminance. So you can see, I want all of this... plus there's a bit of a kind of a gray area... or a little bit of like expandy fuzziness... man, is it hard to understand, I don't know. I'm not sure how good a job I'm doing here... we're going to do a couple of examples to kind of get it right. Now other things you can change is... well let's do a correction now... down here you can use this little slider, you can say... "All right, I want to change this"... move it around, remember, holding 'Shift' to do it in a nice big go... and we can change those colors pretty easily. You might decide that you don't like this little guy... you can use these instead. It's a way of doing the same thing, temperature, left and right... you can change it to be red, less blue, you can make it more magenta... you can play around with these sliders instead of this... or an adjustment too. You can also-- now you've done this selection... it's not just Hue, we can play around with things like the contrast... how contrasting is that blue, how sharp is it... how saturated it is... is it gray or is it like super saturated? Also, if you do decide... like this Color Wheel is for you, but it's too generic... it's doing all the colors too much. You can break it down into, like mid tones, shadows, and highlights. Ours doesn't have a whole lot, they're all very similar tones... so it's not a huge change... but you can change the shadows to pink... and the highlights to yellow. We don't have many highlights, and not many shadows either. It's basically on the mid tones... but know that you can break it down if you have that kind of selection. All right, she has no head... and remember, we can reset it all by double clicking anywhere... go into this one as well, double click this one... double click that one. So I'm going to change it all to pink... let's go. and let's turn our head back on, by having that on... you can adjust this, if you don't like that gray slider... you can change it to be a bit more contrast... like color against the black, or just black and white... if you prefer working that way. It's really kind of common way of working especially from... like Photoshop style kind of masking work, up to you. That looks pretty cool, but she has no head. So we're going to get into a bit more detail here. Let's open up another file, let's do it with E... so 'Color Correction E', let's make a new sequence from it... and this one here, this is a really good use case that I use... and it's going to introduce some more advanced effects... that you're going to-- we're going to have to... deal with masking and duplicate effects on the same image... or at least the same video. So with my clip selected what I'm going to do is... I'm going to pick the blues... and it's gone through and picked blues. How do I know if it's right? Let's just turn that on... and let's maybe use color versus black... just have a nice good contrast. So this is great, I can now go and say... I want the sky to be-- I'm holding 'Shift', remember, drag it out fast, and go... I want it to be pink... and that's not what I want... but you can see, it's made a great selection... but it's also done the sea, that's not what I want... because what I want to do is make the sky more saturated. So under here, under 'Correction', I just want to make it more saturated... but it's also messing with my ocean, that's not what I want. So this is where Hue is right... but my, either one of these two... is going to help me identify the separation... and in this case it's luminance... because this is very dark and this is very light... light, luminance, so what I want to do is scale this down. So remember, you start with the top one... scale it down to something a little bit more narrow... then you kind of move those white one in and out to say, can you see? So there, looking underneath it... so we want some of this light stuff... with a kind of a broader scope... until we start getting into the ocean. If we go too far it starts getting all the ocean as well... it's not what I want, one kind of just the sky there... and then do you want this to kind of tail out? Do you want that kind of easing into the darker stuff down here?... or do you want to keep it nice and tight? In my case I probably want it nice and tight... let's make it even smaller maybe... and drag it a little bit further this way, there you go. So we've got all our sky selected, now it might be a bit of both... it might be a bit of saturation as well... you might find a great selection out of it... but in this case it's mainly... the light and darkness of the two... that are a really good differentiation for us. Now I can go in here and say, actually I want the blues to be... in our case, just a smudgy bit more blue... and I want them to be a smudgy bit more saturated. You can play with temperature and tint, like we did earlier on... but that's good for me. I'm going to turn this off... and let's turn the effects for Lumetri, on and off. Can you see, I just grabbed the sky now, I made that change. So let's say now we want to do the sea... this brings us to a good point about duplicating effects... because I can now go make a selection for the sea... and adjust my Hue and Saturation. So Hue Saturation Luminance to get a good selection... but I can't hold on to the sky. If I make a change now it's going to change... if I go now and say, actually I want to find the ocean... it has lost the sky, the sky's gone. So I'm going to undo that... so what you end up doing - undo it twice... - is see over here, in my Effect controls... I've got Lumetri color applied to this... and at the moment all it's doing is... under these HSL sliders, it's doing all of this. There is all my little sliders, they match... doesn't really matter if you drag them over here or over here... but it's working on that and it's only working on my sky... turn it off, turn it on. So what I want to do is make a new one. I can either duplicate it over here, so I get two of them... or I can apply another Lumetri effect. You can do it a couple of ways... you can find Lumetri effects in the Effects panel... you can type in "Lumetri color"... and you can drag another one on. So we've got another one on this clip... or you can--I'm going to undo that, see these two. So I'm going to undo that... or you can go to the top of the sliders here... and you can see, where it says Effects, Lumetri color... I can add another Lumetri color... up to you which one you remember later on. This top one here is the one we did for the sky. So what I'm going to do is, I'm going to say you, rename it... and you're going to say sky adjustment... and it kind of renames it, still called Lumetri color... but at least now we know what that is doing. Let's do the same for this. Let's say, that's going to be so for the ocean adjustment. So with it selected, got this clip selected... I want to go in here and say... let's grab the blues, but let's use the luminance that is... let's move it down... and move this around until, instead of the sky selected... let's just move it, so the ocean is selected... we're kind of in there. Let's expand it out a little bit... until before the sky comes in... that seems all right. I'm going to turn this on, switch it to black... it seems about right. It's missing a little bit in there... unfortunately it's very close to the sky, a little sky reflections, probably. So let's have a little look at the luminance. Yeah, it's grabbing that one... move it up a tiny bit, and I'll show you how to... actually, let's leave it down, and I'll show you... how to do a mask when we're finished. So we've got this now. I'm going to go down to my correction... and what I want to do is kind of make it a little bit more oceany green... from kind of like New Zealand ocean green... ends up being this like cool turquoise color... here we go. Maybe you want to play around with the... remember the slider on here, what does this slider do? It's the same on all the sliders... it deals with luminance, make it brighter or darker. So in this case I'll just make it a little bit brighter, here we go. How's it looking? We're missing that tiny bit of puddle here... but I'll show you-- get rid of that in a minute. Let's turn it on and off. So that's our goal there, we're able to adjust the sky... make another Lumetri, completely separate... give it a name and then do another adjustment. How was that? Are you anymore... understanding these things? It took me a while to get the hang of them. The key or the word here, key, is another word for mask, think key, mask, mask, key. So this is what you're masking... and you have-- you can control it by what color it is... how saturated that color is... and how bright it is, using the luminance. I probably should have done that at the beginning. You can use this to kind of just mask it... so you can actually see what it's doing... and the one thing we didn't do, is Refine. Refine is-- I'm going to turn this on... let's zoom in a little bit, it'll just help with the edges. So I'm going to go in... super zoom, 400. Can you see here, on the edges... if I adjust Denoise... back and forth... it denoises it... less noisy edge. Blur is probably the most significant one, watch this... if I blur, it loads, it's going to do that... but I find just a little bit of blurring... just a little bit, will give you a nice transition... between the blue and the background. So it's not so, like harsh. The next thing to cover-- Auto save... the next thing to cover is... how to adjust them separately afterwards... because, watch this, if I click on Ocean Adjustment... so it's got the green that I made... but if I go on Sky, nothing changes... how do I get to these guys? So you do it at the top here of your Lumetri Color panel... right at the top here, you see, where it says this... you've got Sky Replacement and Ocean Replacement. So depending on which, I can jump back to sky... you can see, everything adjusted for the sky... and I can make my changes. I also mentioned earlier... that I'd fixed the blue water in here... and if you click on this, and you are watching... you notice they're like, hey, what about this stuff? I don't want that to be like the turquoise green. So we're going to do masks throughout this course... probably more properly later on... so if it's a little bit quick and dirty at this stage... don't worry, we're going to continue it more later on... but basically what we want to do is... we want to have our clip selected... and we want to find the Lumetri color that we want to work with... you might only have one, so it's easy. In our case I want to work on the ocean one... because that's the one giving me these problems along here. I want to add a mask just so that I only work on this bit... not the person, not these trees, because they are separate... I can try and work with the Saturation Illuminance to try and adjust it... remember, we can play around with this, sometimes you just can't. So what I want to do is twirl this down over here... I'm in my Effect controls, I want to-- this thing here is a mask... I'm going to use this four point Polygon mask... it's a rectangle... and I've masked this part off, and what I want to do is... maybe turn off black versus white... because it's a bit funny looking... and what I want to do is... I'm going to grab all the different points. So I'm going to grab this top one, and put it just off screen... same with this bottom one, I put it just off screen... can you see, what it's doing, it's masking... it's adjusting my Lumetri to only be within the inside of it. So I can say, I just want you... yeah, about like that, misses him out, misses that top bit out. Let's turn that black and white back on... you can see, it's not doing anything over there anymore. You can invert it, let's say that you've-- you want everything, but what you've selected... you can invert the mask here, so it's... let's turn that on, can you see, it's actually applying it to up here. So let's do the invert; invert, invert... if you are-- if your mind's going numb from like... "Holy smoke, did we just learn... HSL Secondary and masks in the same thing?" Forget the masks, we'll do them later on... what we're doing is the Lumetri color... and we're using this Hue Saturation Luminance... Secondary Color Selection... because it's really good using these three sliders... to make really good masks. You can check your masks by turning this on to either gray, black and white... or color black. You make your adjustments down here... and if you need to you can make some refinements. If you need to get rid of that mask... because it's gone crazy and you're like... "Oh, it was too much for me"... click on 'Mask', and just hit 'Del' on your keyboard, and it's gone. I'm going to put mine back. All right, one last thing to show you... we worked on this one here, where we made a mask... let's turn it on, around this... but let's say you're doing multiple clips. So you spent ages getting this working... so we're going to go back to our Project... I've got another one, Color Correction. I'm going to drag this on... but she's still blue, look at that, still blue. What we can do is we can hover above this one, make sure it's selected... grab this, just go 'Copy' on your keyboard, the shortcut... or long way, 'Edit', 'Copy'... and we can click on this one and say, 'Edit', 'Paste', see what it did there. It pasted, Lumetri color came along for the ride... and because it's in a similar setting... similar colors, similar lighting, similar camera... we've used the exact same settings... and we can apply it to a new clip. That works just as well when we've got this... you can select it and copy it on to different shots... as long as there are similar sort of exposure... and light, and daylight, that sort of stuff. So it's another handy trick. All right, that was a long one... I didn't think this HSL Secondary was going to be such a long video... but I guess, to do it properly we had to learn... about Masks and multiple Lumetri color effects... so there you go. Let's get into the next one... and I will make it shorter, I promise. Actually, you've earned a break, go have a cup of tea... and I will see you in the next video. 42. What are Lumetri Scopes in Premiere Pro: To continue on our color extravaganza in Premiere Pro... we need to learn what Lumetri Scopes are. We've been using Lumetri, the Panel... I'm going to introduce you to Lumetri, the Scopes. These, sometimes daunting looking graphs here... are going to help us really visualize our clips. Let me discuss what kind of each of them do. So this seems like a good idea to explain it. I'm inside Premiere Pro, and... I guess the Scopes here, the Scopes over here are bouncing up and down. What you'll notice is, it'll move, can you notice... I know, is that white enough to move... can you see the Scopes moving? It does nothing, you don't use the Scopes... to like adjust on the Scopes. They're just a way of us seeing the information... in a little bit more, like exact way. We're just looking at different parts of the luminance, the saturation... and we'll break down which each of them are good for. Why do we need Scopes? We need them because of, mainly because of consistency... like up until now what we've been doing is we're going-- I'll drag the sliders... so over there you can see me dragging the sliders up and down, up and down... you're like, "Is that better, is it worse?" Yeah, it looks good, but then the one you do tomorrow... you might not drag it to the same place... because other, ambient light might be different, different in your room... the shot's slightly different. So Scope is a way to kind of look at it... a little bit more scientifically... so that you can know that you are not clipping the blacks all the way along... or the weights too high or-- So it's a way of kind of seeing that. What it's also really good for is consistency. So you can imagine, if you've got like... hundreds or thousands of different shots... in different places, for say a film... you need to have like a consistent color grade through them all... and just doing them by the old tongue out sliding method... is obviously not going to cut it. So Scopes is a way to kind of-- can see consistency across different clips. So a brief overview before we jump into them all. There are three main Scopes we're going to cover here. There are lots of different Scopes, and ways of looking at it. I'm going to give you the ways that I use... and a lot of people in the industry use... but you will find people in future tutorials who use the... the waveforms differently... but at least you'll understand how they work, and how you manipulate them. You'll be able to easily follow along with them. So the first one is the Waveform... that's the white one in the top left hand corner up there. It is bouncing around, that is called the Luma Waveform... and that is a way of looking at the lights and darknesses. Can you see, there's nothing really tall up, up at the top of it... there's lots of darkness, it's because of the way that I shoot my video. I like to not touch the lights, I like to set my camera... so it doesn't over expose the lights... because I've got all sorts of weird bright shiny lights, and a shiny forehead. That ruins all of that, so I like to bump it up afterwards... and I'll show you how we do that with the Luma Waveform. The next one, next to it... well, next to the white one, is the RGB Parade. It's got a great name, look at that, Parade... that's the Red, Green, and Blue, like technicolor dream going on... and that's really good for kind of color balance. So we'll use that one for that. So Luma Wave is exposure, lights, and darknesses. The RGB Parade is really good for balancing colors... and then the one underneath, the weird looking one... is the Vectorscope, and probably, I don't know... the most helpful of them all. It shows Hue and Saturation... plus Skin Tone, can you see that like big streak... that's running up the middle there along that line... that is all the the tones that are in my skin. If I disappear, will it disappear? Hopefully, it will. Let's have a look. I have no idea if that worked or not... but maybe my skin tones, that little Vectorscope disappeared... because there's no skin tones in it... and that's a really handy way to help correct skin tones... if that example worked. So those are the Scopes, what next? Next is a couple of terms... I'll talk about Trace a lot... that is what you just call the junk that is in the Scopes. We say, when we're looking at it... we don't know what to call it, we call it Trace. There's Trace there, and we're talking about when the trace reaches this... that's just all the little things... that are moving up and down at the moment, we call that trace. The other thing, Lumetri... I don't know why I think this is useful. You're at the end of the video, Lumetri... they call it Lumetri, what is this Lumetri... because there's a Lumetri Panel... which we've been doing, over there... then there's Lumetri Scopes... basically it's a technology that was created... by somebody else, not Adobe... and it kind of worked with Premiere Pro... they loved it and they integrated, and they bought it. So they bought the company that originally made it... and they called it Lumetri. So Adobe ended up continuing calling it Lumetri. It's kind of like an umbrella term used for... like the panel and all the different Scopes, but that's Lumetri. Last thing before we get started... I wrote Scopes over here, so I know which way to point... and look, there's the panel over there, Panel, Scopes... how clever am I. I'm not sure if this video is actually going to work... you let me know in the comments if you think that was just a big headache... or was it a good introduction, I don't know. All right, let's jump into the video... and let's learn about the first one. We're going to learn about Luma, the waveform, the white one. All right, pointing, these things didn't work at all, did they? I was pointing all over the place... why didn't you say something? Hope you got the idea. Actually, let's go and learn some of the Scopes now. 43. Lumetri Scope - Luma Waveform for correcting exposure: Hi there, in this video we're going to look at something called the Luma Waveform. That's this thing here... it is controlling, or at least visualizing the lights and darks in our image... the contrast, the exposure, the luma, whatever you want to call it. I'm going to show you how we can control it... over here in our Lumetri Color panel. Can you see at the top here, look at all those whites... they're all jammed up at the Top. Let's liberate them, oh, look at that... and maybe the blacks need adjusting, or the highlights. I'm just dragging things now, but you can see... I can control the tone, over here... and visualize it here in the Luma Waveform. All right, let's jump in and get to know it. To get started I've imported Color Correction G... I brought it in and I've muted it because... there's some coffee splashing noises from my kitchen... and what we did in the Essentials course... the kind of basic use of the Lumetri Color panel... is to play around, under 'Basic Correction', 'Tone'... and then start playing with... like I like to start from the bottom, go to the 'Blacks'... and kind of get what you want... and the 'Whites', oh yeah, there we go, somewhere in there... and you're doing it, and you're like, "That's cool"... but that waveform is going to really help us. I'm going to 'Reset' that. To find all the Lumetri Scopes... you can just click on 'Color' as a preset'... and it kind of throws some up here. Yours is going to look different from mine... because I've been playing around... yours probably starts off looking... let it get back to normal. So yours probably looks like that, maybe. I've adjusted my size, just so I can see the waveform for you. Now we're going to be looking at the Luma Waveform. So by default, probably on yours... unless you'd be messing with it... you've got Waveform RGB selected... it's got a little tick next to it... and it's set to, the Waveform set to 'RGB'. That's fine, what we're going to be using it for is Luma. Now you will find tutorials... I don't use the Luma Waveform RGB... some people do, I don't... we're not going to cover every single one of them, so many options in here. So what we're going to do... and it's very common to do, is to use the waveform... but have it on 'Luma'; what does Luma mean, do you remember? Luma means that there is... it's the brightness, luminance. You can instantly see, can you see, up the top here... this is smash right at the top, it's at 100 ire... ire is a measurement that we use in video... and it just like, the acronym is like the international radio engineers... something like that. It's just like, that is as high as the measurement could go out... for a broadcast television back in the day. You can actually go higher and lower now... but for what we need, 100 is max white and zero is max black... and you can see there, looks great, you're like, "Awesome." It's almost touching the blacks, but not too much. If I grab my blacks over here, can you see... if I go too low, trying to fix it, can you see... I start losing all the blacks in here, they start smooshing together. They call that Clipping, where they're all kind of mashed at the bottom there. You can see over here, in my waveform. So we don't want that, so this Scope is really handy to go. I want the blacks, I'm just going to leave those where they were... and it's the whites here that need a bit of work. Can you see, most of the information's down the bottom here... but this is like, squished to the top. So I'm going to work with my whites... and this is like, even if you take nothing else of this course... you're like, "I'm not going to use Scopes"... it is really interesting to see what this control here is doing to the scopes... especially undertone. So let's look at whites, and keep an eye... over here, I'm going to drag whites down, can you see it? So that's unpicking it from this top there, look at that... there's some information all the way up here. I'm going to undo it by double clicking anywhere on this line. So back down here, you can see... the white's coming back now in the glass... and I get a bit more detail... and how far do you go? You just want it to be in this kind of like 90 area. You don't have to be like bang up 100... doesn't have to be like maximum to the tippy top. You can clip things off... like we talked about my shiny point in my forehead... that gets really shiny... and if I lower this down... to like accommodate the shiny reflection on my forehead... it wrecks everything else. So there's not-- like it's just-- what I'm trying to get at is, there's no hard and fast rules... it's about you being able to understand... what you're doing with these whites... and if you are like, maybe clipping stuff... where you might have not thought you were, so let's get here. The other ones that are really interesting... is just working your way through. Can you see, like blacks, shadows... why are there, why is there blacks and shadows... are they not the same thing? What happens is, Premiere Pro is actually... going to be adjusting... blacks, is the stuff right at the bottom here... shadows is this chunk here, close to 0. Let's have a look what it is. So shadows, I'm going to drag it left and right... can you see, it's not touching the bottom stuff... but it's grabbing that, like low part... the stuff in the kind of 20s and 30s, and adjusting it. So you might decide that-- actually I want to kind of bring them up a little bit... I've got a black top on the kitchen... so we don't want to get it too high. There is a lot of black in there... so there is going to be a lot of information along here. Let's have a look at highlights, the same thing, it's not the tippy top... it's this kind of chunk underneath it, let's have a look. Highlights, you can start-- I'm still kind of going back and forth, and looking at my-- to make sure I'm not wrecking my image, or getting it to where I want... but I'm also looking at the waveform... can you see, it's leaving the stuff at the top. So there are some nice specular highlights, is that a word? I'm just adjusting the stuff underneath it. You see, I've gone quite far here, but I feel more confident because I can see it. Same with Contrast... Contrast is a really interesting one... watch what happens in here. It pulls the top and the bottom... it's quite a big, it's kind of, you can see it there... but it's pulling it into the middle. So we're adjusting the contrast here... do we want the contrast to be really high, and separated? It might be a visual effect... but at least we can kind of see now in the graph... what we're actually doing here. I think I want a little bit of that. I'm adding contrast, and exposure, watch this... see the big shift, down... up, down, up, down. Some people-- I always start at the bottom... blacks, white, shadows... you might decide-- a lot of people will start... with exposure first and then correct the rest of them. I don't know why I prefer this way... a lot of people do start at the bottom and work their way up. I find I get a better result... these are two big broad changes... I like to kind of work this way... and do a final adjustment with exposure if I need to. That's the real big broad stroke. Now one thing I want to acknowledge here... is that, remember, this is just a visual representation of this looking at it in a weird kind of Luma Waveform... instead of, like this, like lots of little pixels and colors. So it's only dealing with the exposure, the lights and the darks. So that's what it's good for. When I first kind of learned about it... I felt like, let's say this Lumetri, kind of tonal range here... was what actually controls this, and it's not, it's just-- you can use anything in this panel to control... your lights and darks... and it will show over here. So for instance, let's say... let's get rid of this Basic Correction... let's say that, you're not basic anymore, you're advanced. So I'm going to go reset all that good work... and you're going to be a curves person from now on... because you're like, "I loved curves"... so you are doing the exact same thing, look... I'm moving this up and down... and I'm controlling this, there's no difference. So it doesn't really matter, you could use a little bit of curves... a little bit of Basic Correction... and a little bit of Hue Saturation Curves... and then a little bit in here, under the HSL Secondary... they all have kind of some sort of connection to it. Let's have a little look at Curves... because that's one that I use quite a bit, so let's fix this one. Now in a previous tutorial I said, just do the S-Curve, and you're away-- let's wreck this one... because this one is overexposed... not on purpose, but I found this example for this particular tutorial. It doesn't work, so how do we get rid of our graph? That's right, just double click anywhere. So what I want to do is try and bring down the whites... remember, whites are at the top here... and blacks are down the bottom here, and there's whites. I need to bring down, so not just-- like I don't want to bring just this stuff, I want to break... because it's still smashed up there. I want to actually grab this first one, and actually say... can you see, if I lower this first dot... can you see the scope coming down. Look at all the information that's in there... he was lost, and if we turn this on and off, you can see. So it doesn't really matter whether I'm using this or the Basic Correction. Let's do some other stuff. So the blacks, do they need to be darker or lighter? They don't need to be darker. So I don't need to drag them this way... because they get too smooshed at the bottom... but maybe I grab this part... which is the kind of darkish stuff... and do I want to make it lighter or darker? I'm looking at the graph, I'm looking at the image, it's a combo deal. I want to make them a little bit darker... and maybe the mid tones here... do I want them to be a little darker as well... or up a bit higher, can you see... mixture of looking at this, looking at the graph... you're able to manipulate the Luma Wave. All right, before, after. I'm happy with it, maybe even the dark's darker... maybe some of this stuff... some of that kind of mid stuff to get darker... oh no, maybe it's this. So that is the Luma Waveform, that's our first Scope... and probably the easiest to understand, I hope so... because you're in for a treat for the next two... but yeah, it needs to do with... contrast, lights and darks, the Luma. All right, let's get on to the next video. 44. Class Project 05 - Luma Waveform : Hi there, it is class project time. We're going to practice our adjusting the tonal range... the lights and the darks, using our Lumetri Scope. In this case it's the Luma waveform to help out. Now I'd love it if you've got your own footage... you can totally use your own footage, I'd prefer it... but not everyone has something broken lying around, that they want to fix. So I've given you a couple of examples... or do them all, do your own one, plus the others. So there's two I want you to do... there's this one, it's under 'Color' folder in our 'Exercise Files'... it is called 'Color Correction H'. So do that one, and also have a crack... at one of the earlier bits of footage that we had. It's under, remember, under our 'Tourism Island', 'Footage'... there's one called 'Tourism B', that needs a lot of work. Actually, there's a couple in here you might want to play with... but definitely try that one... and that example there, plus your own one. The other little tip that I want to give you is, this footage here... it starts with my hand off screen, so I can adjust it here... I can start playing around with my tone... but there's a bit of skin tone that's going to come into the shot later on. So if I adjust it on this frame I might end up... like doing something wacky with my skin... happens to me all the time... like, "Oh yeah, it's perfect"... and then I end up with like, I don't know... overexposed face, or my bald head shininess is too extreme. So scrub along to where... like a lot of my skin tone is in screens... so that when I am making my adjustments... I'm not doing something too terrible to my skin... and when you are dragging along... what's the little refresher on shortcuts... because I'm trying to find a great frame... where it's kind of half in focus... and it's on there. Who remembers how I go forward one frame and back frame? You remember, that's right, it's your keyboard shortcut... it's the left and right arrow. It was this all the time, trying to find... like the right frame, where it's... it's not in focus, because I've got that glasses in focus... but something where it's not moving... and there's not too much Motion Blur... and I'm going to work on this frame here to do my corrections. Now I've said, in the exercise and the kind of notes... you can use your Basic Correction Tone, these ones here... or you can use your RGB Curves... you might end up diving into things... like Hue Saturation Curves, I don't mind... and when you're finished send me the before and after shot of... yeah, this one, getting started. Now this shot here is some B-roll... that I was shooting for a YouTube thing I was making... and I was just too lazy to set up the camera properly. I was like, I get too lazy a lot of the time... and I just left the camera set to auto... I didn't set up any of the lights, I just recorded it... that's why it's really kind of underexposed here. All right, that is your project... check it in the notes, where is it, there... upload it to the Assignments when you're finished... share it with us on social media... especially if you've done your own thing. I'd love to see before and after... and just mark it as... "Experimenting with the Luma wave." Alright, that's it, I'll see you in a sec. 45. Lumetri Scope - Vectorscopes for color balance & saturation : Hello you, we are looking at... the Lumetri Scope called Vector Scopes... it's this thing, kind of jiggles around... remember the trace, kind of moves around while we're watching it... and it's trying to show us what colors are in our image... how saturated they are. We're going to use it to do a little trick... where we actually find a bit of white, mask it out... and we can see that this one in particular has a little bit too much green. We're going to fix it... thank you, Vector Scopes. All right, to get started I want you to bring in... and start a new sequence with Color Correction I... ring it in, and we're going to switch from our Luma waveform 2. Not sure why everyone says Luma waveform instead of Waveform Luma. Anyway... we're going to turn Vector scope YUV... there's two different ways, you can look at it this way, and look at it this way... at this Vector form, and watch it, kind of moves around. This is the more common way of working. So let's turn off those other two... so just tick off the Waveform one... just so we've got Vectorscope YUV, all on its own. It'll be really common to have both of these up... while you're working, but for the moment... I am going to turn it off. So for this first one, I'm not going to bog you down... with what Red, Magenta, Blue, Cyan, Green... there's what those dot's for, these lines in here... we'll cover those a little bit as we go along. For the moment we're really focusing on the main use... or at least the way that I use it... and a lot of people use the Vector scopes for. It's a great way of seeing white balance. So in the past what we've done is... gone, all right, it's-- this thing here... is there a kind of a, like a color cast on it? I can kind of see a hint of green... but you might find it hard to see... you're unsure, or it might be that you've got... a little bit of color blindness... and it's a way of actually being able to get in there and see... actually what colors are involved here. So you could just go 'White Balance'... and say, what do you know is white, I know that table's white, click it... and it's gone and done some adjustments here... to the temperature, there's nothing wrong with that... it's an automatic feature... and it's-- do I like it on, off... it's kind of warmed it up, but maybe it's gone a bit red now. So that thing there is a little bit hit and miss. I'm going to reset it, weedling, hit reset there, doesn't work. You've got to kind of, up here, just double click anywhere on the line... anywhere on the line, to reset those. So we want to do a bit more manually, we want to take control of this. So what we need to do is scrub through the Timeline. Why are we scrubbing through the Timeline? Because I want to find something in here that I know is white... I know that that is white, because there's a white bit of paper. Now if you don't have something white in this shot... that you can use as a reference, it's harder... you can use something that you know is absolute gray or absolute black... but white's the easiest one to find, and get a good result from. So what I need to do is isolate this bit of white... because this thing here, showing me all the colors... in the entire image, I want to just see what this white is full of. So to do that you need your clip selected... we're going to switch over here to the 'Effect Controls'. I'm going to find 'Opacity'... and I want to use either of these. I'm going to use, just for giggles... I'm going to use this rectangle one. It's a little bit hard to use, I'm going to drag the center... until I get kind of close to where it is... and then kind of adjust the edges here... to kind of try and get as much as the book as I can... without getting too close to anything else. That could influence the color, it's a little bit hard to work... like stitching and pairing... I feel like that's a big chunk... obviously the bigger chunk, the better. Now let's switch back to my Vector scope... and it's showing me, look... there's way too much yellow in here... like, is it showing me? Ah, this thing here. I leave this in here, my one, watch... it's going to change, I bet you... you, you... you, you. Can you see that? What's happening in Premiere Pro for me... might only be happening to... not everyone... mine's just not updating. Earlier in the course I reset it, so, ah. Premiere Pro sometimes had a few little bugs. So mine's now showing me a bit more what I wanted... so it's showing me... the center part here, is absolute white. So it's showing me that, actually there's... this bit of thing, that should be white, is all lumped towards green. So it's a good way to say... like is there a color cast here, like it might... often it's yellow or red... because it's come from like incandescent lights... or blue from fluorescent lights. It might be lumped this way or that way, or yellow, or green. Mine's got this green cast to it... it's not much, but it's there. So how do we fix it? Now we can go back to our temperature... you can use anything, you could use our curves... whatever you feel comfortable changing tone with, or Hue... but the Temperature slider is obviously a pretty good one. So I've got too much green... there's a green slider, there's a magenta slider... so I'm going to say, you go away... and what we're going to do is, I'm going to drag it left and right... can you see that little thing moving around... over there, on the Vector scope... want it bang smack in the middle... can you see, it's kind of just a touch down towards cyan as well... just a touch. So I'm going to go there... it feels good... and then I'm going to go this way, back and forth... so let's just do a little adjust... try and get it as white. That's showing me that it should be pretty close to white. We're going to do the big reveal... to see whether we actually made it better. So I'm going to go to my Effect controls... we're only using this temporarily, we don't-- we could delete it, we could select it, and hit 'Del' on my keyboard... or I could undo that... and often it's good just to turn the effect off. You can turn it back on later on. So I've turned it off... and I'm going to click off down here to get-- I don't want that blue box anywhere... click on my 'Mask', select my 'Clip'... and now let's turn the Lumetri effect on and off... and it's funny, like when I pull this out of the box... especially when I made my like tutorial, I was like-- because I found something that felt like I had a color cast... and now when I come back to record this... I was like, does it even-- is this the fixed one? You might be different, you might be... like, "Clearly Daniel," it's clear now that I turn it on and off... but instantly when I open it... sometimes you're like, "Is that fine?" Something's wrong, what's wrong... and that's why, for other reasons as well... people use things like this... they use these, like clapper boards... because these are very clear white and black in there. So it's easy to do. So if you're shooting a scene that's-- the lighting is really dull or dim... or there's nothing white in it... at least you've got something clear... that's in the scene that is 100% white... or I use something like this... I don't need a clapper board at home for my stuff... so I use something like this... it's called a Video Color checker... and I'll cover a little bit of that later on... but it's a great way of saying, look, there's complete white... and you kind of throw it in there at the beginning... but so many times I forget to do it... and I have to find something white that is in there. I'll actually show you real quick... I'm kind of jumping ahead in the course, but I've already introduced it. So I've got this bit of footage in here... it's not in your exercise files, at least not yet... can you see me holding up this... you can see, look, there's a little white bar... and a gray bar, and a black bar, and some color ones as well. It's handy to start your shots, waving that thing around. We'll do it later on, but you can see, it's a nice clear bit of white. If you don't have one of these cards... you don't need one, grab a bit of white bit of paper... hold that up, wave it around... so you get a nice kind of specific bit of white to work from... and use our little Vector scope trick... to kind of get the color balance and the temperature, nice. All right, on to the next video. 46. Class Project 06 - Vector Scope: All right, class project time. Unsurprisingly you've got a file to work from... unless you've got something of your own. In this case we're using the Vector Scope. So turn it on, make sure you add a Vector mask... to isolate a little bit of the paper... and use the temperature to adjust. This is the file, it's called Color Correction J. You can see in here... well it looks fine, have a little look... mask out a bit of the paper, probably this front bit... and you just see if there's a color cast. I know there is. See if you can fix it using the temperature sliders along here... in the white balance. Experiment with the White Balance Automatic Selector as well... try that as well, just for your own sake to see... sometimes it works, a lot of the time it doesn't. There's a little bit of you playing around... and keeping an eye on the Vector Scope. Once you're finished I would like to see... a before and after of, with the mask off. So before, and then with your Lumetri on and off. Show me a before and after, see where you got to. All right, I will see you in the next video. 47. Fixing skin tone with Vectorscopes in Premiere Pro: Hi there, in this video we are going... to use Premiere Pro's Vector scopes... to try and correct skin. We're going to make a little mask... and we're going to look at our Lumetri Vector scope... then we're going to try and get this little blob here... to run parallel with the Skin Tone indicator here. It's another great way to use our Vector scope, let's jump in. For this one, we're going to go back and grab the one we made... we worked on earlier, when we changed the color... it's called 'Color Correction C', bring that in, turn into a sequence. I've started a new project... I'm going to zoom in using my backslash key, ' \ ' on the Timeline... so we can see it all. What we want to do is, to fix the Skin Tone, we need to find the Skin Tone... like we did with the white paper, find a good shot... you see, it kind of gets out of focus there, not good... probably there at the beginning, this great place... and just like we did before... we need to go to our 'Effect Controls', find 'Opacity'... create a mask using either of these. I'm going to use the Ellipse... that always ends up the shape of the clip. Come on, Adobe. I wish it was just circular... I can't figure out a way of doing that... if you do know, let me know in the comments... otherwise we just end up with like weird circles all the time. So I've got a selection here, kind of, there we go... I'm going to go back to my Lumetri Scopes... remember, if you haven't got them on... right click it using this one here, 'Vectorscope YUV' It's showing us our colors of our skin. Now see this line here, I briefly talked about it... this line here is showing-- that's the kind of line in there... it's called the Skin Tone Line... actually, I think it's called the Skin Tone Indicator. It's got a few lines... it's just a helpful reference that-- Skin tones look great along here... at the moment it's kind of pushed a little bit that way, towards red... you're like, "No, no, no, I can see now, it's easy." So I'm going to move it a little bit this way. So to adjust it there's a couple of ways... Temperature is a nice easy way... often, if it's just subtle adjustments... you can drag one of these, let's try the top one... top one left and right, not the right one. If I drag it out there I can get it closer to the line. I'm going to show you why that's not a great idea, in a second. Double click it to get it back... or this one here, oh, it's this one, see there... get right up that line there... and let's turn our 'Effects Control', 'Opacity, 'Effects' off. Let's go over here, turn the Effects on and off... you see a bit of a red tinge to it. So that's a way of using the Vector scopes, to get your skin tones in line. Actually, let me show you the other way. So I'm going to double click both of these to get back... instead of using the Temperature you can use your Curves... and you can use your Hue Saturation Curves, that we looked at before... and we can use this Hue Hue, Hue versus Hue. We can use the Eyedropper tool, to say... sample that color, please, we're right there. So let's grab the kind of skin tones that are actually there... and you can move it up and down. Can you see, on the Vector scope, to move it around... so you can kind of get it close there... there you go. Kind of watching a bit of both of them... and again, let's turn the Effect Controls on and off... he's got a bit yellow, what do you think? Now that brings me to the next thing... is I'm going to turn that back on... and let's go to our Lumetri Scopes. Can you see, we kind of understand... I hope we understand a little bit... like when we're heading towards yellow and red... we can kind of adjust this to swing it around. Mine's not adjusting, please hold. All right, we're back. So you can see, I can kind of swing it back and forth... so that's kind of, yeah, swinging the color... but what is the difference between... like the center, and all the way out here... this is how saturated something is... and when we're using, in terms of skin tones... how far that out, closer, how closer to the edge... is more saturated, and then the closer it is to the white, or the center... is the whiter it is. So let's just have a look at the Basic Correction. I'm going to grab 'Saturation'... can you see, you can drag it in and out. So skin tones are, it depends on your complexion... so with my kind of white skin... it looks best at just about halfway... about 45, 35% of like halfway, it's a guess... it's not 100%... but if you have a darker skin tone, like this guy... it's closer to the center. So you end up being like a third, or, I don't know, 30% along this line... as a rough guess, just so you know. Our one at the moment probably needs to come down just a tiny bit... not because it's, you know, it's hard to tell on the line... this is an aid to help us... it's not going to give us exactly... but we also knew, because it looked a bit yellow... out here, was the right tone... but maybe the wrong strength. So now we can use that Lumetri Scope... to know that we're kind of close... we use the visuals here to kind of confirm it... and again, in the Scopes, we want to be along this line... and how far along this line? You don't want to be at half... you're going to end up looking over saturated... if you've got light skin, kind of just below, halfway between these two lines... and if it's darker skin, the closer to this middle here. This one here, I think, still needs to come in just a touch. So to recap, draw the Opacity mask... around a certain part of skin... and then start looking at your Scopes... to see where it is in relation to this line here, the Skin Line indicator... the indicator skin line, that thing there... and getting it as close on it, and then how far up that... in terms of the saturation... is determined on the skin color that you're working with. One thing that might throw you out is your mask... if you make a mask that's in a bad position... that's kind of, let's say I'm going to select my mask... it's in the kind of like, it's grabbing some background or some stubble... or that gap there, it's going to throw it out a little bit... you want to try and find a nice big patch of skin, cheeks, forehead, chin... something that's not-- it seems quite generic for that person. All right, let's leave that one there... let's move into the next video... where we actually look at a bit more real world example... we're looking at everything in isolation... let's start looking at, in kind of combination scopes. All right, I'll see you in the next video. 48. Combining Lumetri Scopes to correct an image in Premiere Pro: Hi there, in this video we're going to... look at using the Luma waveform and the Vector Scope together... because, we don't use these things in isolation... often we need to do a couple of things... to get our video to where we need it to be. Let's use both of these Lumetri Scopes... to try and fix this image of this handsome man. This is a very old shot of me... you can tell by all the extra hair, well, not much... there's more than there is now. Let's go get him looking as good as he can. So let's bring in 'Color Correction L'. I got a bit carried away with these naming conventions... A, B, C, should have broken them up a bit better... but hey, I didn't, let's make a sequence from it... and there's my smiling face. Lucky for everybody... I've got this built-in, like giant skin patch... that we can use for Color Correction... or at least Skin Correction, you're welcome... but what I want to do in this one... is actually use a more real world project... where there's not just one thing to be fixed. This one here needs a couple of things... in this particular case, I always shoot... staying away from the kind of lights and brightnesses... that I can bump them up later on... otherwise I end up over exposing them with reflections in the glass... and I don't have a particularly shiny head today... and yeah, so I do-- so it needs some fixing... it needs both our Luma Wave to fix the things... like exposure and lights, and darks... and then we'll fix the skin tones. So it's that way around, fix... get the kind of basics in there... in terms of the whites white, the blacks black... and then do the skin tones. So what we're going to do is turn on the two that I have on most... so I've got-- if you haven't got them... go to 'Window', 'Lumetri Scopes', open... and then I want to turn on, this 'Vectorscope YUV'... and the 'Waveform'... and if your waveform is not set to Luma... change it to 'Luma' from RGB. So I've got these two, let's play it through... "Hello YouTubers, my name is Dan..." Let's mute that a little bit. It's funny to see, it isn't working... but you can see, there's nothing up here. I've kind of stayed away from it. There's lots down here, probably too much. I need to fix that as well, so let's do that first. I'm going to start somewhere, it's all-- I've already kind of cut it out a little bit... so you can start right at the beginning here... look at that smiley man... and we are going to get... over here, we're going to look at our Basic Correction and Tone... and in this case, I guess I want to admit that... you know, I say I start with blacks and whites, and shadows... not always, I know that the exposure in this one... just needs to come up a little bit... and often I can get a lot of it just by this first one. So it's not always like... you have to walk around only starting at the bottom... because that's the way I do it... but I do start at the top sometimes. Sometimes I find myself feeling too definitive... with my tutorials, like do it this way... there's a million ways. So I've kind of chopped up the black a little bit... I think I liked it a little bit smooshed at the bottom... don't squeeze your mouse. The whites definitely need to come up... and then the shadows... where do I want to be? I'm looking at the Luma Map... and this... I'm practicing, just looking at the Luma Map now, because I'm with you. Somewhere in there. The highlights, they need to probably come up a bit... contrast... probably all needs to get smooshed. Oh, I feel like that's good... and I feel like we might catch the rest of this with the exposure. How do we feel, better, worse? Let's turn this on and off. I feel like maybe I went a bit high with the whites... they're up there, that's great... you want them not at 100... around the 90-ish, is kind of where a good white should sit. So there's a tiny bit left over at the top... you can see mine, see that spec... it's weird, that spec is that spec in my glasses, because it lines up... remember, if we play it, can you see, it moves around... so I can see that... that is that, and I don't want to grade for that... I don't want to like correct for that particular one... because that's okay to get overexposed... because it's a giant bit of white. So I've got my Lumetri Scope... in particular the wave Luma or the Luma wave. I feel like I've got that to a point where I like it. Now I'm going to work on my skin tone, so I'm going to go over here... I'm going to switch to Effect controls... let's do a little circle around... my head here, perfect. Trying to get too much of the dark stuff, I want generic skin... and I'm now going to go back to my Lumetri Scopes... and I'm going to wait for Premiere Pro to kick back into gear... there we go, it's working. It's funny seeing the waveform there... it's not really what I want at the moment... but you can see that it's a little bit off center... so I'm going to drag this whole thing a bit bigger... so I can see my Scope really good... because I don't really care how that looks at the moment... and I'm going to decide which one, this one works, it's never the first one... this is the second one, I'm going to move it across... and remember, my skin tone, so there's about half. So maybe you could come up just a tiny bit. Skin tones is a weird one... like there's kind of like-- I'm giving you some general rules... don't stick to them if it looks bad... that feels about good for like what I've told you. Let's have a little look, how did it work? Tiny, Dan, this looks good from this distance... let's go there... let's click off. I think we're okay. This is not my best camera or best lens... so there's like a lot to be desired... in terms of the actual quality of the image... but in terms of the skin tones... let's turn all Lumetri off and on. I think I was definitely a little bit red there... I feel a little bit more myself in that shot. So I've kind of combined the two... we've used our Luma Waveform and our Vector Scopes... to get everything consistent... really some form of natural... and it was a good bit of practice. All right, that's it for me... let's jump into the next video. 49. Lumetri Scope - RGB Parade to fix temperature in Premiere Pro: Oh yes, it is time for a Parade. You saw it in the title, you see it here, this is The Parade. It's not as exciting as an actual parade... but it's exciting enough. Red, Green, and Blue Parade... we're going to use it for color balancing, watch this. You probably can't see it, we're going to do something a bit more extreme... well, way more extreme... so before... turn it on, Dan, after. Look at that, all with the help of this Lumetri Scope, called The Parade. All right, first up, let's bring in two files... this one's called Color Correction G... stick it on the same Timeline as Color Correction M. We'll start with something quite subtle... and then something that's got a huge Color Cast. Let's start over here, and let's turn on our RGB Parade. It's just called the Parade, it's that one there, turn it on... and what we're going to do is... actually I want to, before you do the kind of color balancing... you need to really work with the waveform... and get the tonal range right. So up to you whether you want them all on, or just one... but let's work on this first. Let's get our Luma right first, and then we'll do the... start working with the Parade... and looking at the kind of tonal range... sorry, the white balance or color balance... whatever you want to call it. All right, so the blacks are kind of tidy there... the whites. It's a mixture of looking at this slider, well, not looking at the slider... picking the right one, keeping an eye on this, and one eye on this... shadows. Really what this is good for is just knowing... if you're kind of pushing stuff into the kind of clipping areas or not. All right, that's enough... it's a little bit flat, but let's have a look at the colors. So this, the RGB Parade, we'll move this around. So let's get rid of these guys for the moment... and just have on the Parade. What we're looking for is these guys should be all in balance... to balance your images... means all three of these need to be in a similar sort of height here. So it's looking at this information... but broken into the kind of brightness... of the red channel versus the green channel versus the blue channel... whereas this is everything together. What we want to do is try and balance them. So pick a couple of lines and look... for some significant goop or trace that you can balance. You can see this, but here's pretty good... it's there at 80 ire, which doesn't mean anything... international radio engineers numbers that they picked... but at 80 ire you can see... red's a lot higher than all the rest of them. So that's instantly a kind of a-- there's a subtle Hue change, it's more red than any of the other ones... mainly it's going to be more red than blue. So what we want to do now... is go into my Basic Correction and the white balance... the temperature here is going to make the big shifts... so just wiggle one and see what happens over here... the dance goes and you're trying to get them all kind of... I'm trying to get that dot kind of, following that ire line... and that's kind of looking right... and you'll find, you'll kind of fix this one... and then there'll be a little bit of this... and then a little bit of that. I find that maybe, maybe just a little bit more up this way... I'm not even looking at the image at the moment... mainly because I'm trying to show you the waveform here. It's really hard with real subtle color casts... and you're like, "Oh, is there a change, is there not?" So let's turn it on and off... can you sense the-- what we might do is, I'm going to reset my color balance... just so we can see the difference. So it's going to look a bit uglier... but I reset this so that I can just turn this on and off... and it's only doing the temperature now, can you see... can you see, by the video... would you say is better? The Parade says it's better, and I think it looks better... but hey... so that's what the Parade's use for it. So use it for balancing out colors... pick some significant areas... and try and get them to match... using something like the temperature and tint sliders. You might be asking... "Why don't you just use Eyedropper tool?" So let's clear it all, if you remember, weirdly... remember, if you reset this, and down the bottom, it doesn't reset that... so you got to kind of like double click them to get rid of them... and let's just use the Eyedropper tool, and pick a white part... this is the trouble, he's like, "Which white part, did that do it?" Pretty subtle. So it's not like an official white... like some of those color cards or clapboards... so you can get away with getting close with this... and you might end up clicking on something that's like... that there, I know it's not white in real life... maybe it looks like in here... it's got kind of a marshmallow color. So that's when you need to start kind of playing with the sliders... and this here is to just assist you in that... and also know that this is one of the ways... that you can get consistency across a couple of clips. So you can kind of jump from clip to clip... and just kind of see where this all lines up... and if there's, something's a little off, but works for you... in terms of maybe your grade, you can keep that consistent... across the other one, like kind of drop the blue a little bit... if you're trying to add effects. At the moment we're trying to balance an image so it looks normal. I'm doing the air quotes again, but let's do this one... this is a bit tougher, it's my garage... it was some B-roll, and it's here, because... well it's this crazy color because I didn't set my white balance... I was just rushing through... so it is set to kind of like cloudy day inside a room... and it ends up bright yellow. So let's have a look at our RGB Parade... first thing though is... remember, we need to bounce it out, so this is-- you'll end up with more than one of these up, often... whichever ones you're relying on the most. So I rely on this one all the time... so we're going to have this up, so I can work on. I'll speed this up now because you've seen this a million times. So that's enough, let's turn off the waveform... I'd normally leave it on, but we'll turn it off for this tutorial... so that you can easily see the Parade. So you can see, there's no blue... there's loads of warmth and a chunk of green. So we need to balance that up... so grab our Temperature sliders... there's going to be a lot of this. So yeah, I totally ignored the shot... and I was just trying to balance this... so now I ended up with a good enough result. This one's harder because it's pretty extreme, and also... the blues have ended up doing some weird stuff... can you see the kind of really crazy over saturated... just, it was pretty an extreme example. I'll show you how I cleaned this up, now fix the blues a little bit... they're just, they're too much... actually, before we do that, I'll just show you... I'm going to reset these by double clicking them... and the Eyedropper tool works well in this one. We use these by dragging and sliding, and using these... because the Eyedropper tool is very automatic... and sometimes you're like, it gets it wrong... in this case it does pretty well... because I know that's white, these little Ikea drawers here... and it basically got to where I was at. So yeah, I'd shortcut and jump to that, in this particular case... but there's so many times where there's nothing... there's something in there that's not white... or it's grubby, or it's off-white... or the kind of refrigerator whites is... there's about a billion different whites, in the paint chart. So what we're going to do is-- the other thing I'd like to mention is... it doesn't often work if you're looking at... like specular highlights, or like, say bright lights... and you click it, see there... that's the automatic setting for using the light in there, and you're like... there's just often weird stuff going on inside of a bulb... it's not putting out pure white... this thing here in real life is... it's a fluorescent bulb so it gives off kind of a weird blue color... so that the rest of it goes... well, that's-- it was meant to be pure white but there's lots of blue... I'll add lots of yellow, and you're like... hmm, that didn't work. So LEDs are okay, they're quite neutral... depending on the LEDs that you're clicking on with Eyedropper tool... but fluorescent bulbs are blue, tungsten, kind of more old-school... light bulbs are yellow so you end up with a blue tinge... so look for something that's actually white... but you'll find that it doesn't work on everything... like, let's go for that one, I know that's white... yeah, got it pretty good, you can see in here... you might be just using this up to confirm... that yep, that's pretty spot-on except for the blues. The blues are tapping out here, they're like way too saturated. So let me show you how to fix up unique kind of colors... if they do get distorted like this. So we're going to use Curves, you could use the RGB Curves... and switch to the blue channel instead of the white. That's one way of doing it if you're more comfortable in there... we're going to use the kind of newer Hue Saturation Curves... and in this case we want the Hue versus Saturation... so not Hue versus Hue, don't want to change the blue... but we want to say, Eyedropper, grab the blue... that's in that little ice cream pot there... and we're going to drag it up and down and decide where you want it... more saturated, no, less saturated... and then how low you want to go. I'm looking at the image... it's hard to know. That feels a bit right, and what we might do as well... is we've kind of-- we're lowering the saturation... but we also might lower the brightness. This is hard, like is this-- because I'm just like really looking at the blues now... so the Hue versus Luma, so Hue versus Brightness... same thing again, I'm going to find-- oh, what did I do? So I'm going to click that once, click on this... it's got the right one... and I'm going to lower this down... brightness... on, off, on, off. How do I feel about the blues? Oh, that's going to do-- like the problem in here is, this is like very unnatural... the lighting in here is strange... because it's inside, in a shed downstairs. So yeah, I feel like we've got a balance... let's turn it all on and all off using this fx at the top here... before, after, before, after, that makes me feel better. Sometimes you can spend ages just in the weeds... trying to fix things that maybe don't need to be fixed. Well, this is going to be very different, this is B-roll for a YouTube show... so not as important as kind of A-roll for a feature film... so you might not be as cavalier as often I can be with colors... that'll do. So we've learned what the Parade is... it's another way of kind of visualizing the color balance... in all honesty, I prefer the kind of longer method... using the Vector scopes... remember, we did this and we did a mask around a certain area that was white... and we tried to balance it... the trouble with that though... is you need something white in the image... or complete gray or complete black for that to work... whereas this here can work on all clips. The other thing while we're here, is organizing these. So often I'll have just-- you have all three of these on, let's say... let's say I've got that, that, and that... you're like, "Oh, I wish that was there, and that was there"... and you're like, you can't drag them... so it's a trick of turning them on and off again, so if I-- the last one ends up at the bottom. So let's turn off the RGB Parade, and turn it back on... it'll end up down the bottom, the last one ends up here. So that's the trick. It's a bit clunky, but that's how it works. The other thing is, if you find it very hard to see all this trace... you will have to join the rest of us... when you're editing in a dark tank room. Your room doesn't have to be tank... but it can be, it has to be dark... like when I start these tutorials every morning... I, at the moment, or when I'm editing... I have to go through, pull all my blinds on my windows... it's a beautiful day today, here in Ireland... but I'm in the dark with you, editing. So I've had to like pull the curtains... and I've got a couple of lights on... so that it's not too gruesome in here... but you will find that you can't have lights... reflecting on your screen when you're editing... especially when you're doing detail stuff like color balancing. So that's one thing to consider. Completely black is probably the easiest... because then you've got no influence of ambient light. I've got daylight lights in my office, I put them in special... so that they don't shine a specific color everywhere around... both, for recording and for editing. The other thing you might do though, is if you have to work in a... working in an office or somewhere where it's bright... and you can't deal with the dark... you can go into 'Preferences', go to 'Appearance'... so remember, it's 'Edit', 'Preferences' on a PC... and here you can go to 'Appearance', and you can play around with this... and it does make it easier to work with. I've got mine down, when I'm working... I don't know, I have to reset my Preferences so often... that I forget to go and change this back up... but if I was only editing and not tutorialing... I'd have this up nice and bright... and same with interactive controls, that is... let me show you what those are. It's the anything that is blue... active controls, let's have a look, you can't see anything. It's the blue parts, there, that's going up, see that there... current time indicator, anything is blue, you can make brighter. So when you're in a dark room it's better to have it nice and low... so that you're not blinding your eyes... but when you're in a bright room, make it brighter... there you go... oh, just look at the sample color, whoops. All right, on to the next video. 50. Zoom for program monitor in Premiere Pro : Hey there, a little interlude for adding a little shortcut... because, oh man, it's driving me mad... zooming in and out of this Program monitor is painful... and for the rest of this tutorial... the tutorial after this one, we're going to do a bit of it. So there's a lot of that, if you're like... "Where's the shortcut?," there is no shortcut. So there's a lot of doing this, and trying to figure stuff out. So we're going to add a quick little shortcut. So we're going to go to... on a Mac, 'Premiere Pro', 'Keyboard Shortcuts'... on a PC, it's under 'Edit'... and it's somewhere down here, 'Keyboard Shortcuts'... and another little tip, while we're in here. So what I'm looking for is a zoom... I want a zoom... zoom, and you want not that one... I want the Panels, the Program Monitor Panel... so that's that one on the top right. I want Zoom In, Zoom Out, and Zoom to Fit. So I'm going to use my number keypad... because I-- I think I showed you that earlier... I've got like a little one set up on the side. You can find some other unused shortcut. So I'm going to click in here... I'm going to hold my-- I'm just going to hit '+' on my number keypad. So you can see how that's been applied. So that's zoom in, zoom out is going to be ' - '... and I'm going to use 'Zoom to Fit', is 0 on my keyboard. So I'm using those ones, you can find something else... you don't have to, but yeah... you can save your shortcuts... you can send them to other people... Dan, very good. Let's click 'OK', and let's, well let's test them out... ' + ', ' + ', ' - ', ' - '... '0' to go back, and you can use the 'H' key to get the Hand tool to start moving around... which doesn't work unless you're zoomed in. So yeah, a bit more other Adobe products now. Just a little interlude... let's get back to our regular... scheduled color correction grading goodness. 51. How to use a Color Correction chart in Premiere Pro : Hey there, in this video we're going to... get a little bit fancy with our color card checker. So use this one, use the grays as well, to help with tone. We'll use it to help get consistent skin color... and a bit of consistency across different footage, let's jump in. So the files we want is called 'Color Card 01' and '02', bring them in... you'll notice that I use the word, I spell the word color with a 'u' sometimes... without it it's tough... where I'm from, where I grew up, where I live now... is all, these 'u's in 'color'... but everything in Adobe doesn't use it... and so keywords, I need to be sometimes without the 'u'... sometimes without, it's a bit of a mess, but that's why... people correct me about my spelling all the time, online... but anyway, that's why-- So we're going to start with... actually let's dump all of-- both of these into one single one... they're the same Frame Rate, they're the same 4K size... so we can dump them straight in there. So this one first, that one, second... and there's a little color book. In all honesty I have only just started using this... and it is really useful. So if you are an advanced user of this... and you're like, "Hey, that's not exactly how that thing gets used"... I've done my research, I'm using it, but there's... I'm the most experienced with these color cards... but they're worth going in here... because yeah, they're really-- I'm finding them really useful. So basically what you need to do is... if you're in charge of filming... is to get the talent, this talented man to wave them around... can you notice that I'm kind of like jiggling them... let's play it through, watch. We're going to do two things, we are going to decide... we're going to get the white balance right... and just in the shot, the skin tone... we're trying to get the colors right just in one shot... but we're also going to try and match shots. So it's a different part of my office, different lighting... I'm going to try and match these two in terms of colors, which is always tricky. So what I want to do is try and get it... so that-- just kind of using my left and right arrows, remember, to move frames... I don't want it to be all shiny... let's use that shortcut, the shortcut... shortcut doesn't work... unless you've clicked on the Program monitor... to move the hand... and I'm just using my left and right arrow. That is not good because there's dark at the top, and it's light down here. So we're trying to find a way where it's not reflect-- so the bad, bad, bad getting better... you're looking for a consistent... that looks pretty consistent to me. It's consistent across the whole thing... so that's what you're trying to do, you're trying to find something-- now I am in the habit of not waving it enough... I think that looks pretty solid around the outside. So I need to get in the habit of doing that better... so what we're going to do is... I'm going to mark this... so I'm just going to hit my M key on my keyboard... you can see, it's marked it, on the clip. If yours ends up here, it doesn't matter... it depends, if you have the clip selected or not. So we've got a marker there, so 'M' on the keyboard... and yeah, just so we can go back to that spot... and if you do nothing else... all you do is use the White Balance Eyedropper... and we know that's white... because the person who sold it to us told us it's perfect white. We can click on that to get our white balance... and what we might do is... let's open up the Scopes for RGB... to see whether there's an adjustment here, so let's have a little look. You keep your eye on this part and wait... I'm going to reset it, I've already reset it... ready, steady, can you see, just a little shift and balance. So this is, like I've set up this camera okay... so there's not a big change here... but there's a bit of a shift from red to blue now, perfect. If that's all you do, that's fine... and what you will find is, gray is actually... probably a better color to use the white balance... even though it's white balance it's probably better to use gray, and... it's more, like the problem with white is that... it can get clipped out, can you see there... it can get smooshed at the top, the outside of range... and what I mean by that, let me show you... it's got whites, the whites can kind of blow out right... you can go like this, and there's no more whites... but there's still a gray in there, look at them... still hanging in there, just... because there's a little bit of gray, but whites have all gone crazy mad. So that's why gray can be a lot more useful. Let's reset that. That's why it's the big giant gray one. It's also very big and giant, and gray because-- what you should be using this card for... is calibrating your camera, your camera will have a way... well, depends on how fancy it is... but you'll have a way of setting the kind of the grays... there'll be an option in here, and you can tell it... that these are different percentages of grays, this is 50% gray... so you tell your camera this is 50% gray... for sure-- and your camera will make adjustments based on that. I very rarely do that, I should, I end up using a lot more in post. which one am I using, well, I'm using a company called... it's called Data Color... this one's called the Spider Checkr, with no 'e', 24. I think the 24 is 24 squares... you can get different sizes, there's... my simple research, there was kind of two companies... this one called X-Rite Colorchecker... and this Data Color Spider checkr. They have lots of other tools for calibrating monitors... and doing sorts of... all sorts of other fancy stuff... but this is a good kind of way to get started into color correction. They're not super expensive, you can see here... they are kind of expensive for a colored bit of paper... but hey, they're not going to blow the bank... like I think my one was about... I can't remember, I think I paid about 50 Euros... it's about 40 something US Dollars at the moment... so they're not ungettable... and do you need them? No. I was hoping this was going to save all my problems, but it helps definitely. So that's the easy way, just use the Eyedropper tool... that's a great way of doing it, let's get a little fancier. So here, I'm going to make a mask around it... because all my, you know, my Scopes are showing me everything. What I want to do is isolate just this part. So I'm going to go to my 'Effect controls', find my 'Opacity'... I'm going to do a big old rectangle in the middle... it's in the wrong place, drag it up... no, that's dragging my whole thing. It's funny, all Adobe products are amazing... it works on Artboards, Photoshop... Illustrator, InDesign, Premiere Pro. What am I doing? It's just moving the clip... back to 100%, as my 0 key... it's because I'm trying to drag it with the Hand tool. Don't drag it with the Hand tool, Dan. Let's see what we've got, yeah, it's fine. So drag it with the Selection tool... click on your 'Mask'... I'll leave this in there because these are tricky to use. Now it's working, so I'm going to get it close... I'm going to zoom in, '+', '+', '+'... 'H' for the Hand tool... that's all right. Now we've made it better but not perfect. So back to my little arrow tool, Selection tool... and I'm going to grab this... my finger is going to be in the way... it's hard to get good help. So with this one here I'm just going to go... my pencil, add a couple of extra points for-- let's try and fix that... try and grab a bit of that out of there, cool. So I'm isolating this, and let's have a look in the Scopes now. Can you start to see, see the little dots here... you can start to see that I've got pure white and pure black... let's make it bigger for you, let's turn off the-- RGB Parade. So that should range from about the top to about the bottom, it's pretty close. So my exposure there is actually pretty good... I don't need to do much adjustments... but that's what you can use. You can look at these and they should step along in even increments... don't try and do that, if you're trying to do this, and you're like trying to-- can you see, I can adjust this to try and get them to be evenly spaced. It doesn't work that way... like the way the color information and the Bitrate works is... it's not a way of just going, instantly force them to be... 100, 80, 60, you can just see... whether it's slumped to one side, and make some adjustments... and just be another aid to help out. The reason is, because you can see, that's... that mid gray there, actually I probably need this one as well. I'm probably missing the middle one, I am... there he is there. Look, he just appeared, so there's my mid gray... so he should be mid in what we're doing here. So where are my middles... let's look at maybe the... remember the exposure can shift big chunks like that. Anyway, that one there is useful-ish, is a kind of a visual. Where I find it most useful is skin tones. So let's turn off our mask, click on it, delete it... and let's play along in a little time here, till I turn the card around. So it's good to turn both these around, I'm going to use my left and right arrow... find something that looks good... remember, holding 'Shift', and using your left and right arrows will do big chunks... so you can kind of get it close. I feel like somewhere in there, looks good. Again, bloody talent, holding on to the edge of the card... covering up this here, the skin tone. So this is like 'a' skin tone, not 'the' skin tone... light skin, dark skin-ish... it's more that you can be consistent... because what I can do now is I can take this shot... and instead of trying to use my faces... there's so many different kinds of textures. I got a bit of a tan on my forehead but not under my chin. So there's-- I have different tonal ranges... you can use this for consistency between this... between different talent. You might have somebody who has... a darker skin tone, lighter skin tone... it means that you can just use this card... for generic skin tone, and use that to match it... or this one here. So we're going to use that technique we looked at before... we're going to do the same thing, we're going to grab our little rectangle. I'm going to zoom out... click in here to zoom out... and we'll get close. I'm going to add a little marker down here as well, 'M' key... so I can come back to it... get close... get you close. It's really hard working this far out... that's why I did that little interlude in the last video. It's a little bit tough to-- such a Pro. We're getting in there, we can do this. It just zooms to the center of the clip... and that's just Premiere Pro... there he is there. Is this close enough? I feel like it's close enough. So don't hold it right on there, try and hold it on the edges. So the nice thing about this now is we can go back to my Scopes... and remember, we can use my Lumetri Scopes... and just see where this color is. Now my one hasn't worked yet, get reset again... I find, clicking this and this seems to do it... and you're like, "Woo-hoo," look at that. It's bang on, so I don't need to make-- if I'm looking at my skin and going "Oh, is it too red, is it--"... am sunburnt-- I can look at this, and go, "Ah, it's fine"... like it's right along that line... nothing to worry about, and move on. It's a way of checking, and if it's wrong... back to our kind of Temperatures and Tints... and we can start kind of adjusting it... to kind of get it a little bit closer. So I'm going to reset both of those. Now what's probably the most useful about this card... is consistency across different shots. This one here-- I move cameras around, I move lights around... yeah, there's different shadows. So what we can do, just a simple way... is back at this one, we can say, we've used our-- actually, we've done our white balance, with the-- what's wrong there? I can do my white balance there... so I feel like it has done something, was quite warm... it's kind of neutralized it. Let's go over here and let's find that same card... using the colored one in this case... and I'm going to use the white. Now my trouble here is I didn't use a particularly-- I didn't angle it the right way. So I need to angle it down so it's not catching the light so much... but the white here looks pretty good. I'll use my Eyedropper tool and click on this one. How much changes has it made, does it look-- so I'm going to add my marker there, 'M' key... and yeah, there to there, I don't know... do you feel like it's consistenter? I do. There's different, it's a different shot... but we can get in closer with our masks... but that's a nice quick way of matching shots. Now this brings me to a point about... we're going to get into shooting raw footage a little bit later... but in this, at the moment, can you see... at this point, on this Grey card, let's zoom in... let's click in the box, hit '+'... can you see what's going on there, all these boxes. So this is like some of the drawbacks... the huge drawback, when you are color correcting... already compressed footage. We talked about it earlier, mp4s or h.264, is a codec... that gets used, because it's really small... to get to that size, to give you a nice small size... it has to do this kind of clumping of color blocks. From a distance, we can't tell it, normally... but because this is such a strange color... this kind of mid gray, it's really obvious here. Happens with gradients as well... without it, it all looks fine. If I get rid of all of this, that looks like a perfectly good image... and that's the benefit of an mp4 or the h.264 codec. It makes everything look fine, and keeps the file sizes smaller. So the exact same file in say Prores, as a codec... I've got it here on my machine. The reason I can't give it to you is because it's nearly a Gigabyte... just for that one short little thing. So I'm going to add it... let's find the similar place... you can see the grays, the difference between-- I'm going to add a marker between that gray and that gray... it's night and day... not sure if there's a pun, but anyway... you can see the bit depth and the compression... is not as it-- not as hardcore... so we can see a lot more of this. This is me shooting on a camera with-- I'm not-- I haven't got my camera maxed out... it's not on, like as good as it can do... because I'm, you know, I'm shooting for a specific thing... I'm shooting for YouTube often... so you can-- this is when you're like... "Oh, why is it like a lot bigger file size... and it looks the same?" It kind of looks the same... but there's a lot more information in here. So when I'm doing my kind of white, clicking the grays in here... there's a lot more information, a lot more accurate information... whereas obviously doing it here... if you pick the wrong block... you're going to get a very different look from image to image. So that's something you'd be mindful of, if you are using this color card... and you're using h.264 or some other highly compressed codec... you're going to get mixed results. So quality aside, let's pretend we've got... really great footage that we're working on... what we're going to do is... I'm going to show you-- we're going to use this Luma Scope again... and it appears... to show you how to work with colors. So cross shots... so in this case, let's say I got here... see these colors here, all of these... cyan, magenta, yellow, red, green, blue... these all appear here in my-- let's turn the waveform off... it all appears here in my Vector scope. So see these dots here... this is a good way of knowing whether your image is in the right-- the color correction is right... the blues are meant to be blue... the yellows are meant to be yellow. So what we can do here is, we can use the same trick... use our, what are we going to use, Pen tool... I'm going to go, bang... that was terrible, close enough. So do that one, it's not showing up... two masks going on... let's delete the first one. So my Mask 02, I'm going to get it, so that it is... I'm going to zoom in a bit... '+', '+', '+'... Hand tool... '+' again, Hand tool... we're going to get in the corners here, let's grab my Selection tool... again, this is not probably the best angle for that card... because it's catching a bit of the light... but you'll kind of see what I mean. So I'm going to do that, I'm going to probably get rid of the feather... I'm ready for the Vectorscope, that hasn't updated... check it out, look at that. So that guy there is showing me... the reds are heading towards red, which is perfect... the magentas aren't quite right, the blues are perfect... the signs are a little off, and the green's a little off. Now in this case, because I'm not holding it the right way around... I am not going to rely on this heavily... so be careful when you are filming... to make sure that you do get a great shot to pick from... and what it's really good for is... you can then go on to another clip, make another mask. So let's do that, I'll speed this up. So you can see, this one, reds are good... magenta's a little bit off, the blue, the sign's a little off... so at least they're consistent. So consistency is what we want more than... complete 100% scientific accuracy. I'd probably be looking at moving the yellows... and adjusting the temperature a little bit. It's a bit of a balance, like I've found... it's very hard to get these all exactly perfectly done... mainly because of my recording abilities... or at least holding the card... but you can start to see... at least they're consistent. Yellows are maybe a little bit saturated. Now this Vector scope here, this is the limit... so you shouldn't go past this... anywhere inside of this is great, in terms of richness... but you can kind of see in here, the yellow is the strongest color here. So it is as far as it needs to go... if it ends up way out here, you've got a problem... you need to back off whatever that color is. So that is it for using the Color Checker Card in Premiere Pro... to kind of help do the tonal ranges... with the grays, and whites, and blacks. It's also really useful for a consistent skin tone... and helps you get some consistency across multiple shots. All right, on to the next video. 52. Hollywood Cinematic look in Premiere Pro: Hey everyone, in this video we are going to look... at how to create a cinematic Hollywood look in our footage. We're going to go from this to this. It's going to be a nice way to kind of combine... a lot of the things we've learned so far, let's jump in. So before we start Color Grading... we've actually been doing Color Grading up until now. Color Grading, the term is used... for just, like getting consistency across multiple shots. So that's grading the footage... but often, like on YouTube tutorials... is you want that kind of special look for the Color Grading. So we're going to look at the Hollywood cinematic look in this video... it's very personal. So there's no way, like Hollywood button... this is my interpretation of what I feel Hollywood is. The first thing you should do before you do anything is correct your footage... so at least it's consistently the same and normal. So we're going to bring in a couple of shots... that have already got-- they'll be normalized-ish. So they're in our Color folder... they're called Color Grade 01, 02, and 03... bring them in and create a new sequence. You can see, I've got a new project going for this one... let's rename the sequence so we don't get too lost. This could be 'Hollywood'... let's go call this 'Cinematic'. So cinematic, that will do. So these guys have a reasonable look on them already. So they've come from Pexels, thank you, Taryn. They're consistently across... so get everything, get your Scopes out... get everything looking the same first... before you apply your grade or at least your stylized grade. So let's assume we've done that, and we don't want to-- you can fix every individual clip... like we've been doing up until now... but in terms of adding a Color Grade style... we're going to do it to an Adjustment layer. So we're going to make a new Adjustment layer... there we go... it's going to match my sequence, which is perfect... and I'm going to drag it on and stretch it out... so it covers everything, let's tidy this up. Who remembers how to select just the audio? That's right, have nothing selected... hold the 'Option' key on a Mac, 'Alt' key on a PC... delete him, that's just a nothing bit of audio attached to that file... and let's look at the contrast as well. So we're going to, sorry, the Comparison view... it's this one here, that little icon. If you can't see it go to '+', and drag it. Is it on by normal? I think it might be on by default... I can't remember, actually. So drag it down, if you can't see it here, just drag it into this menu... and we're going to see our before and after. We're going to use this button here, 'Shot or Frame'. So what we want to do is, be matching... so it's before and after. You can turn that off so that you've got like a reference... and then be working over here, and be trying to get the same color grade. What I want is to have that on so they're kind of both the same. We'll color grade this first part, maybe where the balloons are, in here. I'm at 12:02, you can do it anywhere you like. Now this is very personal... but for me the Hollywood film look... basically clearing out the mids, and having... just accentuated highlights and shadows is what I like. So the easiest way to do this... is make sure your Adjustment layer is selected... and let's go to 'Basic Correction', and our 'Contrast'. Let's have a look, let's open up one of our Scopes... so let's go to 'Lumetri Scopes'... and in here I want to see the Luma waveform. There it is, there. You can see, the before and after are there as well. So you're going to end up-- let's just do something big, can you see, it's showing you this shot... before I made the adjustments, and after... so you can compare them. What I feel like gives us the most what we want... in terms of that Hollywood feel, is that contrast... can you see, I'm just clearing out the middles... as in all the mid tones getting squished up or down... not leaving much left behind... and I feel like that gives me a lot of what I want from this look... can you see, the before and after... I don't know, what do you think? All right, I'm back, my machine crashed... it gives me a really good excuse to show you... A, that it happens to all of us... and B, the Comparison view is a bit weird... that's why I haven't done it much in this class... because it's, I don't know, everybody's level in this... that's watching this video... so the Comparison view can be a little strange... but this gives me an example to, like go and show you. So if I turn my Comparison view on now, and match it... so we're kind of matching a frame shot comparison... and you're like, "Oh, where's my before?"... because that's showing me the after and before now. You want to go before, before. so what we want to do is, with our Adjustment layer off... this is how to kind of like reset it. This is what I do when I'm personally working... turn it off, turn that on and off... so it shows me like the normal version... or the one with Lumetri off. Now turn this back on, there's a lot of that. So where are we, so contrast is up... let's look at tinting the lights and the darknesses... so we can do that, the best... the easiest way is under the Color Wheels. We've got our mid tones, shadows, and highlights... and I want to add some coloring... to the highlights and shadows. Up until now we've been trying to make the highlights perfectly white... but now we're actually going to add a tint... and you can decide which way this goes. We're going to go for that kind of orange teal fashion look. So we're going to go, the Highlights... I'm going to drag them down to this teal here. I'm going to go exaggerated so you can see what I mean... and this, up to the oranges... and you can decide, that's kind of more... like stranger things, old worldy one. Let's go the other way around. Let's go the shadows more tealy... let's go the highlights kind of up in this warmer space here. You may or may not like this... we're going to leave face detection... we don't need it on now because we don't have any faces. So we're going to leave it off... where are we at? Even with the Comparison view, I find... turning on and off is a little bit easier... actually, let me show you with a different-- we're going to use Color Correction, remember this one from earlier... I'm throwing it on the same Timeline... and I will show you that orange and teal. So shadows are going to go right down into this... kind of teal, further that way, we're in there. Let's turn off Comparison view for the moment... so we can get it nice and big, you can see... the highlights are going to drag into the orange here. Let's also do some 'Basic Correction'. Give me a sec. Now the difference of doing all these corrections now... I should be doing an Adjustment layer to this... is I'm trying to actually get a look... rather than get it correct or consistent. So I guess that's the difference when you're doing a color grade on purpose. Let's look at our Color Grade now, on this one... can you see, it's a lot different in here... with that orange and teal, yeah, cinematic-ish. I'm thinking Transformers and Blade Runner... and those types of things. All right, let's bin him, goodbye. So what else, is let's look at a different one... and let's look at adding some grain. We're going to go to 'Effects Library'... which is not down here at the moment... for some reason mine's up here, it's normally down here. I'm going to go to 'Noise'... and we're going to apply it to our Adjustment layer... so that applies to everything underneath. Now we're going to zoom in a little bit, click in here... a new little shortcut... now this brings up another reason why... you should be shooting, or at least working with a codec that's not h.264... because you can see, it's already really noisy. So we're going to add noise on top of it, just because... we're going to drag it up a little bit... and we'll say, a little bit, that's 100%... I'm going to go to something like 10%... something like that. So it's there, and you can decide whether you want to use... a colored noise or a black and white noise. That looks a bit strong... but if I go back to 0 there... oh sorry, go back to full screen, 'Fit', it's not working. We've got a bit of, just a hint of that green in there now... and it's across all of the clips underneath. Now we're faking a lot of this... like a lot of this color comes from the lenses being used... the lighting being used... we're kind of adding it in post to get that look... also, like a little bit of vignette... probably a little bit too much... but vignette, I'm going to just... way too much... somewhere in there... on, off. So we're going to add some black bars. We're going to open up the graphic... we're going to do more about Essential graphics later on. I'm going to show you this quick trick... for adding the bars, top and bottom. Now these bars, top and bottom should be... it's the aspect ratio of the actual way it's being shot... and what kind of camera, the sensor it uses. We're going to fake it by going to... 'Essential Graphics', 'Edit'... we're going to add a 'Rectangle'... we will make it black... we will make it this wide... by this wide, by randomly this. There is an aspect ratio that you can calculate properly... this is a total hack. So I've got one, this is going to be... Bar 1, Bar Top, even... and we can duplicate it by right clicking 'Duplicate'... and this other one is going to be Bar Bottom... and this bottom one is going to come down the bottom. We're going to do it for the entire clip. So we've added some green, we've added some bars, maybe a bit thick... because I'm going to need for this one here... to maybe move the position, under 'Motion'... position up a little bit. My computer is running really slowly at the moment... it's the greatest-- the noise, it's the grain... here we go. Now this one is already in slow motion... we're going to do slow motion properly a little bit later in the course... so that's kind of nice. Now let's see if we can play this back, there is no chance... oh, it's playing okay. I'll take it back, it plays fine. I bet you, yours-- oh, oh, there we go. So let's use this at this moment... to decide, how do I get it to play back nicely... so I can check my effects. The easiest one is to say, can I live with 1/4 quality... and you can, I can't work out the grain on this one. So that might be enough for you... because you might be working on timing... and just kind of general color, but that's a bit low. The other reason it's running so badly is this red bar. How do I get rid of the red bar, that's the quiz question. I'll give you a second. All right, so it is the Enter key on your keyboard... or you can go to 'Sequence', and go to 'Render Effects In to Out'. This is probably the easiest one... it's going to run really quick. While it's rendering I'll talk-- the other way of doing it is using proxies. We're using very small file sizes with terrible compression... or a lot of compression... so that there's a lot of kind of like art effects in the video... but the other problem is that... Premiere Pro, in most editing programs... don't like that mp4/h.264 codec... because it's so jam-packed that it's very hard to operate. So you might be using originals... that are in a different codec, like our ProRes or our GoPro Cineform... or even if you do start life with h.264 mp4s... you might create proxies in a different codec to make things run faster... and again, I'm a bit bored, I'm going to cancel... but we know, look, it's actually done a chunk of it already... ah, playing back nicely... way too much grain... it's okay, we can go and change it, and have to re-render it... but that's all right. I've added probably two, exaggerated the orange and teal... I've pushed the contrast up and down... so that the mid-tones get kind of left out a little bit. We added a vignette, we added way too bigger bars. The last thing we're going to do... is down here, where it says Adjustment layer... did you know, you can rename it, going to rename it... down here, we're going to go to 'Rename'... I'm going to call this one 'Hollywood'. In the next one we'll do something similar... but we'll do kind of more of an independent Indie film kind of look to it. Another little last nugget of information... is if you are on a Mac, actually, a Mac or PC... and you are finding-- we talked about making it go faster... some of the other things that aren't as obvious... is programs running in the background. So Dropbox, if it's syncing, man, it hates life... it takes up a lot of system resources. The other one is Chrome... so Google Chrome, if you use that for your browser... and you are trying to edit... you will find it chews up a lot of your memory... so turn it off, if you can work that way. I use Chrome normally... but when I'm editing I have to switch to Safari, which is fine. I'm just, I don't like Safari as much as I like Chrome... so I only use Safari when I'm editing... because it's so much lighter weight... and Chrome is so, it's a beast... it sucks up all the system resources... and so does Premiere Pro, and they can-- yeah, it gets a bit slow. Anyway, let's get on to the next video. 53. Independent film look in Premiere Pro: Hi there, in this video we are going to... look at Color Grading in a kind of... an Indie, independent film festival looking thing. We're going to go from this to something like this... before, after. All right, let's jump in. For this independent look let's bring in 'Color Grade 04'... and make a sequence from it. It's basically very similar to the Hollywood one... we're going to kind of use skills... that we've already learnt, and combine them. There's a couple little nuggets in here to help you with your editing flow. I am going to add an Adjustment layer... and this is one of the nuggets that I'm going to give you... is like, often you think... all right, I've already used that Adjustment layer, so I need a new one... because I've already used that for the Hollywood effect. This Adjustment layer doesn't actually have that on it... it is just a placeholder. I'm going to use that, put it on there... and you'll notice, when I select it, under the 'Effect Controls'... it doesn't have Lumetri applied... so it doesn't have any of those things over here. So you can reuse the Adjustment layer over and over. The difference would be... is if you copied and pasted it over here - let's delete that one - then it will bring the effects. They're kind of applied afterwards. Make sure your Source Patching is there... so it is now-- it is the same Adjustment layer... but it has that effect applied, and if you do that... you might just turn it off or... no, not turn it off, because we want to use it. We're going to delete it, either way, you can reuse it... Adjustment layer, and it's the effects that get applied on afterwards that are doing the work. So let's get to the end here, hit our 'W' key... to trim up the Adjustment layer. I'm going to rename it, let's call this one... 'Indie'. So the way this effect ends up working, and looking... is, with it selected I go to 'Basic Correction'... and it's the opposite, like, whereas we kind of-- let's go back to our 'Lumetri Scope'... instead of-- sorry the contrast, instead of like bringing it all out and emptying-- opening up the contrast, we do it the other way. We drag it to the left and this thing doesn't work I found a trick, you noticed... this is what you'd be doing these to, it seems to kick it back into life. So we did this for Hollywood, and this for Indie. It just kind of crams it closer... there's no strong blacks, there's no strong whites... and this gets a lot of the work done. Yeah, it's a look. Same with this, there's a bit of playing around with the highlights... I want probably a few more of them... I want a little bit of it, it's mainly these... the shadows and blacks. So the blacks are the complete blacks... I don't want too many of those, somewhere down there, I'm looking at this... and the Shadows, which is this chunk just above the lowest black... this is kind of where most of the work comes from... and where it kind of gives it that washed out... Instagram Indie look, on and off. With a bit more control... you can do the exact same thing with Curves. You'll find tutorials online... you're like, "Oh, this guy's using Curves, this guy's using Basic Correction... this is how the guy is using this other thing, or girl"... and this is certain... the reason is that there's just a lot of ways to do the same thing... and that's why Premiere Pro can feel really overwhelming... you're like, "There's so much to learn"... you're like, "Why have I never opened this panel before?" It's just, it does the same thing... so in this case I want-- can you see, we're doing the same thing... we're kind of dragging it down... we're going no whites, and we're grabbing the blacks... and we're saying, no blacks... and in the middle here we might go-- So this is the Highlights, this is the Shadows... so Highlights, I'm going to go... maybe a bit higher, bit lower... what do I want? I'm looking at the image now, not the graph. I feel like that's there, and actually what I want... is to keep some of the blacks here, I think... and play with these Shadows... to give it that kind of washed out look. I know, what do you think? Oh yeah, about there. So not quite the highlights, it's not quite the mid tones... this is where the curves can be nice... where you don't have to be so precise. Curves on, Curves off, and just to prove the point... that there's a million things to do the same thing... I'm going to turn off Curves. So we've turned off Basic Correction and Curves... and I'm going to show you how to do it. Probably the easiest way, I should have shown you at the beginning... Creative, Faded Film... and this is probably the best way of doing it... because somebody who's a lot better than me... and you, a colorist has gone through and made this effect. What you'll notice is, can you see, over here... it's pretty nice to see, like over here... that's what it is, and can you see... it starts doing the blacks first. That gives you the kind of most control. See the blacks coming up, blacks and shadows... and then some of the highlights, and lights come in... all getting crammed into the middle. So basically what we're doing with contrast, but a little bit more... a little bit more grace, this one here. So we're going to go up reasonably high. The next thing we're going to do is the colors. Often the colors do some strange things... like, you kind of want to adjust to-- so on Creativity we've got Vibrance and Saturation... I've probably explained this in the previous course, Essentials... but Saturation is all the colors down, all the colors up... regardless of how strong they are initially. Vibrance is, leaving the saturated ones... like the ones in the dress alone... or at least not influencing them as much... and bringing up all the other ones. If you squeeze my mouse, it does that... I hate it, I'll turn it off. So Vibrance, bringing it up, won't as quickly-- if I bring Vibrance up a little bit and then down... providing Saturation up a bit and down... you can see, just everything becomes a bit too harsh. So that's Vibrance and Saturation. What I like to do is bring the Saturation down... which brings it all down... but then the Vibrance can bring some of the weaker colors up. You end up with this muted, but still colorful color... find some sort of balance here. This one has a really strong red dress so I can't go too far. Often it'll be a little bit further this way... and a little bit further this way... but I can't, because of that dress, it's quite rich and strong. Let's tint the-- let's do that, you don't have to do it for every single one... but that teal and orange thing is quite cool... and it's another excuse to go... "Hey look, I can do it here, under my Color Wheels"... that's what we've been doing, Highlights and Shadows... but look, there's another one, under Creative... it's the same thing, this is a different place for it. So again, lots of ways of doing the same thing. This is the exact same thing in just two different panels. So I'm going to go-- the Shadows, I prefer in that kind of blue space... and the Highlights are going to go in the orange space. Oh, look how independent it's looking... Khan film festival, Dan, here you come. All we're missing is subtitles... and I think we got the look. All right, you get a little bonus tip here, at the end as well. Often when you're working there's lots of different scenes, this is just one. So what you can do is... you can play while you adjust... you might or may not know that... so I can hit my Loop playback, it's going to play through... and then I can start working on Creative and the Tints here... and be dragging it up and down. We're looking through more than one part of the footage. How far down, there we go... for all of it, how faded the film can be... will depend on lots of different shots. So you can kind of do this back and forth... until you find something you feel is-- my advice is... whenever you feel like it's probably the best... drag it back a little bit, that's my experience, anyway... like this could be just me overdoing things, happens a lot. So whenever I get to something, I'm like, "Yeah, perfect"... I know from feedback, from the feedback people... from the stakeholders, that that's a bit strong... so now I go to where I feel it should be... and then bring it back a little bit, and the world is happy. Anyway, that is it, that is the Indie film festival... Khan looking thing. Let's get on to the next video. 54. Class Project 07 - Film Grade: All right, it's project time; Film Grade. I want you to do some color grading, for a certain look. You might decide whether it's Hollywood, Bollywood, Indie, it's up to you. I want some sort of some strong kind of grade... so that we can see it, just to practice. You can use your own file... "use file your own file"... I need to fix that up... it gets proofed before you get it, don't worry. So use your own file or use pexels.com here. You can go into here, there's a lot of videos... there's lots of other free video sites that you could use as well... if you've got one you prefer. What I want you to do is do a before and after... and actually upload the actual video clip. We've been doing a lot of screenshots up until now... but we want to see the before and after. So a nice trick for that when you're uploading your project... is, in Premiere Pro... because we've applied this to an Adjustment layer... you should have, if you haven't you're in trouble... because this trick doesn't work unless it's on its own separate Adjustment layer. Let's do something like this where there's a before and after... so that we can all kind of see. If it's very long, you might-- this one's not long so it's probably going to loop nicely... and we'll be able to see the difference. If you get a long one you might go like this... and copy it and paste it, if it's pasting weirdly... remember, has to be on the right track targeting... and you can kind of do something like this where there's... a couple of chances of it doing before and after... before and after. You get the idea. Once you've done it upload it to either Behance or Vimeo... and share it in the Assignments, in the Projects... maybe in the Comments... also share it on social media... remember, YouTube can be a little bit tricky... when you are using somebody else's content... they go, "You have used somebody else's content"... even though you've added a sweet grade to it, they still don't like it. So try and use something else. So that's your, not homework, that is your fun class project... do some color grading... and I'll see you in the next video. 55. Master or Source Clip Effect in Premiere Pro : Hey there, in this video we are going to learn... about something that sounds boring. It's called Source Clip Effects... but it can do pretty astonishing amazing things. I have got to a point in this edit here... where I've cut this particular clip up a bunch of times... in between other shots, and somebody said... "Actually, can you go back and adjust this one?"... you're like, "Sure, I can adjust this shot"... but I've used it so many times across... actually a couple of different sequences. I'm going to have to copy and paste the effects on to all the different ones. Actually, there's a trick... I can go to my Master Clip effects... dump something random on here, for example... and watch, it updates every use case of it. So it's like updating the parent... that's why it's called the Source Effects. Let me show you how to update that source. First things first... is you don't have this kind of, like sequence... all cut up for you, this is just a for instance I quickly threw together... and you'll see why, you can apply it to any clip anywhere. I'm just giving you a good for instance... because, let's say we've got to a job... and we've got, like our interview... we've got different shots, we've got a close-up, we've got a mid-shot... and it kind of cycles between these two... and we've done a lot of work to them... and it comes back, and we're like... "Actually, can you change this thing?"... and let's say that, for instance, this clip needs to be... I'm going to do something, I'm going to exaggerate, it needs to be less exposed. So I've done that, but then I'm going to... copy and paste it on to this one... so you can select it, go to 'Edit', 'Copy Effects'... you've probably done this a million times... and it's a pain, 'Edit', 'Paste Attributes'... no, no, no... no, no, no, I just want the Lumetri effects to come across, and then it's the same... and if you've done that 100 times or 10 times... whatever it is, it's a big pain. So I'm going to undo that... go back to this one, so we're back to normal now. So the way to get around that... is to do it to the original, it's called the Source... what used to be called the Master. Think of it as the parent, giving it all sorts of names. So you can update that original parent... or the source file, or the master file, whatever you want to call it... and it will spill through all your edits. I've done it for both this sequence... plus I've got another sequence in here... that's a shorter version. It's got like more of a commercial cut down short feel... but it's using that same interview. So I'd like it to both... not just do it for this first clip... not just this first sequence but all the sequences. Really good if you're doing maybe social media... and you've got lots of them across all sorts of different sequences. Just go and show us, Dan, quit hyping it up. Well, what you do is, if I've got the clip selected... I'm working on the child... or the instance of that original. To open up the original original... you can kind of see it up here... you see, I've got it selected... what's this thing? I'm in my Effect Controls, by the way... if you can't see it, go to 'Window', 'Effect Controls'... and you've always got this thing... and you might have accidentally stumbled in here, and eventually found your way out. So basically this is the instance... this is the original, there's nothing in here... it doesn't look very fancy, but what I can do is... if I'm clicked on to this tab... and then make adjustments... let's do something crazy again... let's go over Magenta... can you see there, it applied... and it applied like we thought it might. The difference is, because it's on the Master and not just here... watch what happens. So back to that other shot... but then, see, I've reused that clip a couple of times... let's go to the other sequence. Oh, it's all in here too. Cool. It comes with a few caveats, there is a problem... if I'm later on working on it... or you send it off to somebody else... that isn't as awesome at Premiere Pro, as you are... you can be in here, clicking on this one, and you're like... I'm going to get rid of purple... and you're looking over here for your Lumetri effects... where the hang is it? It's not there... it's on the Master... how do you know it's on the Master? Mostly you need to like magically know... there is a little, can you see, there's a little F under the Effects... remember how it changed color before... it didn't, get a little red line underneath it... that's all they give you... that's a, hey, there is a Master... well, they call them Source effects now... up until recently Premiere Pro called them Master effects. So you will find tutorials online... talking about the Master clip effects... it's now called the Source Clip effects, exactly the same thing. A lot of people will call them child and parent... this is the parent, and here... nope, that is the child, this is the parent... and only that little red line there kind of indicates that it's there. So that is it, you can apply it to the source file... and it will spill through all your use cases. Really handy if you've already used it all in the Timeline... you can apply multiple effects... and that brings me to my next point... which is how do you apply them, like Lumetri is easy... because you had that kind of tab selected, and you started dragging. So the way to do it is, one of two ways... have this tab selected, and let's say I want to apply effect... and why you want to apply some random effect... you want to apply some sort of-- we're going to use lighting effects. You can drag it in here and it applies. Let's say that we don't want to do it that way... you can add it to the actual Source monitor. So our Source monitor is kind of tied up, up here, there it is there. So if I add this to the source rather than to the program... or down here, watch what happens. It adds to this, my source... it spills over on to my-- where I've used it in the sequence... but if I go to my Effect Controls, you can see... that's the one you normally end up at. There's nothing there... but my Source used to be known as Master... has all of these things applied. All right, that is Source Clip effects. I'll see you in the next video. 56. What are J & L transitions in Premiere Pro: Hey there, we're going to start with transitions now. Hey, we're out of the color zone... we're into transition zone. We're going to start with probably one of the most basic... up from a Jump cut is the J & L cut. We've got one, two, three clips... and the way to cross and bridge the gap between them... isn't the Barn doors or Page Peel... it is leading the audio, can you see... there's the audio wrapping underneath this one. So there's a bit of crossover... that is the J, there'll be a capital J here... and there's an L here, so they're very similar. They allow the audio from one track to help blend with the next... helping show a relationship... and it is a really nice polished way... of kind of upgrading your jump cuts. Let's have a quick little look, go back a bit... "...best you can in everything that she does... and we encourage her to do things... that she doesn't think she can... but we know she can." "That's kind of hard." That's a J, that's a L. "How come you're at that, did you..." "I love that they're girlie..." There you go, let's go and make it. All right, to get started in this new section with transitions... our workspace is looking messy... I'm going to go from, whatever we were before... I'm going to go to editing... I'm going to right click and go 'Reset to Save Layout'... just to kind of, like get back to some sort of normality. So the J and L cut... basically I showed you at the beginning there... what they look like, so let's actually do it. We have got in your Transitions folder... so 'Exercise Files', 'Transitions'... let's grab 'J and L cuts 01', '02', and '03'. Let's dump them into a sequence... and make sure they're in right order, 01, 02, 03. Now audio plays a big part in this one... so what I'm going to do is just get the audio... to all sound at least the same levels, select them all. We're going to do audio properly later on... but ' Window', let's go to 'Essential Sound'... let's make sure it's all dialogue... and let's say the loudness is all matched. You'll notice down here, in a second... they all kind of balance to be at least the same levels... because there's three... two, one, different shots... all different kind of microphones and levels. So we're all the same now. Now let's start with the J card... it's that big J, you can see it there, J down, and that way. There'll be a little overlay there from the editor. What I want to do is... I want more audio to kind of lap underneath this. So what I'm going to do is... I'm going to drag the audio down track... these are still linked, and this is going to work. I'm going to-- I want to temporarily make this shorter. I can unlink them, that just might be easier for you... go here, go to 'Unlink', or click on this little icon... this one here, 'Link Selected'... you can work on them separately. I'm going to be fancy and try and keep them selected. So I'm going to 'Link Selected'... click off, and I'm going to hold down my 'Command' key on a Mac... no, I'm going to hold down 'Option' key on a Mac, the 'Alt' key on a PC... just to select just this part. I'm going to say, I want this to be a bit shorter... and a bit shorter, so I can have a little bit of-- now I can click back off, click back on... because I want that, I want there to be... a little bit of lead in here. So let's make this bigger... and now it's just getting it to blend, because now they do-- it's a bit abrupt, watch this, let's play it through. "She does, and we encourage her to do things... that she doesn't think she can, but we know she can." That's not bad... but what I'm going to do is I'm going to add, see this line here... I'm going to hold my 'Command' key down, click once... click again towards the beginning. So 'Command' key on a Mac, 'Ctrl' key on a PC... and I want to drag this down. So there's a little bit of a ramp before it gets in here. You could use an audio transition... "...to do things that she doesn't think she can... but we know she can." "It's so hard." So maybe even comes in a little bit further along there. So there's my J cut, the audio precedes the shot that we're moving to... and it helps introduce it, and show the connection between the two... really simple transition. I know it's like, it's not the Page Peel where we wanted. If you do start using the Page Peel... where is the Page Peel? I will find you... here we go, Page Peel... Page Peel, I'll find you... it'll be trouble... "I think she can, but we know she can..." You can use the Page Peel. So the L cuts the opposite. So I did kind of, I did it, already kind of tucked in the end here... we'll do it the kind of slightly longer way... just, it can be a little bit easier... rather than remembering all the shortcuts, just unlink them. You'll find that this will be up here... I've dragged it to its own track, so that's separate... because there's going to be some overlapping going on. I'm going to grab you, tuck it in, how far? There's a little bit of playing with this... I'm going to turn it back on... 'Link Selection', that's why I like shortcut... and go, you, and I'll probably do the same kind of transition. So holding 'Command' key on a Mac, 'Ctrl' key on a PC... clicking a couple of times... and you've got some things to adjust... and yeah... let's have a look. "I love that they're girlie..." It's a way of saying we're changing places... but there is a really strong connection between these two... and it does add to the fluidity of-- that's not a word, news and editing, but the flow of story telling. So you won't find J and L cuts here... in the Effects panel, under Transitions... but it's probably one of the most used. If you haven't used it before, start trying using it... and you will find there's this... like, "Oh," it's like the icing on the cake for these edits. All right, so that's it, let's get into another transition. 57. Light Leak transitions in Premiere Pro: Hi there, in this video we're going to do this pretty looking Light Leak Transition. I go on a little bit of a tangent in this one... it is useful tangents, but the short version... if you're just kind of revising here... is basically you import a Light Leak bit of video... and then you change the Opacity Blending mode to 'Screen'... and basically you're there, but there's other things... I want to share in this video with you, so let's get into it. So to spice this one up... we're going to add a few little extras... as well as doing that Light Leak transition. So I'm working on the last project here... I want to bring in the sequence that we worked on earlier. So if you didn't work on that Irish Tourism sequence... just bring in the raw footage, just dump there... on a new Timeline, bring in A and B. If you did do it, I'm going to show you a little trick. So we're going to import by double clicking in this dark area here... or using 'Command I' on a Mac, 'Ctrl I' on a PC... and let's find that Tourism Island. For my one it's under 'Exercise Files', 'Tourism Island'... and it's in our project files, there it is there. So I can import it, I can import the whole entire project... or just the selected sequence. If you bring in just the sequence... it'll bring in just the videos that were used in that sequence... which is kind of handy. Do I want to create a new folder with imported stuff... to kind of maybe separate them? I don't... and do I want to allow duplicate media? It might mean that you already have them installed... we don't, so it doesn't really matter... but for you it's probably off by default. It's nice that you don't have duplicates here, in your Project panel. It's going to show me all the sequences I have... and it looks like I have none... and I bet I know where it is, it's in one of these. Does everybody end up with their sequences in the wrong place? Ah, my file structure is meant to be great... but then the sequences end up wherever the raw footage is. So there it is there, so I can bring it in. So there's my sequence, and there's the footage... that came through, plus the audio... plus the folder structure; super handy. I'm going to rename this one just so I don't get confused... instead of Road Rising, this one's going to be my 'Light Leaks'. Let's also bring in... let's actually put all our mp4s into the footage... oh look, how tidy we are. So let's bring in, inside the 'Fotage' folder... I'm going to double click down here... I want to bring in 'Exercise Files', under 'Transitions'... and it's called 'Light Leaks', there it is. Now I've downloaded one for you... there is a bunch more that I found... these are kind of free ones that I found for you guys, from here. So Rocketstock a.k.a Shutterstock have this... just Google "13 free 4k light leaks"... if you want all the rest of them... there's a bunch of them in here. You can see, think... oh, think inspirational, Wedding Travel. So there's some nice ones in here. I've just picked one for us... so you can go get the rest of them. You can obviously pay for them as well. I pay for mine normally through... something like Envato Elements, that's really good... and Adobe Stock has some great ones as well... and it's not so much a transition, right? It's more of a thing that you overlay over the top... so it's not going to be our nice transition... like in our effects, like a cross dissolve that fits in between it... basically there's a straddle, two clips. So let's open up my-- where is it, there... it's called Tourism, oh, I'm inside the footage, bin. Let's go up one, and where is it? It is that one there. So I'm going to open that up... and I'm going to put them across these two... under my footage here, Light Leaks... and you just kind of dump it in between the gap. Before I do that though, a nice trick. We're doing things like Light Leaks... where you're trying to, like do this transition... is let's open it in a Source monitor by double clicking it... and I'm going to scrub through. It's really handy if you find a Light Leak... or a smoke transition, or some... any of these sorts of video transitions. We're just overlaying it, where there's some sort of, like full coverage... because then it hides the join, if there's not... it works, but it's better when there's a full join. So I'm going to-- I found that full join... and did you know, I can hit my M key to add a marker to my source file... rather than just here on my Timeline... you do now. So I'm going to add-- I think this has audio... which has nothing on it, which happens a lot. I'm going to drag just the video down... and kind of lump it over the top here... and the cool thing about it is... it should be snapping, if it's not, turn your snap on... and maybe the marker should snap to that edge there. At least, I know where it is. So I'm going to zoom in a little bit, '+', '+', '+'. Let's have a little look. So it's already lined up, if it doesn't... who remembers the shortcut for kind of like nudging it left, nudging it right? Well, you kind of remember, something to do with the curse keys. Hold Shift key down, no, hold the Command key down on a Mac... Ctrl key on a PC, just kind of tap left and right... and it'll jump frame to frame. So you can kind of line it up nicely. Nice, full whiteness there. So let's move our Timeline along our CTI... to a part where it's a little bit more obvious. So I've got this kind of bluey thing... and all I need to do now really... is just change the blending mode. So with it selected, go to Effect controls... and under Opacity you'll find one called Blending Mode. It'll set to 'Normal', you can pick any of these. The one that works in this case is 'Screen'... but you can play around with the rest of them... and basically the blending mode is the way... that this top layer that you have selected blends with the stuff underneath... and screen will look different... depending on the top graphic you're using. In our case this Light Link versus what's underneath. So you're not going to get the exact same results every time... but Screen's a good one, another good one is Overlay... it'll depend on the colors and the mood you're going for... generally, not always, but the tops of these, like little groups ... can be a good place to kind of jump through and start... but in our case we've already worked it out... Screen works nicely. Also double check that this one is the right size... but yours might not be, you might have to right click it... and say, 'Set to Frame Size'. It might get bigger or smaller, depending if your footage is 4K... you won't have to do anything... but if you're working with HD footage, or your Light Leak is HD... you might have to match them up. Now with this thing as well is-- I'm going to zoom out a little bit... Kind of medium part or the middle part... where it kind of goes full white, and heights... "Well, let's actually look at it, Dan." I've seen it because I've practiced before, you haven't seen it. So what we'll do is, I'm going to-- I've got my cursor kind of here... I'm going to use my sweet shortcut... remember, 'Shift K', kind of jump back a bit... "...always be at your back... may the Sun shine, wind..." I'm going to get rid of that noise that I did earlier on... we were just playing around with that. So here's my noise, hitting 'Del' on my keyboard to delete it. 'Shift K' again... you have to be on your Timeline, that didn't work. 'Shift K'... "May the wind always be at your back"... and see mine, loose looping. If yours isn't looping with the old Shift K... it's because, "...always be at your back." You'll notice my screen's changed since last time you saw it... because it's been the weekend since the last video. So I've kind of moved everything around doing other projects... so you can't see my looping thing... because I moved that around, there it is there. You can't see it looping, remember, '+'... the looping one is that one there. I can't see it, hang on, that one there, drag it down to here... and turn it on, and that Shift K... will also loop it for a long time, which is cool. "May the wind always be at your back... may the sun shine, may the wind..." So I like it, but there's a lot more going on afterwards... so what we're going to do is, we're going to turn the opacity down. Did we do this earlier, I can't remember, let's do it again. You won't see these rubber bands on yours. So I'm going to use 'Shift +' to zoom in on my little video bar... so I can see a little bit better. I'm going to right click this top clip... and go to 'Show Clip Frames'... no, I'm going to say, 'Show Clip Keyframes'... go to 'Opacity', and even if it's got a dot next to it... click it again, and this will appear. So this little rubber band, you need to be zoomed in. See this rubber band, because it's so much easier adding keyframes... to this thing for opacity. So right at the beginning here I'm going to put in two keyframes, the beginning... this one here, I'm going to drag down here... just so there's a little bit more-- It actually starts, but I'm just fading it in... and at the end here I want it to kind of fade out a lot earlier. "So how is he adding those keyframes?," you might be asking. You hold down the 'Command' key on a Mac... 'Ctrl' key on a PC, and just click. You can add a keyframe, you can delete them... by selecting them, hitting 'Del' on your keyboard. So I'm just going to make mine just not go on for so long. I'm going to drag the edge there. Just to make it look quicker, even a bit further along. So that's that, 'Shift K'... "May the wind always be at your back..." Bit better, cool. The other thing is, there's quite a strong tone in this one... and it's not what I need, it's blue... can you see here, it's quite blue. So to change the color of anything... there's two main ways... I'll show you both, because... because we can-- I'll show you why... one of them's not as appropriate now. So changing color is probably the easiest... and most common is to use Effects... and use something called Tint. So Effects panel, in my search, do Tint... dump it onto your clip, and say 'Map Black'. It's kind of made it black and white... so the black bits and the white bits... so I want to make the black bits my color... so I'm going to make it red, let's say. I'm going to leave the whites at white, you can change them... but that's how to kind of change everything... but it's very mono color... so that's not what I need right now, it's up to you. I'm going to get rid of my tint, click on here, goodbye. I'm just going to use the Lumetri... so find a bit of my Playhead... where it's gone strong blue, there we go there... because I don't want it to be all one color... I like that kind of variation in there. So I'm just going to use my temperature and tint... to find something a bit warmer... I want that kind of like... peachy warmness... just because, no real-- You can play with all of this tone on this color Light Leaks... to kind of get it to be how you want it. Turn it down a little bit. I'm going to use that in this case... but again there's lots of ways to do this... under 'Creative', you can play around with the tints... for both the shadows and highlights, maybe we did that earlier... if you want to do that, or you're not getting the right control... with the tint and temperature up here... again that appears in the Color Wheels... you can do the mid-tone shadows and highlights, and adjust the colors. There's lots of ways of doing the same thing in Premiere Pro... All right, 'Shift K', got to be clicking on the Timeline... 'Shift K'. "May the wind always be at your back..." To use it again, we're just going to copy and paste it... copy and paste it... obviously if you download a few more of the Light Leaks... you can have different kinds of Light Leaks... "May the rains fall soft upon your fields." Oh, it's a bit. I have no idea what we did to this earlier on... the opacity of this is down... I have no idea why. Probably in an earlier tutorial we're messing with it... but this one here as well, you might go... and let's say that you only have one transition... and you want to try and make it seem a little different. So my thing is waiting, come on... come on computer, catch up, there it is. So let's say that you want to change it... you can change the tint, right? That's a nice quick and easy way to say... actually, I want this to feel different without it being too different... and I might go in here as well, and go right click, and say... where is it, 'Speed/Duration'... and we might reverse the speed. So it's completely backwards. "...rains fall soft upon your field..." It's different. So that's a Light Leak, there are lots of them available out there online... and it's really the original footage... that's going to give you the most kind of benefit... in terms of the way it looks. It's not an effect created, it's pre-created by somebody else... and we just kind of stick them over the top... to straddle, and use as a transition. So Light Leaks, basically import Light Leak... change it, blending mode to screen, and that's it. Somehow I stretch this out for a very long tutorial. We learnt some extras in there, I hope. I'll see you in the next video. 58. Using Free Template Transitions in Premiere Pro: Hi there, in this video we are going to... look at these these kind of... like overlay graphic transitions. We'll look at the ones built into Premiere Pro... where to import them from other free places... and when you do get a hold of them... what you can and can't change... on the different varieties that are out there. All right, let's jump in. So like you saw at the intro... we are doing kind of like a graphic overlay transition. So less of that kind of like cross dissolved barn doors... and more of an overlay... and you will find lots online... there are like, you can pay for them... but there are actually some pretty good free stuff around at the moment the kind of term you're looking for... is our graphic transitions... or graphic overlay for Premiere Pro. Also, maybe this word mogut... because without mogart you might... just get transitions like that Light Leaks one... that Light Leaks one here, remember... is just a graphic that we dump over the top... and we get some small control over that color... um and say though like-- there's lots of places to get it from. I get lots of Motion Array... I've got some really good templates in here... and you can see, these ones' free... but let's have a quick look at these... can you see, they're quite like shapes over the top... kind of hiding transitions. So I guess... there's lots of that sort of stuff... and that's what we're going to cover in this video. Let's look at the things built into Premiere Pro. So let's open up our Essential Graphics panel... so this is where we find these kinds of transitions... the more traditional ones... are under our 'Effects', and under 'Audio Transitions'. We've got our Dissolves... and there's only so much in here... that you can deal with, wipes and slides and stuff. So we're going to look at Window... and have I opened it? I haven't. Essential Graphics, open that one up... and you've got Browse and Edit... let's be on Browse, and let's look at Adobe Stock. Adobe have some really good free ones... they turn this on and off every now and again. Sometimes it only shows your premium ones... if you're in the future, and there's no free option... dig around, it'll be in there somewhere... or go to their website, stock.adobe.com... they have got free way of searching for free that way. if you do download one outside of this method... go to Edit, nope, go to 'Browse'... and go back to 'My Templates'... and you can see this button down here... this will import a mogut. Now if you're doing the Light Leaks version... where it's just a video over the top... just import it like we did in the last video... but if you have found a dot m-o-g-r-t... you can click on this, import it this way... we're doing it slightly different. We're going to go to Adobe Stock... we're going to say free... and we're going to try and put in transition... and see what we've got now. I think, by default the-- see the slider on the bottom here, I think it's quite high... so you can only see like one or two. So I'm going to scrub mine down... until it becomes a little bit more appropriate... and yeah, these are my transitions, at least my free ones. I do have a premium subscription... so I could turn that on... but I know, not everyone does... and the weird thing about this is previewing them... and watch this, you hover above it... you don't have to do anything... sometimes clicking on it helps... and just kind of moving your mouse left and right. I'm not clicking, so watch this... I'll go to this one. i'm just moving left and right... nothing, nothing, nothing... depending on your internet connection... and how well Premiere Pro decides to play today... it will preview it. The other thing to note, that often the transition... happens in the first little bit of the video. So make sure you're scrubbing in this first, like little corner. When I say scrubbing... I'm just moving my mouse back and forth. You'll notice that it's not working, click on it, come on... oh, it's at the end, this one. In the beginning they are tricky to preview... hopefully this gets better in the future. So those are the previews... and when you're ready for one, hit this little icon here... it's a little Cloud license, and download... because we're on free... we don't actually have to pay it out of our license. I've downloaded this one to start with... you can do whatever you want. I'm going to show you two variations... that you're likely to get from Adobe. So to use them, once it's downloaded... you get a little tick, you can drag them on. I'm going to use it to straddle this here... and basically that's it... if it works out of the box, let's have a look. I've got some in and out points, let's clear that. Let's set some in, remember I for in, O for out... to set some in and out points, hit the 'Return' key. So it renders it nice and smoothly,and it's going to loop. You can see, that's my transition... I'm going to use that to hide the... you know, the shift between two different clips. You'll notice instantly it's too small. So what I'm going to do is right click the clip... it might be too big, depending on which one you get. Remember, 'Set to Frame Size', and now let's 'Enter'. It's going to render, it's really quick render... because it's only doing some real basic graphics. I guess the trouble is scaling it up it... depends on how it's made . This one here has been made in After Effects... there are some little glitches on the edges here... a bit of pixelization, and if for my purposes here... it's moving too fast... and I don't care enough to go and find a 4K version of it... but you might, depending on what you're doing. So that's one version, you'll notice here... that has some controls, so with it selected... I'm under 'Edit', you can see, I can change the color here. So I can go, how to change color... and it's going to go and change it, oh, horrible... but know that you can-- now the one thing about it is... can you see, there's a note that says... colors 01 and 02 blend to make another color. So these two obviously, let's, can i-- how bad can I make it? Yeah, red, red, and green... yeah it's bad. So you get some control... that's because this thing here was created in After Effects... this one here, this Essential Graphics template... was created in After Effects... and the creator of it only gave us some controls. The creator can decide on... how much complexity we can change... so that's bad and good. It's nice and clear... they've given us color changes, which is handy. You might not even get that... you might find a template, and it's got nothing... you're like, "Why can't I find the changes?" It's because the creator of the mogrt said, no change... and you're stuck with whatever they've decided on. So this one has a limited control... and there's not much else you can change. Let me show you another one... that was being made natively inside Premiere Pro... for us, here in Premiere Pro. So let's find another one... let's go back to my browser, it's got a free-- I've already found one that had it... where is it? That one there. I'm using Circle Pop transition, I've downloaded it. I'm going to-- oh, before we do that... notice in my Project file, can you see... I've got this new folder... when I downloaded this, when I dragged on to my Timeline... it ended up in here. So if you're looking for it, that's it, here. This thing's the bit that came across from After Effects... is actually a little bit of footage... the difference between bringing... something in from Premiere Pro. Let's have a look here. I'm going to drag it over this one... you'll notice that nothing appeared in here. So the way that they're created... will give you a different result in the end... and in this, case let's set my end point... remember I and O, I'm going to hit 'Return'... that's my transition. Now the difference between this and the other one... is there's a lot more control. I'm going to select it, I'm going to go to my 'Edit'... can you see here, turquoise circle... yellow circle, orange circle, not just the colors, but-- but let's move to a point where I can see it all. So my turquoise circle, I can change the size of it... the position of it, I get a lot more control... mainly because somebody used... the Essential Graphics panel to create this... and not After Effects. Why would you do either? After Effects gives you a lot more scope... for motion graphics. A lot more cool things you can do... but something simple like this... it's great that it's been done in Premiere Pro... because I have all this control. I can distort it, I can change it... I can play with the scale, the color... I can add a stroke to it if i need to... so there's a lot of control here. The other thing I'm kind of not reluctant to show you... but I don't want to get into right in this video, is Easing. We're going to look at it later on in the course... there's going to be a whole section here with motion graphics. So look down in the Timeline for things... like Keyframes and Easing in the video playlist... if you want to jump ahead to that... but I just want to quickly show... point you in the right direction at least... I've got it selected, I'm going to go to 'Effect Controls'... and you'll notice-- depends on how twirled down this might be. You can see, I've got those three shapes... that do this transition, and you can see... over here, I'm going to hit my Tilde key, '~' on my keyboard... the little wavy thing, and you can see... there's all my keyframes. So I can twirl this down, I can start to see the easing... that's gone on in them, and the timing. So I can start playing around with the timing... and adjusting the easing at my own keyframes. At the moment it's just Scale... you can play with the Position... but again we're not going to cover that right now. What have i done to it? So those are different transitions... that you might get from either... definitely from mogrt... mogrt's going to give you some sort of control... if it's from After Effects... you might have just as much as this, potentially... depending on who created it. If it's Premiere Pro created... you get all this lovely good stuff. One thing you might do is, for either of these ones here... is changing the timing, like this After Effects one...you might be like, "I need it to be longer or quicker"... you can kind of, like fudge it... you can grab the right stretch tool... let's try and figure out where it is. I don't use this very often... ah, there's a right stretch tool... and I can make it longer, and it will slow it down . It's kind of messing with the original file depending on how-- if you just need it to change a little bit, nobody will notice. So I'll make it longer for my Selection tool... drag it, so it's a bit more in the middle. You'll notice it goes-- it takes a lot longer in and out, 'Return'. So we've messed with the-- we've slowed it down. The problem with slowing this one down... is that because it wasn't-- it was made for HD, you can start to see... a little bit of the pixels on it. How much does that bother you for your project... when it's going like that, I still... I'm still with it, actually, no...I probably wouldn't get away with that, it's too slow... a little bit pixelated. How would I fix this? I'd probably just go make my own in Premiere Pro... which would take me a couple of hours, which wouldn't be fun... or I'd try and find another one that was close to it. So that's it, so that is using kind of free template transitions... from either Adobe, using our Essential Graphics browse option... or going to find them, called mogrts... and just make sure you go... browse my templates, and you can upload them using this. All right, that's it, I'll see you in the next video. 59. What are Track Matte transitions in Premiere Pro: In this video we're going to explore what a Track Matte is... a Luma Matte and an Alpha Matte... what are all these Mattes, and what are they doing? They're doing this, the result is some sort of nice transition. Yeah, let's work out how to do those now in Premiere Pro. Track Mattes, Luma Mattes, Alpha Mattes... smoke and ink bleeding transitions, like Smoke Reveals... these are all kind of the words that get used... to do what we did at the beginning there. So the construction is the same... even though the terms are slightly different. We all end up doing a very similar process, so let's get started. First up, in your Exercise Files, under 'Transitions'... I've got a couple for you. So this is basically what a Matte looks like, so it's M-A-T-T-E. I've downloaded a few versions that I found online... that are kind of helpful. If you want the full lot of these... you're looking for Premium Beat, also bought by Shutterstock. You'll find, I've got a bunch of them from here, that we're going to use... and there's a bunch more that you can get from there. So we're going to start with Matte 1, 2, and 3. Basically all a Matte is, and in our case... we're going to start with something called a Luma Matte. Luma, we know now, is something to do... with luminance and brightness. So Luma means the white bits in here... are going to stay fine... and the dark parts are going to turn... into an empty hole or a mask for our transition. So it's just a bit of footage that is black and white, and can be Grey. The black bits become masks, you can invert them all... but that's the basic understanding of what Matte is... or at least in this case, a Luma Matte, so let's get in there. So in Premiere Pro, let's pick 1, 2, or 3, don't use 4... something else, we're going to do... I'll use number 2. So bring in the Matte that you like, 1, 2, or 3... and bring in Clip 1 and 2... because we're all sick of Irish Tourism. So we've got another couple of videos for us. Turn those two clips into a sequence... it doesn't matter in which way they are, in which order... and yeah, Track Mattes, let's talk about them, they're strange. If you, at the end of this video go, "Man, that was weird"... don't worry, everyone thinks they're weird. So I'm going to get rid of the audio on these. Who remembers the shortcut? Remember, hold down the 'Option' key... and click off-- click on 'Option' key on a Mac'... 'Alt' key on a PC to delete the audio. Now the way this needs to work is... you need some sort of overlap. It doesn't matter if it's like that or like that... but the two clips need to cross over for this to work. So I'm going to do mine like that. How much they crossover will depend on the Track Matte you use. In my case, let's have a look at this one, double click it. It's about that long, so it is exactly 1 second 11 frames long. So it needs to be at least that long overlap. The way to do that though is... I'm going to bring in just the video of this one... and that's how much overlap we need. So let's get that there... they're kind of working. So the way this works is-- so that's the strange structure... your two clips that you want to transition between... need to be underneath the Matte... and they need to be overlapped. So that's phase one, phase two is adding the effect. So we're going to go into our Effects panel... and we use something called-- if you type in 'matte' for the matte... we're going to use this one called Track Matte key. So key and keying is another word for masking... Track Matte is the generic word for Luma Mattes... and I've talked about Alpha Mattes. Track Matte is not another one, it's just, this is a track... we're using Mattes, which are these things here. Sometimes they can be Alpha Mattes... sometimes they can be Luma Mattes. I'm going to dump it on here, you're like... "That seems logical"... no, no, no, it needs to go on the clip underneath. So not on this, this just hangs out there at the top... it's the clip underneath. I'm going to move it, so it's there... clip underneath, add your effect to. I've got it selected, I'm going to go to my Effects Controls... and I'm going to say, I would like this Matte... oh Composite Using... are we using an Alpha Matte or a Luma Matte? You're like, "I don't know what an Alpha Matte is... I barely know what Luma Matte is." We're going to use the light parts... and the dark parts, the luminance. We're going to do that, and it's still not working, why? Because we need to decide which track... I'm going to use it on video 3, remember, we've got 1, 2, and 3. Let me zoom in, '+', I'm going 'Shift +'... remember, I've got--- let's make it all bigger for you, move it down, you can see, I've got video 1, 2, and 3. So that's selected, it's Luma Matte... it's on video 3... and it's almost working. You're like, "It's working," except it goes black... but that's essentially what it is. You need this structure overlaid each other, you need this structure... you need these two, transition things, you want to go between... they can be images, they can be videos... and they just need to overlap for a bit. How much they go is generally depending on the Matte... it might be an ink drop or this. In this case, kind of like circles spinning... add the effect, which is called a Track Matte Key... to the one underneath, the Matte, then just set it to... whether it's a Luma or an Alpha Matte... I'll show you right an Alpha Matte in a second... and just make sure it's the right-- actual track. In our case the Matte is on video 3. If you move it, it will freak out... if I say that I've now got another track, and I'm copying and pasting it... to say between different sequences... this thing will freak out, go, "Where'd it go?" It can't follow it, it'll still use it. So my effect here, I can say, actually it's on video 4 now. It'll still work, just know that... if you are maybe copying from one sequence to another... and the structure is not exactly the same as this... you've not got everything on the same track, it won't work. So I'm going to undo that... because I'm going to show you the other problem, that you saw on... saw on's not the word, seen, it goes black. What happens, basically the end of this Matte... it goes completely white, let me turn off the key, just to show you, effects off... you see, it starts off completely black... which means that you can't see this... and then eventually the white bits appear... they appear, they appear, they appear... until it's completely white... and I can see all of this new city track. Let's turn it back on, so I can see it all. So it needs to be white to see it, and then it goes away... because this little thing ends, it goes bloop... there's no more white. So this goes, "I don't know what to do now"... so I'm going to go black. The easiest way to fix that is to grab your-- we're going to use the Razor tool, just because. We're going to slice it there... right at the end of this Matte... click on this and just delete the Matte key... we don't need that anymore, it's done its job... so just using it for this bit. Nice. Before we go I want to show you Alpha Matte. So we've been doing a Luma Matte... remember Track Matte is the generic name for all the Mattes... a Luma Matte is when we do a transition that is, uses the light and dark... and we turn them into kind of holes and masks. So an Alpha Matte is very similar... except alpha is another word for see-through-i-ness or transparency. So I'm going to bring in these two guys again... where are we? Zoom out. So I've got these two, and I'm going to do a transition... it's structurally the same. So I'm going to make sure that these two guys overlap. I'm going to find an Alpha Matte. Now I've got this one here... it's downloaded from Envato, stock library stuff... and it's just this one here. Now what is the difference? It kind of looks the same... the difference is it uses transparency, let me bring it in. Can you see, even without doing anything... instead of blackness, like it did before... we use that blackness as the mask. It actually has transparency built into it... that's why it's called an Alpha Mask. Generally they are not mp4s... because mp4 as a container can't have transparency... as a general rule, but a mov can. Often Alpha Mattes will have movs. So I've got this, all I need to do now is exactly the same as before... get the kind of transition, so it overlays... then grab my effects, it's the same effect, Track Matte key... stick it on the clip underneath, and say... I want you to be an Alpha. On what track? That's video 4 now... because I'm adding extra layers... and it does the same sort of thing. So that's an introduction to Track Mattes... remember Track Matte's generic name... the Luma Matte is the luminance, the light and dark... let me turn that on and off . So it uses the light bits and the black bits... to decide how the transition works. Alpha Matte, alpha is another word... for transparency, see-through-i-ness. So for this one here I can go-- let's turn it off... it's already got transparency as part of it... and we use that for the transition. You've seen those kind of, like ink drop and smoke transitions... that uses the same thing, they'll use Track Mattes. You just got to decide whether it is... an Alpha Matte or a Luma Matte... and use this exact same technique. If it feels confusing, it is, most people find it confusing... I know, I did at the beginning... and it's probably not so much the world of Premiere Pro... in terms of video editing... it's much more kind of, at home... in things like compositing, using something like After Effects... where Mattes are a lot used more. So yeah, if you do find it's like, "That's weird"... but bookmark this so you can come back... and know that structure, how the clips need to be... but that's it, let's escape from the Track Matte extravaganza... and I will see you in the next video. 60. Class Project 08 - Track Matte: Hi everyone, it is time for a class project. This one is to create a Track Matte transition. So it can be a Luma Matte or Alpha Matte, up to you. I'd love you to use your own files... that you're transitioning between. If you don't have anything go to pexels.com. If you, for some reason can't get to either of these places... you can use some from the Exercise Files. I'd like you to find your own Transition Matte. So Google around, you're going to have... to explore different ones and test them, so that's part of it. Finding ones that work well, some of them that don't. If you-- you know, as a last resort... I've got one in your 'Exercise Files', it's called 'Matte 5'. You can use that one, at least practice with that one... and for the thing that you actually upload and share... try and find your own transition. You don't have to, you can use Matte 5 if you want. So transition between at least two clips... do a couple, grab a couple of them... string them together, do a couple of transitions. Optionally add some music... and if you do run into problems... I bet you will, transitions using these Mattes can be problematic. Some of them just don't work... because there's a million people making them. So let us know, issues you had... and if you overcame them, it'd be great... because you'd be able to share with other people... and then be able to see how they might get around it. If you just couldn't make it work let us know, what we got stuck... we might be able to help... or it might be just a good indication of... some things don't work with Track Mattes. So upload your video, so render it, upload your video... to Behance or Vimeo, or something else... and share it in the Assignments Project section of this page... and also share on social media, I'd like to see what you made. All right, that is class project 8, Track Mattes. Let's get on to the next video. 61. How to use a Morph Cut in Premiere Pro: Hi everyone, in this video we're going to... look at a transition called a Morph Cut. Now Morph Cut is a way of blending... two kind of Jump cuts, watch this. This is a bad one, can you see, I've got the Jump Cut... I want to smoosh them together, and preparing for this video... I assumed we'd all have a good laugh at how badly it works... but, I don't know, in this video you'll discover that... it's either getting better... or it's mainly down to me, doing it badly... because, look at this, this is how bad, this is a bad version, watch. Looks like the Matrix or Early Terminator... but later on, look at this, it's not bad. This is meant to be a big ugly Jump Cut... watch, Morph Cut... it's not bad. So let's reserve our judgment, get amongst it... and see how good or bad this Morph Cut can be. It never works mostly, we really need to show it to you... because you will have seen it... through one of the Adobe Premiere Pro... kind of Adobe Max new features... and if you're like me, you're like... "Oh, this is so good," and then it doesn't work. It kind of works, that's why we need to kind of go through it... it works in very limited situations. So I'm going to show you some of the things to expect. So let's bring in the footage, it is called 'Morph Cut 01' and '02'... bring it into your project, let's drag it into a new sequence. Make sure that 01 is in front of 02. You can see, at the moment my one. So backslash, '\' to fill up the screen... I'm going to hit 'Shift +' to kind of zoom in a bit... and you can see they're around the wrong way. Who remembers how to reorganize them? You remember, with the Selection Tool... have this one selected, hold 'Command' key down... 'Ctrl' key on a PC, and drag them around. So I've got 1, and then 2. Now for this to work there needs to be... kind of some pre and post roll. What I mean by that is they need to be, like some of this tucked in here... and some of it needs to be tucked in there for it to work. Do you get what I mean? There needs to be kind of like... post roll is the stuff afterwards and pre roll is stuff before... the take you want. So it won't work if you've got... I want to call it a butt cut... I know for sure that that's not video editing. What I mean is, you can't just end the clip, and start the clip... there needs to be some sort of pre-editing going on. There needs to be some extra stuff for it to use. So what I want in this case is, if you listen... "to design myself, it's for a forum... that I'm creating, called "No Dumb Questions." So I get to there, and then I want to trim... so "No Dumb Questions," and then I kind of like lose my... "then we will..." Do that all the time. So when you get to here... what's the shortcut to cut this bit off, remember? W, oh nice, and then... you can see, we say... "it's for a forum that I'm creating..." It's for a forum... then I say it again here... "for a forum..." So I want to get to that bit... "questions..." I'm going to trim this front bit up. So I don't use W because it's going to cut the end bit off. How do I get the front bit sliced off? Oh, that's right, the Q key... so this one here, Q. So let's go... "dumb questions... and I'm going to take you along the..." So the dialogue cuts nicely but the video is a really big Jump Cut... and I can't live with that. So Morph Cut to the rescue, kind of. So let's go and find it, it's under your Effects panel... let's find, type in 'morph'... click, hold, and drag... and drag it across. If it says, like you can't apply this to a single clip... what that means is you haven't got that pre and post roll... you need some sort of before and after... and what it's doing is analyzing in the background, like forever. It takes a while for this to do it... it's doing some seriously cool stuff... and you also need to, like if you just leave it... and it's finished, it doesn't really work. What you need to do, because, you can see I'm like, "What happened?" "and I'm going to..." Kind of worked. "some questions, and I'm going to..." That worked okay. To get like a good sense of it, set your-- well, in this case we don't have to set in and out points... because we've only got one bit of red. So we're going to hit the 'Return' key on the keyboard to render it properly. "Hi everyone..." Let's actually set in and out points... so that we can look at the Morph Cut, ready? "questions, and I'm going to take you along..." Oh, it wasn't bad. Man, I mock this all the time... I teach this class all the time, it never comes along. I bet you, if you're following along, yours looks more like... "questions, and I'm going to take you..." like Terminator, you know, the early Terminator movies... or the old Predator movies... where there's this, like weird bending. So check out your one compared to my one... "and I'm going to take you along...." That's not bad. "the design process..." Okay, 'Enter'. "questions..." - One more time. - "questions... and I'm going to take you along..." Make sure your loop's on. "questions, and I'm going to take you along..." "questions, and I'm going to..." Oh, it wasn't bad, huh? Let me show you a bad one real quick... because if you're just watching and not actually following along, naughty... but also, you're not going to see the bad stuff, so let me grab something. Actually, a little voice over here. I'm going to go grab a file from my machine, to something random. You're not going to have this in your Exercise Files... I'm just trying to find something else that's a little bit worse... in terms of the actual output... but yeah, so don't go looking for this file, you won't have it, carry on. It's a good excuse to show you how... I talk about this pre and post roll... and you need all that stuff, most of the time what you'll probably be doing is... actually just editing one big giant, you know, big giant. Sure, there are-- you know, you'd be like... "Okay, I want to cut that bit out"... so I'm going to go, I'm going to use my Slice tool, you and you... hold my 'Option' key on my Mac, 'Alt' key on a PC to delete it... and Ripple delete it. So I've got this chunk that I need to bridge now, right? "to explain..." So you can see, there's a pretty bad Jump cut. So let's go a Morph Cut, and let's hope it doesn't work this time. I'm not sure why I'm willing it to not work. Analyze in background, this is 4K... so it's going to take longer, is this 4K? Yes, it probably is. So I'm going to click on it, and you'll see... that it's analyzing, actually analyzing in the background. I think you can see the background, 'Progress'... does that work? Nope. All right, just waiting for it to analyze, here we go. Go back to my Effect Controls, there it is there, give it a second. All right, that took probably another 60 seconds... while-- it got sped up there. Let's hit the 'Backspace', uh, 'Enter'... not backspace, 'Enter', so that... "Sure, there are..." Render the preview... let's go, ready, in and out. Looping is on, hit 'Enter' on the keyboard... "to explain to my toothpaste." "to explain to my toothpaste." "to explain to my toothpaste." "to explain to my toothpaste." There's normally, like some artefacts as well, that's not too bad. What are we on, Full, let's go and have a look. Often, like they're only small artefacts... when I say artefacts, I mean... I mean these, can you see these, like little weird things going on... and even though they're small they're really obvious... and make it unusable, so that's more likely, what's going to happen. All right, one thing you can do to sometimes... get it to be a little bit better... I'm going to go back to my Fit. Computer's totally stopped working now. Yeah, Premiere Pro. I'm going to restart my machine, I'll be back in one second... who am I kidding, one second? So I'm going to go get a... I'm going to go to the toilet and grab a drink... while this thing restarts. I'll see you in, well it's going to be real quick for you. Okay, like I was saying... there's ways to get it to be, feel a bit better... there's not a lot of control at the moment. I feel like this could be, like great... I hope they come back and address it... with their new, kind of like Sensei Adobe learning. You can analyze again... but there's not a lot of controls in here... I wish there was, like ways you could, I don't know... I don't know why I want to adjust it... because it doesn't work, but let's have a look... like the one thing you can control is... if I zoom in here, on this even, if you make it shorter... I find it's a better kind of look... it needs to analyze again. "Hello." So it's going to spend its time analyzing... let's go back to Fit... analyze in background, I'll speed it up. All right, again, probably another 60 seconds. So I'm going to hit my back-- I keep saying backspace, 'Enter'... to kind of render this. If I am confusing you it's this one here, Render In and Out. That key there, the Enter key... render it... "to explain to my toothpaste..." "to explain to my toothpaste..." Oh, it's better. Not bad, huh? There's still some artefacts in there, can you see, I got a bit... a little bit Predator looking. It's not bad, that was... it's happening fast, is it do-able, is it possible for you? It's definitely better than the Jump Cut, is it better? It's different from the Jump Cut. I'm leaving this in here, Morph Cut... because A, you want to know what it is... and it might work perfectly for you. If the person never moves... say you've got an interviewee who's just like... so petrified at the interview... they don't actually move. When they mess up, then it works pretty well... but for me, because I'm doing, I don't know... a reasonable amount of jiggling around, it's a little bit noticeable... but it's doing better than I normally expect... and that's either Premiere Pro getting better... or I've just accidentally done some cuts... that actually work pretty well. Yeah, we'll leave it in here because Premiere Pro hopefully... will be looking to update this... and in the future it might be working spot on, perfectly. So there you go. All right, I'll see you in the next video. 62. Class Project 09 - Morph Cut: Okay, I've got a class project for you to work with. I've given you a file called Morph Cut 3... to kind of start your practice with... but if you do have your own dialogue footage... I want you to experiment with that and share it. If you don't, you can just use Morph Cut 3. So Morph Cut 3, especially there's a bit... where she's being-- she's answering the question... and then she gets to a point... she finishes, and then there's the interviewee asks a question. It's bad audio, it's not meant to be part... of the dialogue all the way along... to when she starts talking again, can you see? About there, again, so I want you to cut that big chunk out... so it goes from when she finishes... and basically doesn't break... you know, break stride, break breath. I don't know what I meant to say there, but you know. It flows on from here straight into this part here, missing this little bit. So you can get the morph cut here. I've given you one that kind of works... to see whether you can experiment with yourself. I want you to experiment with a couple of things. I want you to experiment with the cuts... where you do it, to see if that... you know, how much of an effect that makes... versus how long the transition is. Go long, go short... just so you get a bit of a feel for that Morph Cut. I'd love to hear, especially if you're working on your own footage... I want to hear about your experience with the effect... like how you might have found the best results... like it works in this case, but didn't work on this... and that's-- and share it with everyone... so that we can all get a little bit better at Morph Cut. So render your video and upload it... to our Assignments or Projects... and also share on social media. All right, that is the class project, Morph Cut... I'll see you in the next video. 63. How to fix shaky handheld or drone footage in Premiere Pro: Hi everyone, in this video we're going to... take this shaky footage on the left... and look, smooth it out, like it's on a tripod, on the right... with the click of a button, in Premiere Pro. Here's a better one, check out this one on the left... me walking in my office, all jiggly, and look at it... it's nice and smooth, on the right, one more time... oh, it's called Warp Stabilizer. I'm going to show you how to use it in Premiere Pro. Let's bring in some Exercise Files... they're in a new folder called 'Fixing', there it is there. Bring in 'Fixing 01', down to '05', throw it in there... and what we'll do is we'll start with 'Footage 01'. We'll make a sequence from it, let's check it out. You can see, great shot... hand held, because there's a bit of jiggliness going on... we want to see if we can stabilize that. To stabilize it, it's pretty easy... go to your 'Effects', let's go to our 'Effects Panel'... type in, it's called 'warp stabilizer'. Warp, I'm not sure why, stabilizer makes sense. Click, hold, drag it onto your clip... it's going to do two things. The blue bit is going to analyze... and then it's going to eventually go orange, and say, stabilize. Does two parts, clearly, step one of two... so let's have a look. Actually I didn't speed that up, that was just pretty quick. It's only HD footage, but let's have a look. Oh, silky smooth. So I don't know, nine times out of ten... if you just dump it on, and it works pretty great... nine times out of ten, I take that back... 65% of the time. With it selected, what can you do if it doesn't work... or you want to make it different, or better? So with that clip selected, let's find your Effect Controls... actually let's compare the two... and show you why Comparison view is weird. We've done it before, right? Comparison view on, let's make sure we are comparing... not the shot we want it on... and you'll notice that they both look the same. What you need to do, weirdly, turn Comparison view off... turn your effect off, I'm going to do it here, in the Effects... but turn Comparison view on... because now it's the original, right? It's the jumpy one, so I turn this on now... and turn my effect back on. It's got a before and after... it's weird. So before-- let's make it a bit bigger... if you hover between the center of all this... you can get the little cross hairs to drag them all down... it's pretty amazing, huh. One thing you might notice, you might not... is, can you see, it's cropped in a little bit... that's part of the deal... let me show you how it works. So with the clip selected, in your Effect Controls... can you see, over here we've got Warp Stabilizer. So once it's analyzed you can decide on the kind of stabilization. There's two kinds, two main kinds... Smooth Motion and No Motion. Smooth Motion is going to try and ease, or smooth out the movements... can you see that this actually still moves, but it's quite slow. Can you see the ground moving over here, have a look. Can you see, it still moves, just a little bit. So that's Smooth Motion, the default... No Motion, he's going to try and pretend... like the camera person was a tripod... and try and force it into place. So we're going to go to that one, see what it looks like. There'll be times where you want one or the other, we'll do both. So this here, we want to say, don't move at all... let's play it from the beginning, that's the jumpy one... can you see this one here... it's not moving at all, rockstarted-- rock started? Rock steady. So that is No Motion, kind of like a tripod. There are some trade-offs... can you see, the bigger crop here, had to crop it out... can you see over here, it's 120%, the last one was like 103. So to get it to fix there, had to crop it quite a lot... and that might be important to you... because it is scaling the video up a bit. Let's have a look at what it's actually doing. Let's check out the border and framing, just for a kick. So let's have a look at Stabilize Only... watch this, that's what it's doing in the background, look... it's pretty amazing, like it's trying to jiggle around and distort it... and can you see, try and make it feel like it's not going anywhere. Can you see the balloon in there, it's not moving but it's had to, like really work hard at trying to jiggle everything out. So if that guy needed to be in your clip... No Motion might not work for here... you might have to go for Slow Motion. Now you can go through these options here... Subspace Warp, which is, Star Trek uses to travel in space... also used here in Premiere Pro to try and get this to work. That one works the best, this kind of works... that doesn't really work at all. Have a play with it, if your... if your results aren't working, you're like, "Man"... have a play with these, and you're probably not going to get there... to be honest, but there are different ways of trying to control it. So we don't stabilize, only we want... the Stabilize Crop and Auto Scale. Actually let's work on the second one together... and then I'll give you a few to practice in a class project. So I'm going to use Shaky Footage 2. Let's make it into a new video, this is me... yesterday, doing a little drama... oh wow, doing a little shaky footage thing. I was being a little bit exaggerating with my shakiness... because I was, yeah, I was trying to do it. So let's have a look at this one, and this one here... obviously, I don't want it to be No Motion, like a tripod... I want it just to smooth it all out. So let's find that effect, 'Effects', Warp Stabilizer, dump it on... give it a second, Smooth Motion... you can change this before it's finished... if yours is taking a while, don't just wait... go, "All right," go to No Motion or Smooth Motion. Smoothness, 50% seems to work pretty great on everything... you can obviously play around with that. Now in my case how much is it, scaled at 115%... oh how much, how much can I live with that? Let's have a look at the result. Spectacular. I can't believe how good that thing is. Let's try it again, look how jumpy I was... look at that, there's my desk... there you go. All right, last things before you go... I've got some footage for you, Shaky Footage 3, 4, and 5. one's kind of a drone, have a play around with No Motion motion... remember, No Motion, trying to be a tripod... it's going to work terrible for this one... because it's trying to pivot and... pan, and a lot going on... but it's amazing how much nicer you can make... kind of a shaky drone footage. Can you see all the jiggles in there, with the slow motion... play along with smoothness as well, see what you feel. When you are playing around with it... maybe copy and paste the clip a couple of times on the Timeline... just so you can play yourself... or you can play around with the crazy Comparison view. What else you got? This one here... again this is me trying my best to not move... I was just holding the camera, I thought I was dead straight... but I turned the image stabilization off the camera... it was zoomed in, so kind of amplified it. Have a play around with that... that one's going to be pretty good... probably with No Motion, just saying. This one here is my old co-working space... me walking through it, trying to be super smooth. So play with that as well. No need to hand in any assignments or homework... or do anything... I just want you to play with those ones... that's why it's kind of buttered here at the end of this video... rather than a separate class project. All right, have fun, I will see you in the next video. 64. What is scene edit detection in Premiere Pro: Hi everyone, welcome to Scene Edit Detection. What does it do? It is when you've got a bit of footage... that's already been cut up, edited, and rendered... and you don't have the originals... and you want to slice this up into the different shots... you can right click it, 'Scene Edit Detection'... click 'Analyze', and somehow, magically... Premiere Pro will slice it up into the different parts... look at that, cool, huh? All right, let's show you how to do it... even though I've shown you how to do it... there's a tiny bit more detail that we can go into. All right, let's do it. For this one I've got something... in your 'Fixing' folder, called 'Scene Edit Detection 01'. So let's have a little look at it in the Source monitor... you can see, it's already been edited. It's already been cut, all the different shots. It's one long kind of finished project... and we need to have some Scene Edit Detection. So let's make a sequence, and let's do-- let it do its magic. So all you do is click the clip, right click it... and say, where is it? There it is there... Scene Edit Detection, click on it. By default it'll do this... since it's a good starting point, we'll look at each of them. So apply cut at the detected point... and it's just looking for the cuts. I don't know how it does it, it's pretty magic... does it pretty quickly, you can see, it sliced it all up... you can see, first shot, cuts to this one, cut to that one... and just cut it, I don't know how it does it. So there's one thing you might use that-- now you've got all these different scenes. Another way you might do it... is you might want to chop them up like-- so I hit 'Undo' a few times... so 'Command Z' on Mac, 'Ctrl Z' on a PC... and instead of doing it that way... I'll show you another cool kind of way of using it... Scene Edit Detection, I don't want to apply cuts... I want to create a bin with all sub clips. Let's do that... and it did nothing here, but over here... can you see, it made a folder... and it's put all these sub clips in. So each of these sub clips are those short pieces... and I can use those separately... or that might be one-- one thing, that's it, you just want to use it for this... you're just going to use these like little sub clips... from the original clip, this mp4... and you're going to start reorganizing them... or you might want to re-render them. So you can select them all in here... remember, click the first one, hold 'Shift'... click the last one, right click any of them... and you can go to 'Export Media'... and you can say, you pick your 'Format', in my case, 'h.264'... and 'Match Source - High Bitrate'... you decide what it needs to be... queue them up, for old Media Encoder... kind of jiggles away... and then if I open up Media Encoder, there it is... there's all my little guys. So I'm going to select them all... select every single one of them, change the output file, where is it going to? I'll put mine on my Desktop... just to show you, where's my desktop? There it is. Sorry, Desktop. I'm going to hit 'Play', hopefully... on my Desktop, where is it? Here it comes, these are my little sub clips... is that first scene... there's the next cut. What is that one? There's an empty one, there's nothing in that one. I think it's still processing that one, is it? Don't know what that one last one is, got a bit confused. 3, 4, all separated out; cool, huh. One last thing you might use it for... is instead of doing cuts-- So let's undo all of that. So the same thing again, Scene Edit Detection... and just add markers rather than cuts... just to, nah, same, same. You see here, down here I've got the different - 'Shift +'... - I've got different markers in there... I can hold 'Shift' to kind of snap to them... and you can-- that might be the way you prefer to work. In all honesty, haven't used it, it's cool, it's in the course... and I feel like I've squirreled that one away. There's going to be one day where I've got a final edit... you know, I've got lots of footage that is... you know, the hard drives are getting old... or I won't be able to go back to original footage, for whatever reason... either I wasn't the creator, or no, no, the hard drive gives up... there's a nice way of kind of like pulling it all apart again. All right, so that is Scene Edit Detection in Premiere Pro. Let's get on to the next video. 65. Static Masking in Premiere Pro Sky Replacement : It's a beautiful day, the beach, the sand, beautiful sky... but hang on, wait a minute, that sky is not real. In this video I'm going to show you how to add a Static Mask. We're going to do a bit of sky replacement... we'll also do this, where we cut a hole in this screen here... put another video behind it to kind of fake and mock up this video. It's all very exciting, simple Static Masks in Premiere Pro. So I've got a new project... just to separate it out, masking on its own. Let's bring in a couple of files. So I want you to bring in 'Masking01' and '02' to start with... and let's have a look at these. So one is a jpeg and one is video... you saw it at the beginning. So this is a Static Mask, it's not going to be moving... so it can be quite simple, let's make a sequence from the 01, 'Masking 01'. So we want to change the sky, make it better, change it... so we need to do our mask. With our clip selected we open up our 'Effect Controls'... and here's our opacity, this is how you do a mask. You can use the Ellipse, the Rectangle tool or the Pen tool, it's up to you. In this case we might just start with the Rectangle tool... and it kind of gets us close. What we want to do is select out the sky so I kind of go up here... and then start dragging the edges. Now dragging the edges of this, it doesn't remain square at all. So you can kind of... click this first bottom left one, hold 'Shift'... when I say bottom one, these anchor points in the corners... keep holding 'Shift', click the second one... and at least they'll come down together. If you hold Shift while you're dragging, at least they'll come down straight. That's assuming my horizon line here is straight... but anyway, sometimes it's nice to keep the rectangle straight. So select the top one, hold 'Shift', click the next one... they always like to move, hold 'Shift', drag it along... and I've kind of got it there. Now the problem is, I've got the wrong bit selected... there's a hole here in the ground but not in the sky. So I'm going to invert my selection. Over here under 'Mask 01', click 'Inverted'... and now what I want to do is grab my jpeg... which is 'Masking 02'... put it underneath this, which is not going to work... this one, come up one... jpeg underneath, and it will fill the hole. It needs to line up perfectly... and be long enough for this whole clip... but let's select on the jpeg which is underneath... and we need to work on the horizon line... but let's actually get this in the right position... and you'll find double clicking on the screen is painful... just, it always is in Premiere Pro. Remember, you can lock this top layer, just lock it... and it means, when I double click it... I'm actually selecting the layer underneath, that's a handy way. So I can click it, double click it and just drag it up... until I get the right horizon. Obviously, I can't have... trees in the horizon line. So I'm going to line it up, something like that. All right, how do I feel about that? Yeah, it's okay, let's look at tidying it up a little bit. So I'm going to unlock this top layer... and I need to play around with this mask. So to click back on the mask, click on 'Mask 01', that gets it selected. We might blur it a bit more. So the opacity by default is at 10... you can crank it right up to be very blurry. I'm just going to zoom in a bit. Now there's no zoom shortcut... I remember, we've made one earlier in the class... I'm using '+' on my number keypad. You can just click it over here, and just keep going through these... until you get closer, use the edges. How do I feel about that, is it better? Click off, it seems to be an okay transition... okay-ish. It needs to come down a bit, doesn't it... and probably be a bit sharper, so this one here... I'm not liking the Mask Feather, so I'm going to make it down. I'm just going to lower my mask. Now I could grab the points and try and expand it... and just drag it down. You can play around with the Mask Expansion as well. Can you see, bigger, smaller. You might get away with that, that's what I'm hoping to get away with. Yeah, it's looking all right. I use that even though I set up my shortcut... which in my case is the 0 key on my number keypad. Is it good? We're probably going to need some sort of movement in the background... and you can use any of the tricks... well, any tricks to try and make them a bit closer to each other. So in this case I might-- it's a bit rich, so I might desaturate it. Let's do a couple of other things... and then we'll move on to the other example. So Essential Graphics... nope, I don't want Essential Graphics, I want Lumetri... 'Lumetri Color', it's just too blue. So I'm going to desaturate a little bit. Working on the wrong part. So I'm going to click on this part, desaturate a little bit... how far? There we go, seems nice. Let's blur it a little bit as well, so in my Effects... we're going to use Gaussian Blur... I can't spell Gaussian, gau, crazy word. I'm going to put that on the clouds. You might find actual clouds, that are a video... and they might be moving naturally as well. I've just used the jpeg, so pixel by image, Gaussian Blur... it's off by default, where are you, Gaussian? Lumetri Color, Gaussian Blur, crank it all the way up, down a bit... just until it feels natural. I don't know, how we're feeling? I feel like they're moving without having to animate them. You could play around with scale now, just a tiny bit... but I want to get on to the other example, let's do that now. So this other example is in your Fixing folder... it's called Masking 03 and 04. Now I put this in here because when I was mocking this kind of course up... I was like, "Oh, that's a good example"... removing the sky, replacing it... and I was like, "That's kind of a very specialist thing to do." So I'll show you another instance of a Static Mask... so that we can practice, and show that it's not just for replacing skies. So in this one here what I want to do is... I've got a course that I'm trying to promote... this is my, like a little cross sell to you... "Go do my Photoshop course"... I want to, like mock it up... like I do this, for like mocking up websites, or courses, in this case... I've got this kind of static jpeg... and I want to put it in the screen. So let's create a sequence from masking, for the video. Let's put the screen, which is Masking 03 on top of it. I can stretch it out for the whole entire length... because it's a jpeg, it just keeps on repeating... and what I want to do is I want to cut a hole in it. So let's cut a hole in the jpeg, which is at the top, 'Masking 03'... let's go to our 'Effect Controls', let's use the 'Rectangle'... I want to invert it, to cut a hole in it... and I'm going to click in the middle, move it around... get kind of close. Remember, clicking once, holding 'Shift'... clicking the second one... holding 'Shift' while dragging, bit of a strange one. It's not even straight, so I can't drag straight down... but let's get close, and let's go to 200%. I'm going to get it close enough... I'm going to get rid of the feather, in this case... and I'm just going to click off, grab just that one. If you ever lose your mask, just click on the word 'Mask 01', again. I'm going to get it nicely, centers here... in the centers, and the corners even. Let's close it up. All right, I'm going to go back to 'Fit'... and at the moment the video in the background is playing through... "and easy, you'll learn how to..." that I missed there... but it's too small, so wow, it's too big for the background. If I turn the top one off, you can see it's still full screen, this thing. So I need to scale it down, to what size? I'm going to click on 'Masking 01', drag the scale down... kind of something like that. Turn the eyeball back on my little computer screen... and kind of get it-- I'm going to play with the Scale... something there... play with the... play with the position, kind of get it close. It's good enough for my one, let's have a look... - "beautiful and easy, you'll learn how to..." That mask is-- edge there is annoying me. "how to easily enhance images..." You see, how like a mock-up for a website or a cell phone, doing an app. You might do a mock-up kind of video... through Adobe XD or something else... and then cut a hole in something static, like this... to mock it up, to make it look, feel more real. I'm going to fix that before we move on. Yeah, nothing else to see here... click on that, click on the Mask... zoom in... there it is there. Just be a little bit more... good with it, there we go. Nice. "Photoshop Essentials, go, do it." All right, that's it, let's get on to another video... where the mask starts moving... because this Static Mask stuff is way too easy for you, I know. 66. Moving mask that follows a face in Premiere Pro: Hi everyone, in this video we are going to... get a mask to move, and try and automatically follow my face. We make my face green, just for reference sake... but it might be for isolating skin... and either saturating it or desaturating it... maybe there's some sunburn issues going on... or over saturated skin, it might be a product... that you are trying to video, that needs a color change... but you want to isolate it from the background. We'll do it with the circle moving around... we'll also start doing it with a more detailed mask, and track it along. Moving masks, that's what we're doing, let's jump in. All right, let's make that mask move... let's bring it in a bit of footage, it's something we've used before. I'm going to use the same project... under the 'Exercise Files', 'Transitions'... we're looking for 'Morph Cut 01'... bring that in and make a sequence from it. Cool. Just to save time, I'm doing... instead of doing this whole thing-- first, I'm going to mute it... and I'm just going to do like 4 seconds. I'm going to type in 400 on my number keypad, hit 'Enter'. If you do that, and you have the track selected... it'll move along 4 seconds. So if you have nothing selected down here, 400... so muted, I'm going to cut it. Remember the shortcut, just to slice it all off? I could use my Razor tool but you know that key, W, trims it up nicely. So I'm going to trim this little bit... well, I'm going to Color Correct it. You saw at the beginning there, we did color... we messed with my color, the skin tone, we made myself green. So in real life we'd be looking at this to kind of isolate skin... so we can work on that or whatever you want to work on... but for this one, just for kicks... so that's easy to see, we're going to make my skin green. Let's start at the beginning of our Timeline... let's go and have a look at the Lumetri color. So make sure Lumetri color is open... we're going to use the-- we did this earlier on, remember, Curves, Hue Saturation Curves... and I want to-- like normally when I'm doing skin I grab the Eyedropper tool... and I click on there and then I can desaturate... to get rid of the suntan or sunburn... or bring it up to add a bit of liveliness, too much. I'm going to double click to get rid of it... in this case I'm going to use my Eyedropper tool... grab my skin and say, I want it to be just a funky color... and it's not quite grabbing all the parts, can you see over here. So I'm just going to extend it a little bit this way and a little bit that way. That seems to almost do it. Now in this case, can you see, it's doing my skin... like I want to do, but it's also affecting... other things in the background... that's not a huge big deal in this particular one... but obviously it'll be in-- there'll be different instances where it's worse... but let's say we want to focus just on the skin here... and isolate that, and not be dealing with stuff in the background... that's changing color as well. So it's going to use a mask, like we did before... but then we'll get it to move. So what we want to do is... we don't want to do an opacity mask, like we did before... because that's not really what we're looking for... we want just the Lumetri effect of green to be masked... and you can see in here, let's close all these, shortcut... did I show you that earlier? If you hold down the 'Option' key on any of these chevrons... and click them, they all close. So I can just open that one, it's a little bit safer. We'll do the easy way and the hard way. Let's go the easy way, which is just a big old ellipse... you can see, it is, if I click in the middle of it... so basically that's what we're doing... we just need to move it over time, right? So let's get it close to covering my skin... and the thing you'll need to be conscious of... is kind of scrubbing all the way through to see... like it needs to be big enough to carry-- fit my head in. If I turn sideways my head gets technically a little bit wider. So it needs to be like wide enough to fit everything in... a bit of trial and error. So because there's nothing else in the background... I don't have to be exactly precise... I probably want to rotate it a tiny bit... and rotation feels like it should be in there... it's just, you just kind of hover in no man's land... close to one of these guys, and you can kind of rotate it. Over here we've got Feather, Opacity, and Expansion... so that's what these do... I can't remember which one does what. That's Feather, you can see it feathers the edge. So it's back to my regular skin, and green in the middle. The Opacity, I don't want, play with expansion... just means, yeah, I can push it out and be bigger, I don't really-- it's easy, you either drag the edges... or you can use expansion. I'm going to go undo, undo, undo, undo... All right, that's a good starting position. So now what do I do, make sure, you're at the beginning... I'm not at the moment... there we go. Be at the beginning and then, see under Lumetri, our mask... you've got these little arrows here... there's one that says 'move forward one frame'... or this one here, it doesn't say that, these are a bit of obscure... click on this one, that doesn't say 'one frame'... and it will process it and just work its way through... and try and follow the targets in here. It'll try, it does a reasonably good job. This, the last frame there, great cut... green wasn't the best color. You can see it's done a pretty good job... let's have a little look through it... can you see, it moves it, it rotates it to try and line it all up... and it's done a pretty good job. Because there's nothing too much in the background, I'd say that's job done. What you'll notice over here, in my Effect Controls... if I hit the Tilde, '~' key, there's just every single frame... Premiere Pro has put in a keyframe. If you do find that it's-- there's a couple of keyframes that need a little bit of work... let's pretend, let's have a look. Often when, like say my hand gets up there, where's my hand... it gets close to my head... sometimes the circle is my left and right arrow... sometimes a circle can latch on to skin tones in here... and then start moving away with it. So let's say that happens at this frame... so I can move left and right with my keyframes. I'm down here in my Timeline, left and right... just to find the right frame, and then decide... actually it's great until then... but now all of this other stuff is just gone. So I'm going to grab all of it... all these keyframes, and just hit 'Del', even that last one. Let's say it's wrecked from there... and I can start again, and by starting again... like play it forward, does it all automatically... and if automatically not working... you've got to be prepared for doing it on your own... which is every single frame. So that's why I cut it a bit shorter. Let's say that that's a bit wrong now, from here... so what I do now is I go forward 'step one frame'... move it, step another frame... move it, step another frame... move it, step into the frame... and yeah, that's... that is painful keyframing for this mask. Let's say that it was just an... you know, sometimes you kind of have to do it for the entire video... which is no fun... but let's say that it's kind of back on track now... and the hand's gone, you're like... "I wonder if it'll pick it up now"... that's where you might want to check this one again... because once you've kind of got past the bad bits... or it's confusing, or the face gets blurry... or say I look down and my hat covers my face... or I move off screen and I come back. Now because I'm back on screen and facing the right way... I can probably hit this again... and it will not do the whole thing again... it'll just carry on from there. That's why there's a forward and a back one. I don't know who does it from backwards... you can start at the end and move backwards from it... know that you can. So that's my little wobbly circle moving around. Let's do the longer, more painful but more accurate way. So what I'm going to do is... I'm going to copy and paste that clip... so I've got another one, I'm going to delete the mask I've got... just hit, select the 'Mask 1', hit 'Del', and we'll use the 'Pen tool'. Now I'm going to give you like the real quick version of the Pen tool. The Pen tool is, if you haven't learnt it, or you find it tricky, it is tricky... and it's really, you know, I spent a lot of time... teaching people in the Illustrator course, Illustrator Essentials... So if you, yeah, I'm not going to have a chance to do a video... how to use the Pen tool... I'll give you the blazing speed version... and if you do want to know more about it... look for Pen tool exercises... mainly in something like Illustrator, you'll find tutorials... you won't find many Pen tool tutorials in Premiere Pro. So let's-- I'm at the beginning of my clip again... I'm going to grab my Pen tool... and what I'm going to do is start drawing around it. I'm going to zoom a little bit... use these little scrubbers. I'm going to start, I'm going to get close... not bang on close because I don't need to mask it too much. So I'm going to click, hold, and drag for a curve... I'm going to click, hold, and drag for another curve... you get these little handles. If you want a corner, click once, click, hold, and drag for a curve. So just decide whether you want a curve or a corner. Click once for a corner, click, hold, and drag for a curve... and work your way around. If you are finding this tough and frustrating, it's okay... there's no expectation for you to know... how to use the Pen tool just after this little tutorial. Where am I going? How to delete anchor points... with it selected hit 'Del'... on the keyboard, no, it's not... with the Pen tool, hold down the-- oh, how do you delete anchor points? Do you know? I don't know. How do you delete anchor points in Premiere Pro? Just do it right, is what I'm going to do. I'm going to undo it until they're gone. There's got to be a way, drop it in the comments... if you've figured it out... or if you're an expert like me, clearly... but you've worked that out, it's strange, huh? To move anchor points you just click the center of them, move around... if you want, say something here's a curve... and it should have been a corner... because it does some weird stuff like this... you can click on it, hold down the 'Option' key... and grab this little handle, and it will break... and it will turn into like a little corner. Oh, if you hit spacebar, because you're from Illustrator land... it will not jump to the Hand tool. So let's move our way around, click, drag... break that little point by holding... the 'Option' key on a Mac, 'Alt' key on a PC... don't hit spacebar. So we've got our Pen tool... and it's going to be a similar sort of thing... where we decide on the feather... and I'm going to turn the feather down for this one. Yeah, we'll play forward and hope for the best... let's see how it goes. It's not going to go great... it's going to go up... because we're quite precise to the edges... let's have a little look. Let's have a click on the mask... because then you can kind of see it as it moves around. You can see it's kind of okay. So what we need to do then... is decide whether we want to go and do it frame by frame... or whether that's good enough. If there's any bit good, and we can keep in these frames... or whether we just start again. In this case I'm probably just going to show you... how to start again, in case you have that problem. So remember, start at the beginning of our clip... where it is all nice and lined up... and we're going to go forward one frame... and then jiggle, jiggle, jiggle, it's actually fine there. Let's go for one more frame... and it's going okay. I'm going to go-- oh, actually I can't go full screen yet... I'm going to show you a shortcut. You can see now, it's getting a bit close there... you move along, now if you're finding this a bit frustrating... you're like, "Oh, why doesn't the anchor points... kind of automatically move around"... because it's one big lump, that just kind of jiggles... and it doesn't, all these anchor points don't move individually. This might be a chance where you might go... "Actually I'm going to listen to Dan... and go learn how to use Rotobrush in After Effects." So Rotobrush 2 is a way that it does do that... it automatically locks on, and it's... this automatic play forward thing works magically in After Effects... it's called Rotobrush, and I've got courses on that, on After Effects... but even if you don't check out my course... just look out Rotobrush 2 After Effects... make sure it's a new tutorial... because they've had some changes to it that make it even better. So yeah, it works better but if you're in Premiere Pro... and you don't want to jump to After Effects yet... you can just move forward one frame at a time, and adjust. Now the one thing you might find... is that you really want a shortcut to move forward... because I like to go into full screen, which is Tilde, '~'... and then move forward one frame... and there's no shortcut for that. I'll show you a shortcut, it's kind of weird... there's no way to set up a shortcut kind of. So I want to shortcut this thing, 'Track selected, Mask Forward 1 frame'... so I should be able to go into my 'Keyboard Shortcuts'... remember, under 'Edit', on a PC, 'Shortcuts'... go in here and say, track, what's it called? Wait there. All right, Mask Forward 1 Frame, I can do this. Mask Forward, and it just-- there is no shortcut for it. I have figured out that you can do... something that kind of works, it's called Step Forward... Step Forward... you're looking for the Step Forward, there's a couple of them... you want the one in the Program panel. So program monitors this thing up on the right... I want this step forward in this... you won't have a shortcut. So what you can do is add one, I decided to use Option. So I'm holding down the 'Option' key... I can see that, if you hold that Option, can you see... it shows you all the shortcuts you've already got. If you hold down Option, and on PC it's Alt. So I can see there's quite a few keys I want to use... I don't want to use these... because I have to take my hand off the mouse... I want to use one where I can hold down my Option key... which is there on my keyboard... and maybe just tap S... for no good reason. So that's what I want, I want S... so 'Command S'. Sometimes you've got to click it a couple of times, click in the box. So 'Command S' now is that step forward. All right, so now what I mean is... Tilde, '~' to go full screen... I can get myself into position... and start the long process of 'Option S'... 'Step Forward 1 Frame'... move mask, step forward... move it, I'm not moving much at the moment... it's okay, step forward a couple... a couple more, a couple more. So depending on what you're doing, you might not be a face... you can slowly but surely work this mask. With that shortcut, Tilde, '~', full screen... you've got a few anchor points in there... oh, 0, jiggle up... you'll notice it resets every time... I'm going to stop there because that is boring, but necessary. Sometimes you need to mask something out... we're going to do it in the next one. We'll use a similar sort of process to blur... faces and things, and logos... but if you do get to this stage it might be worth spending a couple of hours... getting the hang of Rotobrush... even if you don't use After Effects for much else... you can-- we'll look at a tiny bit of After Effects in this course... but you can right click and say... 'Replace with After Effects Composition'... and it will throw that video... that clip into After Effects for you, ready to go... connected to Premiere Pro... and you can start smashing away at the Rotobrush... follow one of my tutorials or somebody's tutorials... and it will do a lot more better tracking. Is it easy just to jump to After Effects and start using it? No, it's probably best to do... my After Effects Essentials course... or somebody's kind of intro to After Effects, see how you go... or stick in Premiere Pro and just do it one frame at a time... there's nothing wrong with it, just long. Actually, one last thing is... like we're not doing this to make my skin green... normally in practical terms... I'm doing things like grabbing this now... and can you see, it's a little bit red, a little bit over saturated... just because of the colors. I can bring this down and kind of change it, maybe... maybe go into here, and play around with the tint... a little bit magenta at the moment... kind of work on the white balance... but you can isolate it within this little mask. Anyway, that's what I mean... All right, on to the next video. 67. How to Blur Face Logo or Number Plate in Premiere Pro: All right, this video, we're going to blur stuff... we're going to try and track faces, and blur this dodgy guy. We'll blur number plates, we will blur logos; see the socks... a little blurry bits on them, we'll track that and blur them... and we'll also do some static blurring where, can you see in the top right here... I've blurred out like the date... or maybe it's an email address from a screen cast... we're going to do all that in this video. Let's start with blurring a face... we're going to use the same Morph Cut again. You can use any face... making sure that there's no existing masks on it. We're going to kind of recap a tiny bit... and show you how to use the blur. So what we do is slightly different... and what we need to do now is... I've got Lumetri applied, I'm going to get rid of them too. So we add the blur effect first, and we mask that... that's the kind of the slight difference. We don't use the Opacity Mask, and we don't use Lumetri... we go to 'Effects', and we say, give me 'Blur'. There's lots of blurs, everyone uses Gaussian Blur, because it works. First thing we'll do is turn up the blurriness... but default's on 0, so we'll decide on how blurry our face needs to be... like I'm pretty distinctive, anyway. We can change that later on... can you see, blur has its own ability to add a mask. So basically there's so much... the opacity has the exact same thing. So it can get confusing, but it's also really useful... because it means I can blur just this. I'm going to use the circle... making sure, at the beginning of my clip... get it kind of close and big enough... that's kind of good enough for me. How much do I blur the edges? I don't know, for the edges, that much, that's fine for me... just know that, you know, blurring the edges of this... is not what we want, we want-- this is the Gaussian Blur blurriness... we'll do the stuff in the middle there, here we go. That's it, we just need to track it... circles are pretty good for track. So we're just going to say, 'Track Forward'... and it's going to do its little thing, move through that clip... and hopefully we'll have a blurry face that kind of bobs around. Here we go. Suspicious, let's do it with another plate. It's not going to be all that different, but let's do it. So in your Project files, let's import... I use 'Command I' there, because there's no space to double click. You can see, I use about 10 different ways of importing... and I just do, just whatever feels convenient at the time. Let's bring in Blur 01 and 02. Remember, 3, don't check it... it's a surprise for the class project... it's a little treasure there for you. I know you're going to go check it. Let's start with Blur 01, let's make a sequence from it. You'll see that it is... Audi R8, which is pretty nice. I'm going to use my backslash, '\' key... to fill up the little line down here, and it's basically the same. I find, in my 'Effects Panel'... I go to 'Gaussian Blur'... drag it on, crank it up... make it a rectangle... number plates are rectangles... get it close to the sides-ish... big enough... there we go... and then smash away at that one. Like we did in the last tutorial... if it does get wayward you're going to have to do it frame by frame... it's hard when a car like turns off screen... you have to kind of start messing with it... there we go. That's done a pretty sweet job. This makes me brings up a point... earlier I said, "Why would you play it backwards?" You play it backwards if... let's say the car turns onto the screen, and the final shot is this... like that's our, that's our final shot... let's say that's the end of our clip, right there... and the beginning though is the car turning on, onto the screen. So there's nothing really to mask there. So what you can do is get to the end here... draw your mask on and then say Play Backwards... and it will go as far as it can... until the car is like turning off screen... the number plate gets too obscured... and then you can fix those last few frames. So I kind of contradict myself there. What is it for? It has good use. So that's blurring an numberplate... let's blur logos... so same thing except I'm going to show you... how to do more than one blur on a same kind of clip. So let's bring in Blur 02... we'll not bring it in, let's just make a new sequence for Blur 02... thank you, Everett... and you can see, this one, a lot of moving around... so we need to track it, let's see how well it does. So I'm going to start at the beginning, maybe I'll start at the back... yeah, let's start at the back. So just for giggles, so when you get to the back... you notice it goes black, if you snap right to the end... you can use your left arrow, just to go back one keyframe. So let's again find our Effects panel... now I'm just going to close down Media Browser... and Libraries, Info, and Markers, we're not using it at the moment. Let's get both of those two open... it's a Gaussian Blur, dump it on the clip, crank it up... and in our case, I don't know, circle, pen tool... another rectangle... The Nike tech needs to be removed for branding reasons... happens a lot in television. It's always really awkward, right? You see people blurring out really famous brands... and it just draws way more attention to them... but hey... let's keep the lawyers happy. So how does that look? I'm clicking there, use my little zoom in shortcut... because this guy jumps, let's see how well it's going to track it. Needs to be big enough as well... for this thing to be able to fit in. You can see, this one's a lot longer, because it's stretched around... So I might go like that... let's see how that goes, a little bit trial and error. Let's hit 'Play' to run through, see how well it tracks it... let's check it out. I'll let it go, oh, I did good... good work, Premiere Pro. Cool. I might need to blur the edges a bit more... because, you can see, if I click off... there's this kind of like, maybe sharp bit here... which I can fix afterwards with... my masking, feather the edge too feathery... something like that, cool. So let's add a second one to get this... you do it to the exact same clip... and you don't have two blurs, you have two masks... you can see, it says Mask 01, let's twirl that down, so it goes away... and you can just click another one... you have Mask 02... and that's going to be this other one, and there's no difference... except you do need to make sure-- I always do this, I'm halfway through a clip, when I start doing it... so it's better to do it at one end or the other... get to the end, hit the 'backspace' key... get that kind of closer... there we go... nice. Feather the edge a bit, and I'm going to play that way. Mask 02 did a great job, look. It probably went hot behind the leg... this is a really good exercise... I didn't realize I had this in here. Where did it go? So it got there, gets to the end... and then it goes, bah. Why does it go bah? So I am going to be... I'm scrolling along, shall I get close, I'm using my left arrow on my keyboard... make sure you're-- if you're left and right arrow aren't working... you'll be clicking in the Timeline here. I'm just going to go along until it gets to-- the reason-- there it freaks out, I don't know why, but it's a really good example. So let's have a look at this. I'm going to hit Tilde, '~', so this gets big... I'm going to grab all of these guys that are kind of here... when it goes wrong, and backwards... hit 'Del' and just start working on this individually. So let's go, you, we are going to go... oh, my shortcut is for step forward, right? So what we're going to have to do is... go make another shortcut for that step backwards... don't start at the end... because I'm lazy, and I want to do that... I'm going to start at the other end... and just work towards the goodness. So you'll notice that I'm starting at this end... every time you drag it, it's already making a keyframe... if it's not, this needs to be turned on, don't turn it off... you'll lose all these keyframes. So let's show you how I would do this now. So I'm going to zoom in... 'H' key for the Hand tool... get kind of close, minus out a little bit, man. So that seems okay, back to my Selection tool... and then my shortcut that I made in the previous video... you might not have this one... remember, mine is 'Option S', go forward one keyframe... 'Option S', 'Option S', 'Option S'... 'Option S', it's not that hard, right... especially when it's just a rectangle. How do I know, it's lots and lots of keyframe-- anchor points... I need to keep an eye on this. You can click in here and you can zoom in using your '+' key... you can see, I've already caught up with those missing keyframes. There was that gap at the beginning, all gone. So hopefully now, let's have a little look... full screen... full screen, let's go. There's a little bit there that I need to tidy up... can you see, it gets really long. So I need to maybe go and find those keyframes... and just extend it out, every single one... yeah, nice. Two masks on the same Gaussian Blur, on top of the clip. Let's look at one more kind of blurring thing... that I, I do quite a bit of, check it out. So the last one is kind of a last minute addition to the class. So just thinking, I use that quite a bit... so let's import it, it's going to be the newly created... we learned it before, screen recordings... I do a lot of screen recordings... and there's some things that just need to be removed. So let's make a sequence from it... and let's say that you've accidentally left... your secret credit card details on the screen... and you need to blur that out... or for me, often it's the time and date, I want that removed... don't know why. It's 19th of May... I don't want you to know that... or let's say it's your favorites over here... or it's just something on the screen... but it's consistent across the whole thing... nothing moving, it's just a block. The other thing is, is let's say it's been edited a bit... so let's say I cut there, and I cut there... and it's lots of different clips. So you don't want to be copying and pasting them... the Gaussian Blur from one to the other. So what I want to do is... something that kind of like straddles them all. Let's say that there's three different clips... but they all have the wrong-- they have the time that I want to remove... or a bar code, or something private... you want to keep to yourself, your email address... but it's static... so what we can do is... we can apply the Gaussian Blur to an Adjustment Layer. So first of all I need an Adjustment Layer... so down here, 'Project Panel', 'Adjustment Layer'... it's going to match my sequence, perfect. This is going to be my blurry thing... and I can use this from project to project, which is cool. So I'm going to dump it on top... I'm going to make it the right length... because it needs to go across the whole thing... and I can apply it to this, and it can be, let me show you. So let's add the effect, Gaussian Blur... make it super blurry. I'm going kind of fast now, I know... we've done this before, I've just applied it to this... and what we can do with this is we can scale it. So instead of doing a mask and trying to do that sort of thing... it can be nicer just to grab this, and see the size and the scale... you can just make it like a reusable block. Now in terms of the Scale, let's-- where it say Scale here, we can unlink the Uniform Scale... so that we can kind of make it the height we need... not doing direct position yet. So Scale height versus width... so I'm going to do mine... something like this. I'm going to move it up... you get the idea. It's just something that sits over the top... and it doesn't matter what's going on, new edits... you're moving things, re-recording stuff... that will always just stay there. It doesn't follow anything, because it can't track it... but it's not meant to. Let's have a look at this, my blur is probably... a little hardcore for that. Same thing, if you need it for something else... you can have multiple ones, or at least in this case... let's say that I want to change the position... I want to make it for covering this part... because I don't want people to see what my favorites are... or obviously super secret credit card details. So that is it for blurring. What did we do? We did faces, we did logos, number plates... and this one, kind of static things, like credit card details... that's not a credit care, obviously... just a random number I typed. You know that, all right, let's get on to the class exercise... you're like, "Look," Blur 03 coming right up." 68. Class Project 10 - Blur Number Plate: All right, it is homework time. I want you to practice with this one here, Blur 03. You're welcome. Practice with that one, but that's not what I want you to submit. I want you to kind of practice with blurring his face... tracking it, and the number plate. Then I want you to use your own footage. So if you're uploading this for your assignments... I want to see something of your own. It can be a logo being blurred, it can be a number plate. You call them license plates, you might call them whatever you call them. So it can either be a face, number plate, maybe a logo, or all of them... depending on your footage... and that's what I want you to kind of render and upload... and share with us, on both the Assignments and Project sections. Also on social media, I'd love to see what you do. What I don't particularly want to see is this one. That is for your enjoyment only, I want you to practice with this one... imagine the shoot... hey, can you leave me by the beach? You don't happen to have Santa pants, do you? Anyway, carry on, I will see you in the next video. 69. PIP Picture in Picture effect in Premiere Pro : Hi everyone, in this video I'm going to show you... how to do Picture-in-Picture. We're going to turn a nice big video into a small picture-in-picture... down the bottom right hand corner... and then we're going to turn it into a circle, version of the same thing... and then if you're really lucky, wait for it. "Hi everyone..." It'll spin in, we'll also show you how to set it as a preset... so once you get it sweet, like spinning in like that, you can save it... to be used over and over again in the future, let's jump in. All right, to get started let's bring in a video... 'Command I', 'Ctrl I' on a PC... under your 'Fixing' folder, let's bring in 'PIP 01'. PIP is picture-in-picture... like you saw at the beginning. Let's make a sequence from it... and what I want to do is... while this is playing I want my head to talk down here. We're going to use Morph Cut 01... don't use the sequence, use the mp4. So 'Morph Cut 01', let's just dump it on top... let's trim it down to the right size... so just laying over the top, so you can play around with... there's nothing wrong with playing around with the scale and the motion... and getting in the right place, that's totally fine. There is a shortcut way of doing it... under your Effects, it's not really under Effects, it's under Presets... you will find something in there called PIPs, picture-in-picture. Somebody's done all that sort of stuff for you, it's the 25%... so it's going to shrink this down by 25%... which is pretty appropriate for a little... talking over the head picture-in-picture... and you've got these ones here... you go lower left, lower right, motion... lower, upper left, upper right. So I want mine down the bottom right, so lower right. So go in here, let's start with this first one... and all you do is drag it on to that top clip there. Voila, it's perfect, except it's in the wrong place. So you could just type in 75... and adjust this position as you want. One thing that I like to do... well actually, let's just play it through. "Hi everyone, my name is Daniel..." Picture-in-picture. Let's have a look at some of these other ones... some of these other ones, I don't know... so scale down from Full... you can replace them over the top... by just dragging them on top of the old one. You can see, this one does a little bit of a scale. "Hi everyone, my name is Daniel Walter Scott..." which is way too slow. So over here, with my clip selected... under Motion you'll see some keyframes. I can grab these ones and actually just move them along this way... so I just kind of drag a box around those two and drag them... so that's a lot quicker. "Hi everyone, my name..." and also it needs some easing. So I'm going to select these last two... and you want these to ease in to those keyframes. So we're going into them, let's have a look. "Hi everyone..." Slow at the end, and this one here... is going to be easing out of those first keyframes. So ease out of these first ones into these last ones. "Hi everyone..." it's a bit prettier. Let's get our position right. There's other ones in here... they don't get any better, they get worse. Let's have a look at spin in-- have a look at this... you ready, steady... "Hi everyone, my name is Dan..." So there's lots of different presets down here. What you'll probably find, like me... is you want it to be in a circle, you don't have to have in a circle... but I'm going to show you, if you did want it in the circle. So I'm going to, yeah, I can spin in... it's Opacity mask, Ellipse... and then be frustrated why it's not circular; it's an oval... and that's just Premiere Pro... it uses the, like the height and width of the actual video itself... that's why it's this weird squished, and I can't figure out. Let me know in the notes if you do find a way of like... doing it perfectly circular. So just kind of get it close, that nobody's going to notice... and to expand it, it's really hard to drag the dots... it's a lot easier just to use this Mask Expansion. I want to get it so I can't see the top there... and that's going to be my, like little... picture-in-picture, ready for spinning. "Hi everyone, my name is..." So you might want to get rid of the spin... so let's get rid of it, let's go for lower right. So hopefully now, just, "Hi everyone..." I'm going to get my position perfect... I'm going to set it as a preset... because once you've spent some time... getting it how you want it... the size you want, the position you want, the animation you want... "Hi everyone..." what we can do is, make it a reusable preset like these... that's the whole meaning of these, like preset options. So, to say something is a preset-- we'll cover it again when we get into Effects... but hey, let's do it twice. What you do is you click on the thing... I want all the motion to be part of this preset... but I also want the opacity. If you haven't done like the circular thing, like we just did... you don't need Opacity, but click both of them... hold 'Command' key down on a Mac, 'Ctrl' key on PC... I want all the motion and all the opacity. You can go through and be very specific... say you want just Motion Scale... you got to click 'Desktop', but you also want just those two... you can ignore the rest of it if you want it to be tidier... or there's bits in here you don't want to bring along. In my case, everything from Motion... and everything from Opacity is fine. so 'Ctrl' click on a Mac to select them both... no 'Ctrl' click on a PC to select them both... or hold 'Command' key down to select both of them... right click them... Save Preset, this is going to be my... Bring Your Own Laptop PIP, picture-in-picture... and yeah, that's going to be my one. I could be more descriptive, but hey, there it is there. So if you can't find it... you can either type it in there, type 'byol'... that's my company, Bring Your Own Laptop... and let's say we bring in Morph 02. I don't have Morph 02, let's bring in... another bit of footage, you don't have to. I'm just going to bring it in from... remember my... where was it from? It was from Transitions Morph 02... Morph Cut 02, bring that in... I'm going to add that to the Timeline. I'll show you two different ways, I'll copy both of these. So obviously my preset is obviously the best way... because I can go to my Effects and go to Preset... and just dump it on, and hey presto... my kind of lower right picture-in-picture. You can, instead of creating a preset... you can just copy and paste parts. So let's say I have a preset and I don't want to... you can click this, and... make sure you've got the clip selected... that you want to steal the properties from... 'Edit', 'Copy'... go to the one that you want to apply them to... and go to 'Edit', 'Paste', just a simpler way... nope, don't hit Paste, hit 'Paste Attributes'... and decide what you want it to come across. In this case there's no effects because it's not an effect... it's, we looked at it before... it's something to do with motion. So I want to bring in the Motion Effects, nothing else. Oh, I want opacity as well... because I want the little circle. Same way as doing a preset... but just more of a copy and paste, attributes way. All right, so that is it for picture-in-picture... I hope the other little magical takeaway... that you might have discovered there... is the setting your own preset. Now we're doing it for picture-in-picture... it can be for any sort of animation. Select it here, holding the 'Command' key on a Mac... 'Ctrl' key on a PC, and deciding what you want... turn into a preset, and right click it, set as a preset... and you'll have it down here forever. All right, that's it, I'll see you in the next video. 70. Freeze frame pause & hold frame in Premiere Pro : This video we're going to look at... Hold Frames, Freeze Frames, Pause Frames. It just means that it's going to be some live action playing... and then it's going to stop and pause, and hold. It's going to dim, in this case... well, I've got some other footage over the top... and then it's going to come back to life, and keep playing. I'll also show you how to do kind of a Freeze Frame at the end of a clip. So it gets to the end of this clip and then just kind of holds... that we can do either credits... or maybe YouTube, "What's coming next," recommended video type things... maybe social media. Now we're doing it for live action dialogue... but you might be doing it for like sports stuff on really cool scenes... where instead of Dan talking... it pauses on some amazing action footage... of sports people doing sporty stuff. Principle's the same, let's jump in and figure out how. To make that happen let's import two files... it is in your 'Exercise Files/Fixing'... it's called 'Hold Frame 01' and '02'. Let's make a sequence from 'Hold Frame 01'... and play it back. I'll play it back for you, you can watch, everybody listen. "Last things to cover, those glasses... that talk to me at the beginning... they're actually real, the company's called Veu, V-E-U." So that was... I do that all the time. So that's wrong, I'm going to do it, like a little... you saw at the beginning there, where I have this, like pause... and I explain myself, and you can be-- Hold Frames can be used for lots of different reasons... might be pausing on action shots, but mine is... because I need to do that overlay. So what I'm going to do is, backslash, '\', so I can see it all. I'm going to hold 'Shift +', so I can see all of the goodness... and you can kind of see, where it is there... "The company is called Veu, V-E-U." So at about 623-ish I'm going to add my Hold Frame... So get it to where you want... make sure the clip is selected, right click... and what we want is the one that says... Insert Hold Frame Segment... "Insert Frame Hold Segment' even. Basically just, yes, cuts it all and spreads it out... and it gives me a chance to put something in there. So what I want to do is-- how long does this want to be, I'll leave this-- "Veu, V-E-U." Here I am. "I'll leave a link." So I need this to be a certain amount... I need it to match Hold Frame 02... where I kind of jump in and explain myself... "V-E-U's definitely not a word, V-U-E." It's me explaining my terrible spelling. So what I want to do is I want to put that in here. I'm going to zoom out a little bit. I'm going to see both of them, so basically this... I need my explanation to go this whole bit... and I need the Hold Frame to hang around for this whole part... there we go. "called Veu, V-E-U, V-E-U's definitely not a word... V-U-E, it's in there fine... it just kind of gets a little bit mixed up on the way out. I'll leave a link in there." So yeah, like at the beginning there... I want to change it a little bit to make it clear... that I'm kind of like coming back to recording. So I'm going to do my 'Opacity', frame clicked... circle, that's not quite a circle... try and get it close, get it over my head... play with the positioning... keep me in the middle... and I'm going to dim the background. So this bit here, the Hold Frame... I'm just going to lower the opacity of it... and what I might do is lower it using keyframes. So right at the beginning of the clip... I'm going to set my Opacity timer... move along a little bit... set another keyframe... lower it down to something like that... just to show that there's a bit of-- "Veu, V-E-U, Veu's def..." It's a bit quick, so you can use this, if you can't see these - I prefer using the rubber band on the clips... - if you can't see it, it might be that your clip's not tall enough... or right click 'Show Clip Keyframes'... remember, it's in here, turn that on... even if it's got a dot next to it, click it again. I'm going to do the same thing here... I'm going to add a keyframe, not using this, just a different way. I'll hold the 'Command' key on a Mac, to click it... 'Ctrl' key on a PC, and put two of them in... and kind of get it to come back up again to 100%. "Veu's definitely not a word, Vue is... it's in there fine, it just kind of gets a little bit fixed up on the way out." So dims down nicely, and then it doesn't go back up. I got keyframes. You can use this to jump to keyframes. So I'm definitely on that keyframe, it's at 62, which is the darkness... that's working. Let's go to the next one, jump to the next keyframe, which is at 100... you're not working. Why doesn't that work? I can't think of a reason why, is it a glitch? If you're watching this video, and yours is working... let me know in the comments. If you figure out what's wrong with mine, let me know. Hang on, let me think about it. I can't figure it out. Why would you go back up? Well, that stumped me, I'll come back and leave a note when I figure it out... or hopefully one of you guys figures it out. Happens to the best of us, but man, that is confusing. Now let's forget that, let's ignore that... and remember that holding a Freeze Frame... was just right clicking and insert a segment. There was another one in there, can be useful for let's say... say it's the end of your YouTube show... and you need something just to extend out... so that you can put graphics over the top... the watch next, maybe it's the credits for something. So I'm going to go to the end of this... and holding 'Shift' to snap to the end... go back one frame using my left arrow... and what I can do is right click the clip anywhere... and use this other option that says-- we've used Add Frame Hold... we'll just create-- let's zoom in a little bit... just, it's created a little chunk... that I can extend out... and it just carries on for the entire bit... instead of like trying to separate it out... and having like three parts, like a segment, like we did earlier... this one's just where your cut is... the next part will stay on forever. It doesn't have to be right at the end... you might decide that you want to hold it there. So I'm going to undo that one... let's just do this for... I don't know, just so that you get an understanding of it... and Hold Frame, it'll cut it there... and this Hold Class Frame, you can see, doesn't move... and we can use that for our... putting our credits, or YouTube graphics... or social media, we can just use that. Segment is a good chunk in the middle... and the Hold Frame, what is it called, Add Frame Hold... will just extend it on forever. Hold Frames, plus a little bit of extras... and mysterious opacity, not going up. We're going to try one thing... Render In and Out. "Last things to cover..." Ready, and it... All right, I give up, you win, Premiere Pro. I will see you in the next video. 71. Tools to up your editing game in Premiere Pro: Hi everyone, this is using tools... all the tools down here. There are some that we haven't covered in the Essentials course... I'm going to go through the useful ones... and you might be using some of them. I'm going to try and build on that... to show you some kind of more slightly advanced uses. We're going to look at the Ripple Edit tool... the Rolling Edit tool, Right Stretch, Select Forward... and the Slip and Slide tool. Who doesn't like a Slip and Slide, bad joke. Let's start with the Ripple Edit Tool... it is hiding in here somewhere, Ripple Edit tool... B is the shortcut, anything in brackets is the shortcut for it. What you'll find though, when you get used to it... is that you'll be on the Selection tool... and you'll just hold down the 'Command' key on a Mac... or the 'Ctrl' key on a PC, and watch this... when you hold that key down... you can actually get a bunch of your tools, like the... what's that one, the Ripple Edit tool... and can you see, the yellow square... the yellow arrow is the Ripple Edit tool. So I'm just holding it down, hovering above this. It means that I can make adjustments, and it will flow along. So let's drag it this way... and it all comes along for the ride. Same with this, if I want to edit it this way... I just got to make sure I get to the right side of the cut. So I get my little yellow arrow... and that's a Ripple Edit tool or the B tool... or hover above and see if you can figure it out in here, that's way too long. We're all about shortcuts... the 'Command' key on a Mac, 'Ctrl' key on a PC. Now this one here has some problems... you probably ran into it before-- let me switch programs... let's jump back to this one. So I've got a music track and some dialogue going on. Have you ever done this, where you've switched to the-- let's go the full way, let's hit 'B'... and we try and drag it, and just doesn't go. So what-- you might not have noticed is... can you, can I point to it? There you go... if I drag it this one, can you read around here... it says "Trim blocked on Video 01." It's because video 01 one is holding it back, it doesn't know what to do... like do I drag this along, it's blocking it... so that happens quite a bit, at least it tells you. So one of two things, I can select both of them... then switch my B tool... and I'll hold 'Shift' and click both of them... then that'll work, and that works mostly... but if you've done it where you've got like... say a cut down here, so I'm using my Razor tool... and I'm going to do the same thing, I'm going to try and do this. I'm going to switch B tool, for my Ripple Edit... and it goes and actually works, maybe this way... can you see, it won't go this way... because it's like, "Hey, the Trim is blocked on Audio 02." So I don't want to select it, because I don't actually want to edit it. I just want to unsync it, remember we did sync lock earlier on... to say, just don't be connected to all of this stuff... you see, it'll work fine. So often, leave the music track unsynced... for lots of different reasons... especially if you're using the Ripple Edit tool. Let's do Rolling Edit because we kind of saw a good example for that in here. Rolling Edit tool, we can go the long way... where are you, Rolling Edit tool? Rolling Edit tool, I kind of don't use this like day to day... it's kind of one of those useful ones every now and again. So the Rolling Edit tool is this little kind of weird icon here. It just means I've got two things stuck next to each other. If I drag this it's going to not only extend that one... but it's also going to trim that one up in one foul swoop. I find it's useful mostly when I'm on my Selection tool... again, holding down the 'Command' key on a Mac... 'Ctrl' key on PC. Remember, yellow one was my Ripple Edit... and the Rolling Edit here, just, it's really great with images... we're just kind of playing with the timing... and trying to get the transition between these two... "the wind always be at your back." A weird transition, anyway, but... just trying to get the timing right... needs to come back a bit further. It won't go back to the left... unless there's a bit of pre-roll in there. So watch this, if I do the same key, drag it back this way... rolling at it, drag it back this way, it won't go... can you see, it actually tells you down the bottom there... remember, look over here, it says... "Trim Media limit reached on Audio 01." There's just nothing in there. So you can go to the right... because there's extra footage left in here to trim up. So if you're at the extent already, that, rolling it won't work... same with this one, if there is kind of a trim in there... and you've-- often that's what it is... I've cut these down quite a lot for our course. So often that is available, that kind of pre-roll... so it'll let it go both ways. All right, so that is the Rolling Edit tool. The next one is the Right Stretch tool, really handy... don't tell anybody you've used it kind of-- it's like, say I need to get out to the end of this... and there's just nothing more in there... it gets to there, and you're like, oh, just a little bit further... or maybe even a lot further... you just need a bit more extra... and you need to drag out the Right Stretch tool. I use this all the time for graphics as well as video. The Right Stretch tool there, 'R' for your shortcut... and watch this, I can just drag it out, and it makes it longer. It is stretching it, we'll cover this more in slow-mo... but if you do use the Right Stretch tool... to either speed it up or slow it down... just make sure, right click it, go to 'Speed/Duration'... and just make sure it's set to 'Optical Flow'... that'll give you the best result in terms of-- because it's slowing down this footage-- let me mute it all. We'll look at it in more detail doing slow-mo... but trust me, Optical Flow looks a whole lot better... than the default one there. So Right Stretch can be used for lots of different things. You might have brought in, this is just a static graphic... so we don't need Right Stretch on it... but maybe you brought something in from After Effects... that has a certain kind of animation, and it stops... you can drag it out, just make sure it's set to that Optical Flow. All right, quickly before this ends... can you see down the bottom right here, this little blue thing... I've opened up a really big project to show you a tool... but I don't know, a little sideline... that if you've opened it up and cleared all your cache... it's saying that it's going to have to rebuild... a bunch of temporary files, and can take a while... that's what that yellow kind of pending media thing was... and you can notice it down here... will at least give you an idea of how long it's going to take... for it to create all the kind of temporary files. Remember, way back at the beginning of this course... with things like the mp3s, needed recreated... and same with the video clips... lots of stuff needs to be generated and read by Premiere Pro... just keep an eye down the bottom there. Now the other tool is this one here... Select Track Forward, you can select it backwards too... but forward just means, like ever from here onwards... I want to move it along a little bit because I need a gap. It's really handy if you've got a really long bit of footage here... you're just like, you don't want to try and get it on... you're like, "Have I got it all, got all the layers?" you can just use that tool... which is the A key, and just click once... and it'll select everything from there onwards. It always grabs the music track... and you're like, "Not the music track." So you can just lock that layer, where is it, there... lock it, so I can click all of that onwards without this... and now I can kind of move a bit of space... so then I can add the clip that I need to add, where are we? Cool. You probably shouldn't use that tool, I use it all the time. What you should be doing is-- I'm going to undo that, so the gap joins back up... undo. You should just get your Playhead where you need it to be... and then, let's say I want to insert this from my Source monitor... in and out point, which is I and O... and then I should just hit this, or hit the comma... can you see, insert, it should just inject it in, where I need it to go... again, I don't want you to connect... I can either lock it like I did before... or just turn the Sync Lock off... do the same thing, I'll use comma, and I'll insert it. You can be confident that everything kind of moved along. All right, so that's what that tool is used for, mainly just big jobs. The next two tools, Slip and Slide, I don't use them very much... but it's in the Advanced course... because you're going to ask me, like... "Well, why don't you cover these, what are they for, what do they do?" I use the Slips tool occasionally enough, that it's worth mentioning here... and the Slide tool I don't use... but hey, you might use it in your workflow. So I've got this bit of footage here... and it's got some pre-roll... I've already cut it up, so this is kind of the great circumstances... to use this, right? It's part of a really big project, and it's... there's a lot of things kind of relying on each other... so I can't, say I want to push... there is this front part... it's just kind of like B-roll of me... doing some speed designing stuff, and it gets to the end... but there's, let's say that the beginning here starts too late... and I want to shift it along... and the long way would be, going like this, grab it... and I'd say, "Actually, I want to move it along a little bit." So that, I clip some of the front of it... because there's more interesting stuff here at the end... and then put it back in, that works... it sucks when there's something above it in the layers. I'm going to undo all of that... that's where the Slip tool comes in. So the Slip tool is the Y... and you can click it and drag it... and it leaves the kind of container alone... but I can drag the footage within it, it's a little tough to use. So you can kind of drag it along... and just kind of see, at the beginning here... I can see when this bit-- let's say I want to move it... so after I get past-- the eyeball... get rid of the pink stuff, there we go, back a bit further, that's what you can do. You can kind of slip it with inside that already kind of clip container. What you'll notice as well is... if I click and hold it, and drag it, can you see... up the top there, kind of has that-- like mine's freaking out at the moment... but you can see it there, it's showing me my in and out points. Normally I can drag that and just watch them... mine's kind of jumping up and down for the moment... got a few bugs with my Premiere Pro at the moment... but that's what it is, see the top left and the top right... that is showing me, see the small ones in the top left, top right... that's showing me this clip and that clip. So I can kind of line them all up... again, I just kind of use it often when I'm like getting to a bit... I need to just shuffle it along a bit... often B-roll, stuff that doesn't require huge amounts of timing... and it's more like, let's just scrub this along... add the Slip. We've done the Slip, let's do the Slide. The Slide, I'll show you, is... let's find something we can slide along, this footage... I'm going to slide that along... and watch what happens to the two edits. You see, they come along, that extends out, and that pushes in... and like, I just never, at a point where I'm like... I know exactly when I want to trim that up. What I need to do, if I need to do that, I need to probably move him out... I need to see how much of this do I need in there... what am I cutting off here? There's so much, like me needing to know stuff... that the Slide tool doesn't work great... maybe great for just like static images... because it doesn't matter what you clip off... but yeah, you might love those tools, so they're in here. Slip and Slide, if you didn't get my bad joke, Google "slip and slide kids"... I don't know what you call it where you are from... but it's almost summer here... and we're about to dig that death trap out again for the kids, so much fun. All right, the last little one is the Razor tool... you've used it loads, shortcut's C. We covered this earlier on... but if you hold down 'Shift' and click... it goes all the way through all of the layers, which can be handy... and remember, instead of using the Razor tool... have that selected, hold 'Shift K'... not Shift K, 'Command K', and it will do the cut for you. So I very rarely go to the Razor tool... I just get to where I need my Playhead... and use Command K on a Mac, 'Ctrl K' on a PC... just to do my cuts, and if you do all of those shortcuts... and hold Shift, so Command-Shift-K on a PC... no, on a Mac, let me start again... 'Command-Shift-K' on a Mac, or 'Ctrl-Shift-K' on a PC... it'll go all the way through. I don't really use that one, I use mostly just Command K or Ctrl K on a PC. All right, that's it, those are the tools... some you might not have used yet... some that you may have used and had some problems... with like the Ripple Edit tool... hopefully we solve some problems there... and the Slip and Slide tool... that you may never ever use in the rest of your career. "Great course, Dan." All right, let's get into the next video. 72. How to add slow motion to a clip in Premiere Pro: Hi there, in this video I'm going to take you... through Time Interpolation. Sounds like we're going some sort of, like back to the future. We're taking this footage which is not in slow motion, to, watch this... look how smooth and nice it is. We're going to fake slow motion using Time Interpolation... I'll show you the good ways and the bad ways... let's jump in and do it. To get started I've got a new project... I've got a folder in your Exercise Files called Slo-Mo... let's bring in 01, 02, 03, just... I want to show you quickly, it's a bit of a recap from the Essentials course... I know, I know not everyone has done it... and there's some extra information piled in here. You'll notice that I've got three of them... I'm on List view, so I can see... the Frame Rate, this one here, this first one... let's open it up in my Source monitor... has no--we're going to fake slow motion with this one in a sec. There is nothing slow-mo about it... we're going to try and magic some up from nowhere. The second one here is being recorded in slow motion... and it's given you, can you see... it's been given to us in a Frame Rate that's not slow motion. The footage is in slow motion though, so we have it... the difference between that one and this one is... this one has slow motion but it plays normally... but it has all these extra Frame Rates in there, that we can spread out. So this one, let's say they were both recorded... on the same camera, you can tell your camera to... whether it produces normal Frame Rate... but with super slow-mo already in it, or where your camera... produces a footage that is the normal life, real-life footage... but there is the ability to stretch it out with the frames per second. So we're going to start with messing with this one. So 'Slow-Mo 1', drag it into a new sequence... backslash, '\', so we can fill it all up, I'm going to mute mine. What I want to do is I'm going to show you... just a couple of the different versions. So I'm going to copy and paste this clip a few times... just so I can show you the different types of Frame Blending. So this one here, I'm going to go right click it... select it, right click it and say... 'Speed/Duration'... and 'Speed' you want it to be double the speed... 200% or half the speed, 50%... I always get that confusing. You keep an eye on the duration. You can force it by typing in a duration as well... and Time Interpolation is the kind of... the term we're looking at here. So we'll start with Frame Sampling. We'll do the next one, we need a bit more space here, let's go. Let's do this one here... this one's Frame Blending... I want it to be 50%... and let's do, I don't need a third one, my fourth one... this one here, I'm going to say, you are... Speed Duration, let's go to Optical Flow, the best one... always, use Optical Flow, nearly always. So Frame Sampling just duplicates the footage... it makes two frames, out of, where there was one. So let's zoom in a little bit... let's move forward with our arrow keys, left and right. So 1, 2, 1, 2, can you see, it just duplicated them to fill the gap. So it is slow-mo but it's really rough looking... old-school slo-mo... so that's not what we want. Frame Blending is another kind of weird one. What it tries to do is-- let's zoom in. So I'm using my left and right arrow... it kind of uses half of one, and half of the next one. To actually be able to preview the one called Frame Blending... and Optical Flow, you need to render it, can you see, it's red... so it's not going to give us a true representation of it yet... it's just going to look pretty bad, so let's render it. You remember how, the Enter key or Render Effects In and Out. So let's have a little look at how it worked. So what have we got, the first one, which is just duplicating it... this one here now, can you see, there's that frame... and if I go forward 2... in between it's going to half smoosh the two of them... and it's better... but it's really milky and yuck... and then Frame-- Optical Flow... don't ask me how it does it... but every frame is somehow a new frame, I don't know how it does it... but wow, it is amazing. So I guess the moral of the story is, go straight to Optical Flow... sometimes occasionally there'll be some weird artifacts... where it starts blobbing out... and then you might have to switch to... probably Frame Blending. So that's Time Interpolation... looking at the different ways of blending frames. Optical Flow obviously is the best... but now you know what they all do, and we're all up to speed now... so we can get into some more detailed slow motion goodness. How good is that? All right, see you in the next video. 73. Interpret Footage vs Speed Duration in Premiere Pro: Hi everyone, in this video we are going to look... at something called Interpret Footage. What it's used for, it gets used for many things... but mainly in slow motion. That's why it's in this part of the course, let's dig in. So the long way, and the painful way is... I've got this bit of footage here, it's slow motion... let's play it, it is 24-ish frames/second. So the slow motion is exposed... this one here, in Slow Motion 03 has all these frames... has four times the amount as this one-ish... but it plays back at a regular speed... you see, just like normal speed, 100 frames/second. "Ready for my flip?" There you go. So it is, the slow motion is trapped inside of here... so it doesn't really matter which way is which... it's just the way it's been output, from either the camera... or the videographer's decided to kind of remap it afterwards. Either way, let's say you want Slow Motion 02... and you're like, "Okay, good," I want it to go to just regular speed... you right click it and you say, 'Speed/Duration'... and then you guess what speed it should be. It's either 50 frames, so you double it... so 200 times, it might be 60, it might be 100. I've worked out just by trial and error... that four times the amount of speed... which gives me roughly 100 frames/second... is what this was recorded at. I don't know for sure, because I don't have the details from the shoot... I wasn't involved with it, and I can't find anything for it... so there's a bit of guessing. If you do know a magic way of knowing what the frames/second is... let us know in the comments... but anyway we've done it, and we can happily go about our work. The problem happens, is when you've got... like the whole photo shoot. So in this case, you see these, that's... I've given you Slow Motion 02, from one of all of these. So every single one of them is a slow-mo. So if you're dumping and doing a cut, it's painfully slow. So what you do is you interpret the footage. I'm going to call this... actually I'm just going to delete that sequence... start again. So 02 now, instead of dumping it in and changing it... what we do is we say, we right click it... we can say 'Modify', and we say, I want to interpret this footage. Now what is Interpret Footage? It was used originally when-- it was really, in the early days of digital video... lots of codecs and different extensions... Premiere Pro would sometimes get it wrong, it would say... "Hey, I've imported your mp4 as a square pixel"... but it actually wasn't, the Aspect Ratio was something else... it was something like this, you could force it... you could just say, "Hey, Premiere Pro, good try... but can you reinterpret this footage for me... and I'm going to try these," and it ended up fixing it. I find that happens less and less... Premiere Pro, super good at interpreting the footage on its own... but you can fake it, but if you do have problems... you might come in here and change with some of the parts. In this case I wanted to say, I want you to interpret this 23.9760 PAL... man, I hate that number. I want you to assume, just assume... it's 100 frames/second please, thank you very much... click 'OK'. You see, it's changed here... the Frame Rate is 100 frames/second. Now if I make a clip from it, it's used my sequence... is 100 frames/second, it's trapped in there still. I can slow it down, like I did by going... right click and say 'Speed/Duration'... and I can slow it down by 1/2 speed. So I've still got a bit of slo-mo in there... but it's my choice, I can do it later on. So I start with the regular real-life video... and I can slow it down if I need to, a lot-- I'll end up shooting high frame rates, because it kind of looks nicer... but with the idea that, especially B-roll... I'll just shoot everything in like 120 frames/second... even if I don't plan on using it, just so it's there. So I've got it, so the file size has ballooned... and my editor hates me... but it's in there in case we do want to slow things down. So why is that quicker? It is mainly quicker when you have to do all of these... let's say we want to dump it all in... and it's just the beginning of a job, you're like, "Great." It's all slow motion, let's have a look, a couple of them... they're all slow motion, lots of shots... and instead of going through, dumping them on a Timeline and doing it all... you can just right click 'More'... all in one big go and.say 'Interpret Footage'... and let's pretend it's 100, give it a test... all done in once. Yeah, it's quicker, it's easier... if you are only doing one or two shots... it doesn't matter, but Interpret Footage is good for doing bulk stuff . All right, that is it for Interpret Footage... let's jump into the next video. 74. How to slow down time in Premiere Pro using time remapping : Hi everyone, in this video we are going to play action... and then slow it down with a speed ramp... whoa, look at that... and then back to playing normal. These are the little speed ramps... the actual term's called Time Remapping... let's work out how to do it now in Premiere Pro. So for this one I want a sequence that's 25 frames/second... I'm going to do it this way. So I'm going to go 'Sequence', I want a brand new one... I don't want to use my 03... because it's at a different Frame Rate, I could... and then change it afterwards to 25 frames/second... but hey, we'll do a different way, this way. It is hard to find where all the kind of basic stuff is... I wish there was just like a generic bin of video sizes... but hey, you got to dig around. Probably the best one at the moment is red... this changes often, let's have a look in here. At the moment red is giving me the 1080p which I want... and I want 25 frames/second. I'm going to call this one, they call it a Speed Ramp... as well as Time Remapping. So 'Speed Ramp', and I'm going to put my 'Slow Motion' in it. I'm going to keep the existing settings... it's having a problem because this one here... is set to, what was it, 100 frames/second. So it's going, "Hey, I'm a different Frame Rate"... it's okay, we want you to be a different Frame Rate... we want all the slow motion goodness. So to see it all, let's hit our 'backspace' key... and we want to zoom in, so hit, what is it? 'Command +' to zoom in on the video... or just hit 'Shift +' to zoom on everything... and when I said Command there, I forgot PC people... you are a 'Ctrl +', but the best one is 'Shift +'... because it's right for everybody... maybe go in even more, let's do the old draggy way. I wanted to see a lot of detail in here. So you can use the Time Remapping over here. It is really painful to use in the Effects control... so I want to do it down here on my rubber band. At the moment the rubber band is showing me the opacity... I don't want that, I want to right click... go all the way to the bottom and say... 'Show Clip Keyframes', 'Time Remapping', show me 'Speed', please. So where are we going to do it? We're going to put in two keyframes... kind of like before and just after the throw... because I want to slow that down. So just before is about there... I hold the 'Command' key down on my Mac... 'Ctrl' key on a PC, and just click 'Rubber Band'. So that's the kind of beginning part, we need to do it, just the end here... same key down, and click it again, cool. So I've got two points. Now what I want to do is drag it up or down... 'down' to slow it down, and 'up' to speed it up... so I don't want to speed it up, take a look... "for my flip..." You might want to, I'm going to drag it down... drag it down, in my case, because I've got 100 frames/second... I can drag it down to about 25%... because it matches my 25 frames/second... there you go. You can drag it up, you can drag it way past that... you can go down to, 1%, I think is the lowest. There's my one there. You'll notice that the audio has become unstuck... it's part of the process, it doesn't speed it up for you. So what we're going to do is just mute it for the moment, and we'll come back to it. So it's slowed down nicely... and what I need to do now is... at the moment it's very sudden, it goes fast, fast, fast... and just stops, and then, same at the end there... it's up to you, the look you want... if you want to kind of ramp it in... that's where the speed ramp comes from... is hold nothing down and just start dragging these things around. They're a bit weird to drag, and you want to drag it... so that you can see something like this. So they're kind of separated apart... and you've got a ramp in and out. So now you're going to have to play around with like the timing... there's a lot to do with timing... how far these ramps are apart, and how close they are together. So my case, at the moment... I'm highly unlikely to get it right the first time... that's not bad... but there's a lot of dragging these around. So to drag these anchor points around, or these-- yeah, what I call them, keyframes... is can you see, if I hover in between... see the little double arrow, I can drag them around... if you don't, if they're not opened up... let's add one over here... you can't do that, they just kind of start separating. You can hold down the 'Option' key on a Mac, 'Alt' key on a PC... just to physically move them... but once they're open like this... you just hover in the middle, you can adjust this one... they'll both adjust, they're really weird to get used to. Start dragging them, I'm keeping my eye up here... the end point... takes a lot of kind of just dragging around, practicing... how do I feel about that? That's pretty good, it never goes that way... like there's so much to do with timing for this thing... there's no like, hey, drag it to this percentage, and this far apart... there's so much of like personal preference to get it looking good. So if you spend five minutes dragging these around, it's totally okay. Also you can do, is click anywhere in between them... you'll notice that these handles appear out of these little anchor points... and you can kind of adjust... because at the moment it's ramping, but it's very linear... so I'm going to zoom in, some more '+', '+', '+'... and I'm going to drag the top one left or right... you left, is where you can drag it. You want to try and get it to smooth over... and this other one here, click in between... and drag that one to the right. There's only one way to drag them, you'll work it out... just kind of ramps in a little bit nicer. I'm going to zoom out, '-', '-', '-'... let's have a look, it's hard to tell once you've ramped it... I do it every time, but... there you go. Now what you might find is... there's a lot of artifacts happening in the slow motion. At the moment mine looks okay... frame by frame, I'm going left and right with my arrow... it's looking okay. You might find there's a lot worse stuff especially in the ramps... and that's where you can click on it, right click it... play around with your Speed/Duration... and play around with Frame Sampling... Frame Blending or Optical Flow. You might find one is better than the other... mine's looking fine on all of them. The other thing to do as well... is, can you see, mine's gone red with Optical Flow... so we need to render it... so I can get like a genuine kind of preview... of how this is going to look... oh, beautiful. And what else... audio, so Audio down here is being detached... it's still kind of selected... I want to ungroup them and adjust them... so let's, let's do it. There's a few different ways we've shown... let's do it this way, let's right click it, go the full-blown, unlink you forever... and I'm going to use my Razor tool, 'C' on my keyboard... it's that one there, I'm going to say... cut that off there and cut it off there, where I start talking again... and I'm just going to bang that at the end... so that it lines up with my talkie. Let's open this up. I didn't really say anything during the spin... I was concen-- pretending to be all casual... but you can see, that's the face of a man... who's really trying to catch it. How many takes did I do on that one? I can't remember, I think I did okay. So if you have dialogue though, that's going on... might be, it might be an action shot of somebody... it might be a car going past... you've got a couple of things you can do. You can stretch it out, you can use the Right Stretch tool... we looked at that, that's the R key on my keyboard... and just drag the end, and just go zoop... and it's going to slow down. I've got nothing really going on, so let me show you a bit. I'm going to copy and paste this. Imagine that was happening during the slow motion... 'R' key for my Right Stretch tool, and I stretch it all out... I'm going to get all giant-ey. So if you do that and you need it to work... what you might try and do is right click... and go to, where is it, 'Speed/Duration'... and go, try and go to 'Maintain Audio Pitch'. Is it better? It's just different, listen... "Hello." It does sound a lot like me, more like me. So that's one thing you might do. Are you ready for the next thing? The next thing is going to melt your brain... it melts my brain every time... it's how to play things in reverse. So I'm just going to use the same sequence... but I am going to have a fresh copy of my clip. So I'm going to get it to play through - let's move that again - play it through, and then play backwards again. You might be doing something more exciting... with action shots or something... what are you doing, you need to play in reverse... not the whole thing, right? You need it to-- because, if you just want it to play in reverse... right click... 'Speed/Duration', play backwards... and now it's just going to play the whole thing in reverse... from start to beginning... if your machine can keep up, mine's struggling. It's not what I want to do... so I've undone, I want to get to a point... and use all that funny fun ramp stuff... that we learned earlier, to play in reverse. So I'm going to get to kind of here... there's a lot of shortcuts when it comes to speed ramping... you might be like, "Oh man, scribbled so many notes"... yeah, that's the way they've done it. There's not a lot of control over here, so to play in reverse... we need to change this again, a new clip... so we need to say, you, down the bottom here... 'Show Clip Keyframes', 'Time Remapping', 'Speed'. I'm going to click my 'Command' key on a Mac... 'Ctrl' key on a PC, to click there. The difference here is, instead of having a second one... what you do is you hold that key down again. So 'Command' on a Mac, 'Ctrl' key on a PC... and start dragging to the right, which seems counter-intuitive. If you want to play backwards, and you want to go this way, it doesn't work. The icon's very clear, can you see, well, very clear... it's got a kind of a double arrow backwards thing... drag it to the right and you get all this stuff... and you're like, "Oh my goodness, what is all of that"... so playing normal, normal, normal... then it's going to start playing in reverse from here. That's where the backwards is... and then this part here... it's catching back up, catching back up... because it's been playing in reverse for a bit... and now we're back to where we started, which is this point. So this point, and watch... here it plays backwards... here, it's playing forwards... but catching up to where we left off, there, does that make sense? Let's play it actually, Dan, come on. I didn't pick a good point to play in reverse. I'm going to undo that, and I want to go... somewhere there. So practice again, 'Command' key, 'Ctrl' key... hold that same key down, drag it to the right... there we go. So that's how you're doing reverse... again you can do the ramps again... so just holding nothing down, just separate them apart... you can play with how they ease in, how they ease out... but don't worry, if you find it very hard... to work out how this goes... oh, it's trapped. So that's playing reverse, you can actually play with the speed in here as well. We just played it fully in reverse... and now I've done it so that it's playing a slow-mo in reverse... and your machine's going to freak out... and you're going to go, I'm-- because if I hit my 'Enter' key it's going to render the effects. So I'm going to go to 'Sequence', and say 'Render In to Out'... which is my entire sequence... even this yellow stuff... because Premiere Pro is like, "Hey, I don't need to render that"... because it's working fine, it should work fine... you just saw, mine jumping away. So we need to go and render it, or turn down... our kind of resolution, playback resolution to something lower. I'll stop that. That is how to do speed ramping in Premiere Pro. You're probably going to have to watch that a couple of times... note down a few of the shortcuts, practice a bit, play with the timing... and you too can have... weird throwy spinny awesomeness. I'm thinking more action shots, I don't know... I want to see rally cars and drift cars and skateboard jumps... actually, that's what's going to be your practice in the very next video. 75. Class Project 11 - Time Remapping: Hi everyone, class project time. We are going to be looking at Time Remapping. I've got a practice file called Slo Mo 04 in your Exercise Files... practice with that. I want you to do that kind of ramp... where we, you know, plays along... and then kind of slows down at a critical point. In this case it's a kick flip. So somewhere in here, slow it down. I also want you to just practice with that one... and then use your own footage, either your own footage... or something from Pexels or somewhere else, online. It doesn't have to be originally slow motion footage... or high Frame Rate, just any sort of interesting footage... that you want to slow down. You can apply that Time Remapping too. Now everyone's going to be using different stuff... so share in the comments... any troubles you had, and any solutions you found to those. So a reminder for you, like frame blending... something you're going to have to jump into... and probably experiment with, and the timing... and yeah, be just great for you to share... any problems, any solutions to help other people as well. Upload, share the link, share on social media... love to see what you're doing. Make sure you tag me, and that's it... enjoy the Time Remapping... speed ramping slow-mo goodness. 76. Mastering the effects panel in Premiere Pro: Hi there, in this video we are going to look at some of the effects. We're not going to look at each individual effect in Premiere Pro... I'll show you a couple of the ones that I use the most... but really this video is about mastering... all of the effects controls, effects panels... and even showing you some stuff on the Timeline... so that you can work efficiently and fast. I'll show you some of the... yeah, the secret source for using the Effects Control panel... let's jump in. All right, so let's bring in a video... I've got one in your 'Exercise Files', under 'Effects'... this is one lonely guy in there... bring that in... and let's make a sequence from it, and hit 'backspace' key... so we can see the whole thing. When I say backspace I mean backslash, '\'... I might have said that a bit through this course... backslash, the slash that's leaning backwards. All right, effects, now we're not going to go through every single one... like I said, the main ones that I use are just so you know... Blur, we've used Gaussian Blur a few times already... use that all the time... blurring kind of backgrounds and stuff. Other ones that I use that I haven't shown you, Flip... these are handy, Horizontal Flip... it's great for like, when the lower thirds are in the wrong spots... or yeah, just flip the video... and the other one is Stabilize... Warp Stabilizer, remember, and it kind of stops the rocking motion. So those are the main ones. We're not going to go through every single one... because we don't have the time. There's so many kind of different use cases here... we could spend the whole class going through effects... so what I want to show you is... how to get mastery of the effects, that you do use... or maybe other tutorials you follow. In this case we're going to use the effect Tint... so let's type in "tint" and let's add that to our Duotone video... and in this, let's do that kind of... like Spotify effect you saw at the beginning. So I want the blacks to be a dark color that-- I'm not doing it perfectly, but that's kind of what Spotify does. The whites are going to map to that kind of... I want to say snifter, but I'm pretty sure... those are only in New Zealand... they're a candy chocolatey thing... Google "snifter new Zealand"... they look like that. So we've got this thing, easy. Let's say that we've liked this... and we've actually done some Lumetri as well... we've cranked up the contrast to try and get that going... and highlights, and shadows, you play around with it, right? So you've got something that you like. Let's look at animating the effect over time... and I want to, I guess pull out the use cases of using the Effects controls... which I kind of hate on a little bit... or using the Timeline down here. There's nothing wrong with using it up here for effects... effects are pretty easy to use up here. So let's say, at the beginning here... I want to set a keyframe for the tint amount... tint amount does this, in this case... how much is applied, so I want it to come in gradually. So I'm going to start it at 0, hit this little keyframe... to toggle the animation. I got my first keyframe, and then after some time, how long... that long, I'm going to turn it up to 100... and I get another keyframe. So it's a perfectly good way of using up here, maybe at the end, it goes away. I'm going to set a keyframe, so it stays at 100... and at the end I want it down to 0... so hopefully it fades out at the end there, nice. Now the key frames up here are fine... I find, maybe this is just personal preference... but I like doing it down here, and it's good to know that-- first I want to zoom in, remember, 'Shift +', nope, 'Command +'... no it's got to be clicked in here for that to work. So go 'Shift +' down here... make sure that your Timeline is selected... and remember, we've got the opacity rubber band... and we saw the Time Remapping, in the last video... be like, there was no effects, but like... hello, look, they've all started appearing. So it just has those to start with... because those are the default ones... but if you add effects like Lumetri color - it's good to know that it's an effect. - you can turn it on down here... so I can do, tint the amount of tint is the one I want... and I can see my little keyframes... I can start adding them in here, rather than up here, like we did before. You remember the shortcut, how do I add a keyframe? That's right, 'Command' on a Mac, 'Ctrl' key on a PC... and I can decide, like that, it's going to kind of go up... come down again, for whatever reason, but I do like it down here. If you do decide to do it down here... you probably won't see these because I did... I've already done a recording of this, it didn't go well, so I'm re-recording. So what you won't see is those. When you're at the smaller version, I bet you... on yours you can't see these little guys. These guys are handy for moving from keyframe to keyframe. You can't hold Shift and drag the CTI... it doesn't lock onto them for some reason... but you can use these to jump from keyframe to keyframe... and you can see them once you make them really big... but let's say you do want to keep it small... you can actually customize these, remember. So we can right click in this gray area... say 'Customize', and start dragging them down. Yours are probably going to be down here. So to move them up here... you can't just drag them up, we learned this before... you got to say, I want you to be in that kind of like first level... so I can see them even when it's really small... click 'OK'... and now I can use this to kind of move along the keyframes... up here the Shift works for some reason, if you drag the CTI up here... hold 'Shift', it'll drag through to the keyframes... and again, you can bump around using these little arrows... so it doesn't matter which you prefer to use... the Effect Controls or use the Timeline down here... and change this rubber band to match what you're doing, up to you. Other useful things when you are using the Effects Controls... I remember, if you hold down the 'Alt' key on a Mac... no, 'Alt' key on a PC, and you click any of these chevrons... it'll open them all up and just close it down, you're like, "Oh." These little dots here, these means there's keyframes in there somewhere... it's under Tint, there they are... diamonds are good, circles just means, somewhere hiding in here. That brings me to another one... like let's say you have got lots open... you've got Tints, Lumetri color, and it's all going like this. There's a filter option down here... you can click 'Filter Properties' of the Effects Controls... and say, actually, show me everything... that has only got keyframes applied - huh, just nice and tidy... - just to see the things that you're... you know, you're actively working on, because you've got keyframes in them... you have to turn it off, I'll show you this for two reasons that... you can turn it on... you just got to remember to turn it off... because you may be like, "What's going on here, I can't see everything." It's because the filter is kind of like permanently on. This is another interesting one... 'Only show me the edited properties'. So if you are changing things, say Lumetri... because-- there's no keyframes in Lumetri... but you have edited it, it's something you've actively changed... you haven't changed anything in motion. So it is, that can be handy one... I find I only use the keyframed one... anyway let's turn it off for the moment... hold our 'Option' key on Mac, 'Alt' key on a PC... and just close it all up, and we'll look at Tint. So a couple more things for mastering the Effects panel... is Global Effects, we looked at this earlier... probably, maybe. It's hidden in the weird place, that you'll never find... remember this little + button here... in here there's something called Global Effects, where are you? Effects, that is there, put that into here, it's a handy one to have... especially if it's stressing your machine out, and you don't really care... you just want it to play back... you might have just hints of effects... you can turn them all off at once rather than like turning Lumetri off... and then going in here and turning Tints off, and then turning this one off. You can just go, all off at once, all on at once. The last thing I want to show you is being able to-- we've done a bit of work for this one... got some keyframes, we've done some Lumetri... to get the contrast right, it's blue and white... we're going to turn this into a preset for effects... so we don't have to kind of copy and paste it every time. Very similar to other presets we've made... like our picture-in-picture. So what I'm going to do is, I want Tint... I'm going to hold my 'Command' key down on a Mac... 'Ctrl' key on a PC, and click that as well. Anything else that I want, it might be up to you... you might be doing slow motion stuff... you want to put it all together, but I want to combine these two. I'm going to right click them, any of them... go to 'Save Preset'... and instead of Tint, this is going to be called my "Duotone" I'm going to click 'OK', and now I've got... my Duotone ready for action later on. So I'm going to bring in another bit of footage... what am I going to bring in... someone from the last video, I'll bring in that practice exercise... under slo-mo, Slow Motion 04... let's make this out... and where is my effect? You'll find them all under Presets. Now because I've typed in "tint"... I got to clear the search... under 'Presets', where is it, 'Duotone'... there you go, I got two because... remember, I've already recorded this once, went badly... so I've applied it, you're like, "Nothing's happened." Oh, let's apply the tint in the Lumetri... but also the keyframes, see... look at that... then it goes away again in a bit. So that is the Effects Panels... again, we're not going to go through all the effects... just because there's so many of them, and not many of them get used... they get used in combination of like getting to a certain place... so hopefully, now though that you've got some advanced skills in here... you can do those, like short little tutorials... on how to get a specific look... but do it with a little bit of mastery. On to the next video. 77. Storyboarding in Premiere Pro using Freefrom View: Hi there, I'm going to show you how to storyboard in Premiere Pro... where we can move things around and kind of get our order right. Once we've got it right we can select them all... and then make them into a sequence, let me show you how. So I've got a new project... I'm going to bring in some media... I'm going to double click down here in my Project window... we're going to go to 'Exercise Files'... and we're looking for, I can't remember... Social, that's the one I want... nope, not Social, it's called Co-working. Open that one up, and let's bring in everything... let's bring in everything that says Co-working 01 to 11, bring in all of that. So to do our little storyboard... we need to switch to Freeform view... which is this last little icon here, click on that one... and then it's easiest to go to full screen. So the Tilde key, '~', which is that little one with the wave... go full screen, and now, get an appropriate size... like my one's not a particularly long sequence... so you might have a really big group to kind of get in order. So decide on where it is... and then you can start dragging them out. So mine kind of, I'm doing this one... mine's named, I named mine in order... yours are not going to be that well named. So it's pretty cool, you can kind of decide... that's that shot, that's that shot... then you're going to cut to them entering the room. Oh, I didn't put them in order... so maybe, opening the door... and you can kind of just rough out... and remember, you can hover above these... and just kind of scrub along and decide... like, we're going to do that... then they're walking down the hallway, and then they're chatting... and then maybe there's an A and B here... maybe some B-roll over the top of dialogue... and get it into some kind of order now. These are all, got nice little thumbnails... if yours don't you can right click these... and go to 'Set Poster Frame'. So get it to where you want it to be. Let's find one, that's a bit different, this one here... let's hover above it... did any of them have it? No, that's with the door one. Yeah, this one here, because I want the woman, at the moment I can't see her... so let's say that it makes more sense for me to find-- I can drag this little slider here, and set that as the Poster frame. So right click and go to 'Set Poster Frame'... and now that will always be there... and now I can grab them all and kind of move them along... and just kind of drag them out, which is my final one? That's going to be my final one, cool. Get them into some sort of order... because what you can do is actually start your sequence from this. let's say I'm not deciding, not to use that one... I can grab all of these and drag it down into a sequence... you just got to make sure you drag them... select them kind of from the beginning to the end. It really depends on the way you select them. Cool. I'm going to go back to my List view... and now I've got my sequence. All right, that is kind of... a story boarding planning view in Premiere Pro... they call it Freeform view... you might find another good use for that, that's the way I use it. All right, on to the next video. 78. How to add a background color in Premiere Pro: Oh, exciting... we're going to put a big block of color on the screen... oh, it gets a little more exciting, look, we mask this out... so we can use background color with a mask on top... let me show you how. To add a background color there's a couple of ways... I'll show you two of the ways... there's quite a few, actually... I want actually, this thing here is in the wrong spot. So who remembers how I shift these around, what key do I hold down? I want to put you in front of this one. You hold down the 'Command' key, so start dragging first... hold the 'Command' key down on a Mac, 'Ctrl' key on a PC... we should be able to switch them around... and this one here at the end, however you get there, get this one at the end... and what I want to do is put a background color behind it. We're going to mask it out, like you saw at the beginning... but first of all let's make the background color. So there's two ways, the old school way and the new school way. There's no real better version... let's click on 'New Item' down here in my Project panel... let's go to a 'Color Matte'. So we kind of know what a matte is, right? So our Color Matte is going to be... this one here is going to match the same height and width, and size of my project... which is great, or the right Aspect Ratio, and it ends up... well actually, let's do a color first. I don't mind the color as long as it's kind of a tealy green... it's going to go with what we've got here. Give it a name, Background or Color Matte. You'll notice it appears in my project. So it's something physical in here that I can drag on... and it's a full colored background... there's nothing wrong with that... there is more control when you do it with the... Essential Graphics panel. So make sure you open that... go to 'Window', 'Essential Graphics', let's go to 'Edit'... and let's create a new rectangle. It's kind of the new school way... there's a lot more control for animation, depends what you need. So let's click on 'New Rectangle', it's the wrong size... so I'm going to drag it up there and drag it down here... and you can see here, I've got more control... I can play around with its position and scale, and its opacity... its fill, its stroke, its shadow... there's potentially more control here... and you'll notice though that it doesn't appear... in your Project window, so you don't drag it out... you can copy and paste it as many times as you like, and change it... but yeah, they're just going to operate differently. This one here, I want to pick that same kind of green color... I want to put it underneath this, but I need to mask this out. So I'm going to do a quick mask... we did masks earlier in the course, so a little bit of practice. If you found them really hard, you can use the Pen tool... and just go clickety click, click, click, click... just do a real basic one. What you're going to do is... kind of click over here, over this... it's sometimes hard to get over these edges... it's better to kind of click inside and back to the beginning... and then drag these out afterwards. So that might be all you got... you might hate the Pen tool, we can invert it... I'm going to do a good one. So I'm going to start again, and probably just do it in speed mode. Go back to the masking part of the course... if you want a bit of a refresher. All right, so I got my mask, is it great? No? I should spend some more time, but let's invert it... I'm going to turn... further down a little bit, like 2... it's quite blurry at the edges... and let's play with the layer order. So let's move this upper track, put this underneath... and it doesn't matter whether you're using your-- actually, if you're following along... do it the Essential Graphics way, with the rectangle tool. Yeah, it's going to work for us. So adding a background is easy... drawing a mask with the Pen tool is problematic... but hey, we're here, let's get on to the next video... where we look at gradients. 79. How to add gradients in Premiere Pro : Hi there, in this video we are going to make Background Gradients... this shocking looking color here, for a Color Matte... and I'll show you how to make a different gradient... like this one here, for the Essential Graphics rectangle. Two ways, both gradients, let me show you how. All right, adding gradients, easy... easiest is the Essential Graphics version. With it selected, you've got to click on the shape in here... so you're under 'Edit', click on the 'shape'... and down here you can click on this and say... instead of Solid you are a Linear or a Radial Gradient... depends, if you want a round one or a straight line one. So down the bottom here are your two colors... so click on this color, stop, and then you can pick a color. I'm going to go for that same kind of light green on one side... and on the other side I'm going for a darker version of that... that's what I want, I want something simple. This middle part here is... like, if it's lumped to one side or the other... 50% is in the middle, and this is, here is how see-through it is. So you can click on this and say... the opacity is see-through... so I'm looking through to the background... which in my case is black, can you see it here... it starts off a full color and then fades through this... is if you want, like maybe another layer underneath... and you'd see that at the moment there's nothing... so it's black, you get the idea? So back up to 100. In terms of the direction you can kind of see it here... you can drag it around, once you've clicked 'OK'... I can drag this point and that point, there you go. I want mine kind of like starting at the top... and kind of, that's what I want... you want that kind of like drop shadowy kind of effect... that's what I'm going for. If you do a gradient another way, using the Color Matte... it's not a big problem. So remember, your Color Matte's in here... I'm going to bring it in, and with it selected... you apply an effect to it. This one is called Ramp, weirdly... so Generate Ramp, you'll never remember that, I never do... Video Effects, Generate Ramp... you add a ramp to it, and there it is. It's a bit strange to work with. Start Color is easy. I'm going to start with something... whoa, let's make it bad. So there's my terrible gradient. Now in terms of the direction... there might be a better way of doing this... I can't figure it out, but... even if you just want that really subtle change... have something really high contrast... because it allows you to drag these... click, hold, drag left and right... and get an idea of what's happening here. So you can start messing around with this... there's no hidden, but it works... you can get there eventually, start playing around with it... and even then, if you don't like the red, because nobody should... you can go back to something a little bit more subtle... but at least it's clearer when you're dragging it... when it's something high contrast. This one can be Linear or Radial as well, up to you. That is Gradients in Premiere Pro. 80. Keyframes & Easing in Premiere Pro : Hi there, in this video we're going to do... this kind of Easing here, I'm going to introduce... some of the slightly more complicated Keyframing in Premiere Pro... but yeah, let's jump in and make the Home Office slide in. So to get our cool little swipey anything... first is, we need another Essential Graphic... so in the last video we've, well, the last couple of videos... we made an Essential Graphics that we had... remember our background color on... then we had this layer here that has our mask on it... now I want text on the top. So I'm going to do another Essential Graphics, a bit of text... so I have nothing selected, I'm in my Timeline... I'm going to say 'New Text'... and I'm going to make it centered. I'm going to play with the position, not that way... down that way, kind of getting it there... I'm going to double click it and I'm going to say... what is it? 'Home Office'. You'll notice that I already have the right size... if you don't, you probably don't, select it all... drag this left and right until you get the right size. I've added a Fill and a Drop Shadow... why is mine already done? It's because I've already done this video twice, believe it or not... that's why, I don't know, I seem a bit over it in this video. It's because I am-- I've recorded the first one... with the microphone off, which is like, "Oh okay"... then I got it set up again, did the whole thing again... and I used the wrong microphone... was the one with my webcam, it was bad... but we're going to do it now, positivity, let's do it. So we've got our text... I'm going to go back to my Selection tool... I'm going to kind of line it up... and let's start looking at Easing and our Keyframing... The reason this video exists is, later on... very soon we're going to start getting into some deep Essential Graphics stuff... and we need to understand a few things to make it easier. So the first thing I want to do is... let's go to the front of my clip here... depending on how you've got your setup... I'm going to go hold 'Shift', so it snaps to the front... and what I want to do is... I want to show you two different places to put your Position Keyframes... because I want it to start off here and come on in. There's a couple of ways that you could get caught out... so there is, over here, you can see my Vector Motion... there is the Position here... there's also one under Video Motion... which we don't want to touch when we're dealing with graphics. So we want to use this one here unless... look, there's another one in here called... where is it, Position, so there's a few of them. The reason we have two is, let's say that I've got this bit of text here... I want a second bit of text, let's add a second bit of text for... for no real good reason, just... I don't need it for this case... but I want to show you what happens because-- Let's say that-- we're going to add Keyframes... we're going to do it down here in the Timeline, like I like to do. So I'm going to zoom in... let's make this particular track nice and big... and let's change this to show our position. So let's right click it, let's go to 'Show Clip Keyframes'... and this is where it gets confusing. I've got Vector Motion, Position, Motion, Position... I've got Text (HOME OFFICE), Position, there's a lot of them. So in this case I want Vector Motion Position... why? Because I don't have two separate text layers... so I'm just going to do the overall... wouldn't matter actually if I use this one or this one. You only start working with this one... if you want to animate this separately. So you want the text to come on at different times... that's where it gets a little confusing. So what I want to do is turn on 'Vector Motion', 'Position'... I want to delete that Text Layer. Now this is where a combo deal... of both this one and this one comes into play... because adding Keyframes down here on the Timeline... it's really great for Easing... but it's not great for adding Keyframes... for some reason, this is, this is not me, it's Premiere. So what I do is I make sure I'm in the beginning of my clip... I say, 'Position', please, put a 'Keyframe' in... and I want it to start off screen. You can see, whether you drag this one or that one... a weird little shortcut, another shortcut... is you don't have to set the Keyframe here... you can do it by clicking this button... it adds a Keyframe. I know, it's the same thing... it's the advanced class, you learn these things. So I'm going to start it off screen... and also if you hold Shift while you're dragging these... it'll go a bit faster, so I want it off screen like that... and then after some time, maybe that much time... I'm going to bring it back on screen... holding "Shift' again to drag it. So I've got two keyframes, and this is where-- adding those Keyframes there is weird... but the Easing gets a whole lot easier down here, easy Easing. So I'm going to zoom in down here... if you can't see these little-- if I click on this point here you should be able to see these little handles... if you can't, right click it and say, 'Bezier'... and you'll get this, like handle that pops out. Now this is where-- Easing can be a little funny... so watch this, I can drag it up and down... you're like, "What is that doing?" Yeah, it's hard to know, you can drag it up and down, left and right... what you're looking for is-- keep dragging it around until... this is what I'm looking for. So imagine this is the speed of this transition that moves-- here we go... that's a big jump, zoom in... oh, getting lost, happens to the best of us. So this is it moving in, now what ends up happening is... if that is really steep, so if I get it down here... watch this, up and down, I want it down... in and out, so steep. Actually, let's not do steep, let's do flat, sorry. The steeper it is the faster it's moving... the less steep it is, it's going really slow... and I like the way that this often looks... that sort of graph there. So slow, slow, slow, go fast in the middle, and then slow, slow, slow again. Let's give it a go... you see that, what do you think of that? 'Shift K'... I might say my in and out point... so that's the in for the 'I' key... and then 'O' on my keyboard for the out key, hit 'Enter'. Just kind of, make sure the loop's on... and then just kind of watch it, what do I think of that? There's a weird little thing at the end there... let's have a little look. There's a little drop there, click on that Keyframe... at the top is the best way to get it engaged. Oh, why is it painful? I want to grab you... no, I don't, want to grab you and drag you down... can you see, so it's nice and flat into there, without that ridge. Let's give it a go, that's better. So there is a bit of this... and, you know, using the Effect Controls... when it comes to really customizing, and down here... and now that we know there's a couple of different positions... we shouldn't get too lost later on. The other nice thing is, is that... once you've spent some time on something like this, with the Easing... you can save it, or copy and paste it. Let's say I select this, I copy them just like... I'm using 'Edit', 'Copy', that one there... I'm using 'Command C' on my Mac, 'Ctrl C' on a PC. Let's say that on another sequence, let's make a new sequence... and let's add a bit of text, make it centered... I can go to my 'Position', you got to click on it... you've got to turn the Keyframe on, and then paste... can you see, it brought the Keyframes along. So turn the-- click on 'Position'... turn the little keyframe, little 'Toggle Animation' stopwatch on... and you can copy and paste them from one project to another. If you are like, you want to use them more than that... you can grab them... actually no, you click on 'Vector Motion' and 'Position'... to get more than one thing, you want both of these... hold down the 'Command' key to get both of them, on a Mac... 'Ctrl' key on a PC, then I can right click any of them... 'Save Preset', let's call this one 'Amazing Easing'... click 'OK'... and then you can go to another project, another sequence. I'm just going to make something else... nope, let's go make something new. So there's nothing on it, it doesn't do anything... let's enter it to get started. I can find it in my presets, on a different project... I can say, where is super amazing Easing... just dump it on, and watch this... hey, came along for the ride. That is the third rendition of the Keyframe and Easing... slightly more advanced, clarifying a few little bits... all in Premiere Pro, on to the next video. 81. Linking vs Grouping clips in Premiere Pro: Hi everyone, let's talk about Grouping versus Linking. I want all of these separate things to be stuck together... and Premiere Pro goes... "Do you want to link them or group them?" Let me show you which one to use. The short answer is, they basically do the same thing, most of the time... it doesn't really matter which one you pick. So we've been making this little lock up... there are some differences, that's why there's a video... but we've been making this lock up... there's some text on the top, there's some... bit in between here, in the background... but really we're making this one unit. Once it's made we want it to move around, and edit together... so you can select it all. The differences are, when I right click it... and I say, "All right, do I link it or do I group it?" Linking kind of connects it up... and gives you more editable control, let me just show you, actually. Let's link it, linking it means that... when I click on one they all get highlighted. So that's different from grouping... and also when I drag one end they all come along for the ride. The other perk for this is that, can you see, they're all-- I can still see all the good stuff in here... I can edit the position, I can see the shape in here... and I can do lots of adjustments. So different from grouping, let me show you groupings. I'm going to undo that, select them all again... and use the other option, and go to 'Group', watch this... if I click off, I click it back on... have I grouped them? I have grouped them. I can click on one of them and drag it off... I can click on one of them and have them all selected, and do them together. So it's a little bit more flexible that way. When I have them selected... you notice that it just says, Multiple Clip Selected, and goes... you can't do anything else, that's one of the cons... but it does mean, when you use a group over link... is when you have to do... anything that's not stacked on top of each other, watch this... if I want to grab all of these guys... because I want them all to be grouped... I need to move them along as a unit. I've kind of set the sequence... and I just want to move them around together... rather than trying to select them all. I right click them and I can't link them... because it won't let those side-by-side things link... they have to kind of be on top of each other in the stack... or at least just two items. So I have to group multiple stuff... it means I can click on them all and move them all together... but it also means that I can still do some editing. So get in there and edit this one... even though that's still part of that group. When in doubt, go for linking, unless it doesn't work... because you're selecting multiple stuff... then use grouping. I use quite a bit in-- where is this one? So I link, in this case it wouldn't matter, if linking or grouping... I've got this text message that appears on some of my YouTube shows... you see, that thing pops up... and I've got a little bit of a sound that always goes with it. So whenever I move it I need it to come along for the ride. So in this case what have I done? It is grouped, hey, doesn't really matter... where it would matter now, if I clicked on it... and I want to see it over here in my Effects Controls... I can't see it, I can't go and change it. So it's probably best set as a link, there you go. Now it's still connected, but I can see a lot of bunch of stuff in there. Why was it grouped? I don't know, made this a while ago. That's the difference between Linking and Grouping. 82. Nesting Sequences vs Sub Sequence in Premiere Pro: Hi everyone, we're going to learn what the difference... between Nesting and Subsequences are. You might not know what either of them are... so we're going to learn that too. Let's start with, well, let's see them both in comparison. Basically they're the same thing... they just have slightly different ways of operating. Let's say that this particular thing here is getting quite complicated. So there's quite a few things going on... I want you to know, there might be lots of layers... and it's just getting really unwieldy. So instead of just linking them or grouping them, you can select them... and you can right click either of them... and you've got this, Nest and Subsequence. So Nest is mostly the one you're going to want... if you remember nothing, just nest them. The nesting, watch this, I'm going to give it a name... this is going to be my-- let's put this, my "Outro"... let's say come outro... can you see, it's just kind of smooshed it into one little graphic, which is nice. Hidden away to make the Timeline nice and tidy. What it's also done is it's put it here, as a sequence over here... so you nest something, it creates a new sequence... puts it over here and smooshes it down on the Timeline. The difference between that and-- I just did undo... exact same thing, right click... if I do 'Make Subsequence', what happens is... it made that exact same thing over here... our Sequence... didn't give it a name though, which is not-- is it annoying? I don't know. Let's call this the "Outro"... so we've done the exact same thing... except it doesn't compress it over here. The reason you use that over the first one... is I'm using this to make a Subsequence that I can use later on. I want to keep all this detail here... I just want to have a nice little packaged version... that later on I can go, actually... my outro, I'm going to whack it on there... you end up with the same thing... can you see, it's still that same kind of green package thing... just on the original, instead of being replaced with the green package... left it alone, and just put it over here, that makes sense? Let me make another one and nest it. So at the moment that was the one... that's the Subsequence, if I right click this one, and say... actually, I want to nest it... I'm going to give it a name, I'm going to call this one "Outro 2"... you can see over here, I've still got that first one... which was the Subsequence, this is the Nest... they're exactly the same thing over here. The difference is, what happened on the Timeline... one of them was left unpacked, and one of them was packed... and I could use either one of these because they're exactly the same. The new one over here, same thing. Now that we know that they're kind of the same thing... let's show you how to dive in. So once you're into here you're like... "Well, I need to make an adjustment, how do I do it?" Double click it in there, you can see... I'm inside Outro 2, the sequence... and I can make my adjustments. Let's say, Home Office, and I change the color to make it obvious... go back into my sequence, and you'll notice it's changed. Let's go to the other sequence, where I used it... can you see, it's changed in here too. So that's one thing to be mindful for. You're actually replacing it with a sequence... and putting that sequence on the Timeline... and you can control it kind of globally, which can be a perk... especially if you're doing like intros and outros... that are the same, you want to make a small change... and you want to spread throughout your project. It won't jump across different projects... but within a project it will update and change... does that make sense? I do this quite a bit when I'm working on my intros for... let me show you one... let me show you this one. I've got way more complicated ones around but I couldn't find them... well, they're not on this machine at the moment... and they're too big to download. So you get this one here, it's an intro for... let's have a look. It's an intro for one of my videos... little jump cuts, but there's just a lot going on here... you just grab it all and say, you... missing font, it's okay... and say, let's just make you as nest... just to make it nice and tidy... so that later on I can go into this nest if I need to... but for the moment it's nice and tidy, and kind of separated. I can still do edits like this, I can still do... oh, that reminds me, something else I wanted to show you... I can still animate it as a group... so watch this, let's go back in time to... I think it's video 63... so I'm going to show you that one now... 63 or 64. I want to show you, remember we did this where we masked the background... now I want two at a time - I was waiting for this part of the course... - is I want to group these two... instead of grooving them I'm going to nest them... to tidy them up, because grouping doesn't allow you... to kind of animate them all together. So I'm going to call this one "Ocean"... and now because it's a nice little unit... I can go to the beginning, I can go to my 'Effect Controls'... and say, start the 'Scale', go to the end. I'll go to the end here, back one keyframe, so I can see it... and then scale it up a tiny bit... that's way too, not tiny. I'm going to go 110%... and it's just going to slowly kind of move over time... because that-- remember, the sky wasn't actually animated... so it's a way of kind of doing that. You can do it with a pan now, slow zoom, kind of dolly shot. Now they're all kind of stuck together in this nest. Are we all lost? A little bit. Let's go back to that original thing we're working on, lots of projects open... let's use our fancy shortcut, I'm going to go to... I use this little double arrows to go to the one that I was working on... when we started this video, and I'm going to say... you close all other projects, please. Do you want to save them? Why not? Not that one. So close all those projects, I'm back into here... so let's say that we've created-- I'm going to delete the second one... because basically they're the same thing, so I've got my outro... now what some people do is... they'll work straight from the Project panel... into the Timeline, and do inserts. So let's say that I have got this outro... and I want to put it in here, you can-- don't have to drag it over, you can use that shortcut... remember the shortcut for insert... when we're up here in the Source monitor... you can avoid the Source monitor... go straight to your Timeline if you wanted to. So I'm going to go here, and my-- the shortcut is the comma key on your keyboard... you see, I insert it and it inserts the nest, can you see... actually, I'll patch to the right track... see, it inserts it, if you hit this button here... this is an elaborate way of showing you... what the heck does this button do. Turn that off, then if I use that same comma... it brings in the stack of individual parts... depends on what you want to do. So that's what that button does... I never ever use it, but now you know... but what is interesting is Nesting Sequences versus Subsequences. Basically the same thing... except Nesting squishes it down on the Timeline you're working on... Subsequences leaves it unpacked, both of them... put your selection in a sequence, in your Project window... and now we know what that thing does. There will be somebody out there going, "Huh, that's awesome"... I bet you there's only like two of you though. Anyway, let's get on to the next video. 83. What is a sub clip in Premiere Pro: Hi there, in this video we're going to look at Sub Clips. Sub Clip's a way of taking really long bits of footage... setting in and out points... and then turning that into its own little unique clip... and maybe sticking it into folders... so that we can separate all the different bits... all the different characters in our documentary. So instead of just trudging through the long bit of footage... we can spend some time up front... cut the long bit of footage into nice little tidy pre edits... these little sub clips here... and we use this to build our sequence, just small little pieces. It doesn't require you to kind of like... render them out as separate pieces... it's just a little way that Premiere Pro lets us cut them... into unique-- identify little pieces. We need to name them, and the original stays perfectly fine. All right, let's learn how to make Sub Clips. To make a Sub Clip let's bring in... something from your 'Co Working' folder, called 'Sub Clip 01'... and in this case, the way you make sub clips... is kind of, before they get onto the sequence... so double click it, so it's open in your Source monitor... and we can see in here, there's kind of like two moves... and we've just got a small file here for file size... but let's say there was 10 people going past... or lots of different things happening. Want to separate them up... so we want to separate this one, and this boy here. So this first one here kind of starts just before on screen... I'm going to set an in point, scrub along... until it's gone. I'm going to set an out point, which is my I and O keys. Remember, the long way is down here, Mark In, Mark Out... so as long as you've got this... then you can just say 'Clip', 'Make Subclip'... or you can right click it there and say, 'Make Subclip'. I don't know why I do that, it's the way I do it. Not great names for all of these... it depends on how hardcore you want to name these things. I'm going to call this one 'Bella 01'... and it's going to be, actually, 'Bella Subclip 001'... it's going to be fine. This thing is relatively important... so we'll leave it on for the moment, and have a look. So basically all it's done is taken that one Source Clip... that has both bits, let's make two of them... actually let's make the-- bring the boy in... he's not part of the interview or documentary... so he's just going to be called "Boy"... and he falls off. So I've got my in and out point... again, right click, let's say 'Make Subclip'... this one's called... "Boy", he needs to be "Boy 01". Who knows how many other boys are going to be in this clip? So I've broken that one master clip into two... so in terms of your file structure now, we'll create a bin, a folder... and depending on your project... let's say that I'm going to find lots of different Bellas... because I've got lots of B-roll to get through... that's going to be my 'Bella B-roll'... and there's going to be others... and there's my boy clip, going to go in there. Let's say we have our master clips... and I'm going to pop that one in there. So I don't need that one anymore... I've sliced it out, I can go back to it if I need to... and now I've got my first bit of B-roll for Bella. I'm going to go through lots of other footage... cut it all out, just the bits that have got her in it... so that when I do begin editing... I can start dragging them onto the Timeliine. Actually, let's do that, like these things have a funny icon... but basically they behave exactly like a normal bit of footage. Let's drag it on, cut a sequence from it... you'll notice that it's just this one piece of footage... and same with-- let's have a look at-- let's get the sequence out. This is going to be my... "Interview"... and we'll start piecing together our project... all these different edits, we're going to, at the moment I understand... but that's how you do it, you separate them out... so you've got them as unique little parts. The one thing that I see was reasonably important... is let's say this, our Bella 01 here... we've trimmed it up, and we said something like... don't allow trim to edit... it's not what it says... but something like that, watch this. I can't get to that boy... remember, he's actually part of this clip. Why can't I just drag it out? So when you do make your first cut-- let's open up that master one... let's say, with this boy here, if I say 'Edit'... nope, 'Clip' and go to 'Make Subclip'... this bit here restrict the trims to the sub clip boundaries... just means I can't drag it up, it's forcing it in there... don't go any further. You can have that off... I'm going to create a third one here, just to show you... and it's of that boy. It means that when I drag this in now... I've got this, I can actually drag it out... and adjust it afterwards if I want, it's up to you what you want to do... you can adjust them afterwards. Let's say that you do want to change this now... so in your sub clip, have it selected, where's Bella? Go to Edit, and there's, sorry, 'Clip', and go to 'Edit Subclip'... and you can say, actually, Restrict Trim, turn that 'off'. So now I can go in and drag it out... up to you, how you want to work. I normally just turn it off... because I do want that kind of scope... there might be a bit of pre-roll that I need... for transitions and stuff, so up to you... you can turn on and off... that is creating a Sub Clip. I'll show you, maybe a bigger for instance... just because I've got some big files on my machine. You don't have this one here, I'm just going to drag it in... it's the interview with some of the parents of the girls... and this is what, 15 minutes, not super long... but you can see there's lots of questions... being answered, and responses. So what I can do is I can go find all the breaks... let's say this first part is... I know, not an actual question, it gets into there... you spend more time figuring out where the beginning of the dialogue is... you set your in point, you go along-- I often use the-- away from the kind of-- at least get me close to it... there we go. Let's say that's the out point, so I and O... let's turn that into a sub clip, 'Make Subclip'... and that is my "Interview 01"... I got my first one... and then I just keep working my way through... deciding which place to cut out. I get into this big monkey thing going on... I want to get rid of that, in and out... I go and check it... spend more time doing that, make another sub clip... and I can chop this big long interview... into all these different parts, make a bin for it... call it "Interview"... I'm going to get it out. That's one thing, sometimes it can be hard to like get this out... if you've got folders and sub folders... you're like, come out, why aren't you coming out? It's just a click, hold, and just drag it to the left... do this kind of no man's land, and it will come out. There are my two interview parts... and then, where is my... Bella, where's my original one? Didn't actually import it? That's interesting. Because I dragged it, you didn't see that I just dragged it... straight from here into my Source window... and then started chopping it up. It didn't actually import the original... which is useful to know... so it didn't import it into my project. If I do want the original there I'm going to have to go, you... put it in my Master, just so I've got it. You can obviously skip that step... by dragging it straight into your Source monitor... and then start carving out all the sub clips. Just know the original didn't come along, yeah, keep this tidy... and I'll keep the original in there, so that can be found later on. You, go to where you need to be... I can't remember which one that is... get myself lost, but that's it... you've got some Masters that you slice all up into sub clips... put them into groups to make your project a lot easier... when it comes to putting it together here in the sequence. All right, that is sub clips, I will see you in the next video. 84. Adding logo via the Essential Graphics panel in Premiere Pro: Hi there, in this video we are going to... look at adding a logo to Premiere Pro. There are some quirky things that go along... with vector inside of Premiere Pro... plus we're going to try and make something... reasonably complex with your Essential Graphics panel... so that we can show you how to work with it... and some of the tips and tricks for getting it right. All right, let's dive in. So you might have been building the Co Working project... you might not have been... I've got a file here that you can all catch up with. So I'm going to open a project... it is in your 'Exercise Files', it is under 'Co Working'... and it's called 'Co Working V1'. When you open it up you might be missing footage... you can go and find that in the Exercise Files, if it loads up... and it looks something like this... as we're up to at the moment. You can rebuild it from here, up to you... this is kind of all I want... is a bit of this last part of the structure. Yours might look something close enough to this. So adding a logo, what I want to do is... we can add the logo by itself... by clicking over here and saying, 'Browse', 'Edit'... actually click off, so nothing selected... and then go to 'New', and go to 'From File'... that's where we could bring our logo file. What I want to do is combine it with one of these two... I want to combine it with this bottom one here. So the bottom graphic in this case is just the colored box. So I'm going to, we're going to combine it... mainly because I want to show you how to combine stuff... and so there are layers not getting out of control... kind of Photoshop style, untitled 52. So we just want a couple of simple tracks in here... or layers, as they, you know... we call them in other programs. So I'm going to have this bottom graphic selected... I'm going to be at the beginning, for no reason, just to be, the beginning... and I've already got a shape. I'm going to name it, double click it, this is called my "Background" I'm going to import another thing, it could be text... we're going to go, 'From File'... and we're going to bring in... under 'Co Working' there's one called 'Logo Cowurk Outlined'. It's an Adobe Illustrator file. So I'm going to import that, and it ends up behind everything. I want to move it up, and over here. So with it selected here in my Graphics panel... I'm just going to drag it left and right. I actually just drag it up first, and across... you can get it perfectly aligned by... can you see here, there's these ones here... it says Vertical Center, Horizontal Center. At the moment mine's kind of behind this book here... but that might work for you for what you need to do. You align the top, bottom, left, right, all of these things... and what I want to do is ignore all that... and get it exactly where I want... which is kind of in the top right here. Now one thing to notice is, do you notice... that when we added, say the background kind of square... nothing appeared over here in our Project panel... but when we imported this thing from Illustrator... you'll see, there it is over there... comes as part of the project file. Now the first thing you're probably going to do is... then go off and search. Why is it going blurry when I scale it? So let's, with the logo outlines selected here... you can either scale it here, kind of show you both ways. You can do it in the Effect controls, which gets a little bit messy... or over here, you can say, actually, let's scale this up... and it's that one there, drag it to the right... can you see there, that actually, it's starting to go all blurry... and that's not you, it's Premiere Pro. Premiere Pro is not cut out to do vector, I don't know why... but it doesn't do something like After Effects... which does like continuous rasterization. I can't remember what it's called... but it doesn't work, you can't scale it up. So if you have no idea how to edit the vector... you're going to have to go back to the original creator... and say, "Can I have a bigger logo, please?" You're looking for the biggest one to import it, doesn't have to be vector... because it's not scalable anyway. It can be pixelated, sorry, a raster image, a png, a jpeg... and ideally we want vector... but Premiere Pro doesn't know what to do with it. If you did decide, I want to scale it up... let's say we do have to scale it... what you need to do is, edit it in Illustrator. You might not have the skills to do it, I'll give you a quick demo. So over here, I can go to this one... I can right click it and say, scroll down the bottom, 'Edit Original'. So I just right clicked it... so 'Edit Original', it's going to open up in Adobe Illustrator... and if you don't really know how to use it, don't worry... if you're only scaling things... really all you need to do is select it... I'm using this tool here, drag it out the size you need it to be... holding 'Shift', so it doesn't scale. So let's say I want it to be about double the size... you want it bigger than you need it... zooming everywhere. So get it the kind of size you want it... and then the Artboard that it came off... it's really easy to adjust, this is a handy tip... if you click on your Artboard tool, and say... I would like the artboard to be not a custom size... but I want it to fit the selected art. If you don't have the text-- your graphic, selected... so select it all, if you can't see and you're like... "Hey, I'm doing this with Dan, and it's not working"... hit 'Command Y', it'll go from being kind of white see-through... to this outline view, select it all... 'Artboard tool', and say, let's set the Artboard to fit the selected art. Hit 'Save', drop back into Illustrator... and you'll notice, can you see, it doubled in size. I don't need it too at the moment, but you will, I bet you. I made the logo perfect for this. So yes, there is, there might be in the future... if in the future Premiere Pro... starts doing Vector Suite... you let me know in the comments, and let everyone else know. I'm going to go back to here, undo it, save it, close it. There's a nice little connection, right? You don't have to like update it or re-import it, that's nice. Cool, so we've got our logo in here... let's do the animation for... we're going to get it to fade in, a bit of practice... and we'll do it on both sides, just... because I know it can be a bit daunting with both sides here. So I've got my graphics selected here... I've got the logo selected, I'm going to go to the beginning. I'm holding 'Shift' to make sure it snaps to the beginning... and I'm going to say, set a keyframe for opacity... which is this one, and I want it to start at 0... then move along some time... I have to adjust it in a second... and then to get it to come up. You can just do it that way... that might be a nice way of working... hit 'Spacebar', let's play it, you can see, it fades in... fades in, there you go. 'Shift K', remember, is the kind of jump back and loop around. I can live with that. I'm going to undo it over here. You should just practice doing it both ways as well. So same thing, back at the beginning... I've got my graphics selected... I've got the logo selected over here... and I just need to find the right one. So I'm going to twirl up my video. When we're dealing with like motion graphics... we want to be dealing with this Graphics tab... nothing down here in video... because you can do opacity... and in this case, to be honest, it'd work fine. Don't tell anyone, but you should be using the vector versions. So I can do one of two things... I can do the animation of the entire group... which is this vector motion... which will do both the logo and my background. I'll show you what I mean... you see, I can do-- can you do opacity? You can't do it for vector motion, good work, Dan. You'd have to do it down here... and if I did it down here, you could do it for both of them. So it does the background and the graphic... and you might be totally looking to do that. To do them individually let's find... not the background but the logo... let's twirl it down, let's set a Keyframe... for the beginning of opacity, go along some time... and then actually go back to the beginning. Holding 'Shift' to make sure it snaps... I turn it to 0 at the beginning... so set the little timer, set it to 0... move along a little bit, set it to 100. You are exactly the same thing... as doing it over here, like that first bit. I'm going to add one more thing in here... because I want to, before we carry on. You saw at the beginning there, we had a bit more text... so with this graphic down the bottom here... I'm going to add a second bit of text. I'm going to say... another bit of text... this one's going to be, "Welcome to your new"... can't see it because it's behind everything, that's all right. I'm going to move it kind of over and up... probably best when you're working with it... is to make sure you spell it right. You can double click it over here to adjust the text. "Welcome to" you can double click it on here... you can see, actually on the Program window to jump to the right one... which is handy. "Welcome to your new"... and you can see my mask here... I've got this phone, that's kind of in the way. I think when I originally planned this video... I planned to cut the phone out. This gives me a really good excuse to show you... how to update that. So I'm going to make sure my text is centered... so that when I do adjust the size... it goes from the middle, get it in the right spot. Oh, we can use our shortcut. I'm going to mess around with this mask now. So where is the mask, it is on there. I'm going to go back to my 'Opacity'... there's a mask in there... with it selected I'm going to... grab you, drag it down. Now to get rid of this guy, you need to hold down... the 'Command' key on a Mac, 'Ctrl' key on a PC... and just, you can see the little minus, ' - ' appears... and say, get rid of you, get rid of you... get rid of you, get rid of you... and this is my plan for this thing. I'm going to go straight across... actually I have no idea what I'm going to do. I'm going to add a couple more points, so maybe you... and I'm going to go... "What are you doing, Dan?" Making a straight thing across there, get rid of that phone. So click off in the background... so now I can see, "Welcome to your new"... so there we go. I'm going to pick two fonts ... I picked Arial for you guys... just so that it didn't freak out with the new fonts... when you opened it up, if you carried along. Anything else? I'm going to mess with the fonts in between videos. What I'm going to do before you go is get the timing right. Oh, there's one other bonus thing I want to show you. So I've got that coming in... let's say that I do want Co Work to be down here... so it's currently here on this bottom layer... so if I move it down, because it's underneath... this middle part here... I can't see it, you're like, well, I need it up here now. How do I do that? So if you do need that to happen... you can have it selected, click on the logo... just go straight up, 'Command X' for cut, or 'Ctrl X' on a PC... that's just, you know, when we're cutting and pasting... just regular old shortcut... select it at the top here and say 'Paste'. It'll go from this Essential Graphics to this one here, at the top. So now it's on top and I can move it down... click on just the part I want... Home Office, nope, the logo... and I can move it down. I don't want to do that, but you can... just you can cut and paste between them. Other useful things, when we are getting... these kind of like bigger groups of Essential Graphics... there's lots going on in that one little clip. You can see over here, we can start doing groups... you might decide, all your text goes into one... all text... and all the text goes into one group... and you might have, let's say-- make sure we-- you can see, the group ended up inside text. I'm going to undo, just have nothing selected... click in no man's land... to do a group that is not kind of inside that first one. Let's go double click this one... that's going to be my logos. Mine's not complex enough... mine never get complex enough. To break these into little groups, it's totally up to you. You might get really complex... or at least all the text needs to go... or you just want to hide everything... except for the couple of bits of text that you can edit, and adjust quickly. Obviously Layer order is quite important, so background... if it's at the top, covers everything. Background needs to be at the bottom... I'm going to do one more thing before we go... is I'm going to get that "Welcome to" to animate on. So make sure you're at the beginning of your clip... with it selected, "Welcome to your new"... I'm going to say, start the-- toggle the animation, full position on... and I'm going to start it up. If you always drag it the wrong one-- the wrong way... don't worry, I do it all the time. You, go up there... then after some time maybe... yeah, there, it's going to come down, how far? Don't go the wrong way. Let's work on the easing... so let's have a look at just this one. Let's say, 'Show Clip Frames' for... this is getting pretty complex now... it's all right, we know what we're doing. I'm not looking for the logo... we're looking for the text that says, "Welcome to the new"... I want to show the 'Transform Position'... and I'm going to see if I can zoom a little bit. Now I want to click on this, drag this... be freaked out by how crazy it looks... and I'm going to drag it like this. I want this kind of like... I like that sort of look to it. That will do. Good bit of easing... the timing's not quite right. One last thing before we go... let's just do that, I want the "Welcome to your new"... to come in, and then, "Home Office" afterwards. So with the 'Home Office' selected... because that's the only thing on there... there's only one thing, I can just go, yep... rather than mess with the keyframes. Let's have a look at the end, it's probably poking off the end here. One last tip, I said there was no more tips... is the Rate Stretch Tool. If you have got the timing, it's not quite right... you want to make it fast or slow... you can get in here and start messing with keyframes... but if they're complex you're like, "Man". Just type the 'R' key for our Rate Stretch Tool... and this guy here, grab the end, and you can speed it up... and the whole thing, all the keyframes in there... can you see, come along for the ride. So I made it faster... or I can drag it out to be slower... I can do that... and then go back to your Normal tool, and kind of get it, the timing right. That will do. All right, off camera, I'm going to pick new fonts... I'll see you in the next video. I lied, I'm back already, hey, there's the fonts I picked. I wanted to show you something because I ran into a problem. I saved over the file that I meant to save for you guys... it's meant to be nice and clean, and be an Arial... but I just totally saved over the top of it... so I wanted to show you a quick thing... is, there is, sometimes you can go to File Revert... and that will go back to the last time it was saved. It's grayed out for my-- for whatever reason, so I'm like... "How do I go all the way back?" I can smash you, undo, that totally works... or I can go to 'Window', I can go to 'History'... and you might only want to go halfway through... but you can see, there's all the things that I did. I am going to now, I'll go back and say... go all the way back here to where we started... and do a 'Save As' so that you've got this nice clean version. Anyway, that's a History panel thrown in there at the end of this video. All right, that is totally it this time... I'll see you in the next video. 85. How to add effects in essential graphics panel in Premiere Pro: Hi there, in this video we're going to do... kind of like some motion blurry effect... mainly so that I can show you... how you can apply effects to individual parts... of this Essential Graphics panel... and not affect everything in it, you can do little parts. So let's jump in here and kind of make this slidey blurry thing. All right, let's add that Blur effect... so let's find it in your 'Effects' panel... let's type in 'Gaussian', or at least the first three letters... find it, drag it on to the clip we want to add it to... and if we crank it up, where is it, Gaussian Blur, crank it up... it's doing it to the logo, the text, and the background... so that's not what we want. What ends up happening is, let's have a look now... because we've got this more complex Essential Graphics kind of panel... see, Gaussian Blur gets stuck at the top... it affects everything underneath it. So if I drag it underneath the logo, can you see... it affects the text but not the logo now... so you need that structure to work for you... and in our case what we want to do is... let's say that we want it to be... because I want it to do the text but not the background... because the background's gone all blurry, can you see-- let's turn that off... I will on and off, can you see... it's blurred the background, you can kind of see the edges there. I want just the text, how do I do that? That's where these folders come in handy. If you didn't have a folder... you're not going to be able to do just the text... but because it's in its own bin, so you make a bin... you can drag your text into it... I'm going to delete that one... let's do them all, let's pretend you don't have a bin... you come out, let's get rid of that... let's say you don't have a bin... so I want the Gaussian to only apply to this text... you make a bin, we call it 'Text'... you're with me, right? Test, every time... and just make sure it is above our text... but because it's inside this little bin... it doesn't kind of come out here and grab the background... can you see, it's not touching the background at all... background is okay. So Gaussian Blur, let's animate it over time... so let's have a look at the beginning. Our little animation goes like this, kind of slides down... so at the beginning I want to be really blurry... and at the end here I want it to not be blurry. So how blurry? Let's have 'Gaussian Blur' selected... and what I want to do is, I want to, over here, find it... which can be troubling or problematic. Have a look through here, there it is, finally found it. I want the blurriness in my case to be just vertical, up and down... because I want it to feel like it's moving this way. If you're from After Effects land... you'll know that there's a button, just... it's just called Motion Blur, and it knows all of this. We've got to kind of fake it here in Premiere Pro. So blurriness, how blurry? I don't know, up to you, that looks good to me. So I want it to be at 124 at the beginning... so while it's moving fast, and then when it comes in to land... how do I find it, where it comes in to land? In this case I can kind of see my Keyframe... there, is that it? No, that's my logo one... there's lots going in here, and you're like... "Man, how do you keep control of it all?" One of the little filters might help... remember, we can show only the Keyframed properties... actually, do we keyframe Gaussian Blur? We haven't yet... so before we do that let's turn-- we're at the beginning of our document... where I want to be nice and fast, so 124... let's set the little timer going. So I've got my first Keyframe, then we can say... actually, just show me the other properties that have Keyframes... you can see, it's tidied it up a bit. So there it is, there's my Text, there is my Position, Transform... for my Text, "Welcome to your new"... you're with me? So there it starts, and there it ends. I want my Gaussian Blur to maybe end at the same time... so there's Gaussian Blur start... there's a Position start, I want maybe the end to be there... so I can say, jump across to it, there you go... and I can say, let's set it to 0... so they kind of match. It's not going to look great, but we're learning, watch this... that's kind of cool, it's got this weird... like little distortion field at the end there. So probably what I want to do is... just grab this one, in a little bit further that way... just so it stops blurring when it gets close to the end... remember 'Shift K' will give you a nice little loop... that doesn't work unless you've got that down here selected... there we go. 'Shift K'... actually, let's set our in point and an out point... so 'O' for out, 'I' for in... hit the 'Enter' key on my keyboard... and it's going to loop in there... make sure your loop's on. We can do the same thing for Home Office as well... because it kind of needs to get blurry on the way in, let's do that together. You can select this, remember... and you can copy and paste things... I can grab this, copy, go to 'Office'... paste, and it's come along... but it's got all the wrong Keyframes, so it's not that helpful... so I'm going to undo that, and just make my own. All right, well, Home Office selected... I'll be at the beginning, let's drag Gaussian Blur on... it's going to affect everything underneath, which is no problem in this case. How blurry do you want it to be? I'm going to drag it out so I can actually see it... and go to Gaussian Blur. Now this is a really good point... I've still got that filter on, so you'd be like... "Where's all the Gaussian Blur stuff?" It's because I said 'Only show me Keyframed Properties'... which can be problematic, so turn that off now... I can say, let's go 'Horizontal'... let's crank it up, how blurry? About that much. So when it's starting, kind of my one here... your animation might be different... can you see, it starts slow, gets fast, and gets slow again... so blurring right at the beginning, does it make sense? It's right at the beginning, it's going to be set to 0... then when it's at its height... about there, I can kind of see it here... that's as fast as it's going to be. I'm going to crank it up to my 117 or... whatever I feel like... and then at the end there... closed, before it finishes... I'm going to set it back to 0. Did I actually turn the Keyframes off? "You didn't"... you're like, "He didn't hit the button." Let's do it all again... at the beginning, blurriness is a 0... I actually click this, geez, Dan. All right, get to the fastest bit, then crank it up to something, feels good. Get to the last part... towards the end, not completely at the end... and I'm going to turn it back down to 0. Now I've actually got Keyframes this time... why do it once when you can do it twice? It's probably not blurry enough in the middle. So just make sure that you are-- you can use these little arrows, or hold the Shift key... snap between these, make sure you're on that Keyframe... crank it up... how fast is it going? 'Enter' on my keyboard so that it loops... that doesn't look very good at all... and you play with that for a long time to figure out what works best. Try again... that kind of feels natural-ish, does it? Hey, it's-- what's going to do right now? All right, that is it, we added effects to our Essential Graphics panel... just got to make sure that they are in the right order... and if the order doesn't work for you, create a group... and jam the thing you want to blur... along with the Gaussian Blur on top of it, inside of it... and you will be golden. All right, that's it, I'll see you in the next video. 86. Responsive Design - Background box grows with text Premiere Pro : Hi everyone, in this video we are going... to look at something called Responsive Design. What is it? It means that... basically I've got this Essential Graphics group here... there's a bunch of different things... and they're all kind of connected to each other... through this thing called Responsive Design - Position. It means, what we're going to rig up is... when I change the name... Carol is now called Jones, can you see... it expands both the box underneath... and the logo tags along with it as well. That is Responsive Design in Premiere Pro... let me show you how to set it up. So we're going to create that lower thirds... we're going to do it on this one here, it's 'Co Working 03'... see if you can find it, give me any of them, doesn't really matter. I'm going to do it over the top of this one... and I'm going to go to my Essential Graphics panel... we're going to go to 'Edit', I'm going to add some text... and I'm going to pick a font, you can pick any font you like. This one's going to be called, she's called "Carol Smith"... that's not her name, but let's just pretend it's the name for her. We want to add it as a lower thirds... so I'm going to move it kind of down here... I'm going to make it 'right aligned'... can you see, with the text, just so that... because we're going to reuse this... when it goes to the next person with the longer name... it's going to kind of push out from that side. So get it into the right position... so we're kind of, like there... enough room for our line underneath... keeping away from the safe areas here... so that's going to be it. So I can just add a background, just so you know... you can add a background color... and that is the easiest way to do that... because it actually expands with it... but that's not what I want to do in this case. So I don't want a background graphic... or the little line that appears underneath... that expands with it. So to do that let's create the box... so I'm going to make sure the clip is selected here... let's go to 'New', little new one, click on 'rectangle'... let's give it a name, let's call this one "Underline"... let's shape it. You can, with it selected... do it here with Scale, you can say... unlink you, and play with height and width... or probably easier is just to actually... with your Selection tool, click on it, and just kind of drag it. It doesn't matter which way you do that. So I'm going to drag it, so it's kind of lined up with it, there you go. So I want that to kind of expand and contract along with it... with the text that's in there... because at the moment nothing changes. If she changes her name to like Smith-Scott... it doesn't come along. So what I need to do is have the 'Underline' selected... and to say, I would like to pin this to... not the video frame but to Carol Smith. Something else in my little group, so Carol Smith... so it has to be in this same Essential Graphics one. That's why we've added it to this original clip here. So there's two of them in here... we say align to Carol Smith. How? In this case I want it to be the left and the right... because I want it to stretch left or right... in this case it only really needs to be... left or right, let's put both of them on... I don't know which one it is. So now she changes her name to-- oh, make sure you click in here, click in here. Now when she expands, she's now Smith Scott or Smitholomue. That's a nice fella, Smithy, she could be Carol Smithy... can you see how it expands out, cool, huh. There's that responsive design one... let's go back to this and let's say... that we want to add that logo to it... but we want it to track this. So instead of like stretching... let's add that logo that we saw before. So again, I've got my clip selected... I'm going to add a new 'From File'... it's going to be that same logo for that Co Work. It's not a real company, I just whipped up that thing to make it feel... like a real logo, a real company. What we're going to do is... I'm going to select it... I'm going to get in the right position, and size. Now we're going to make this smaller, smaller is fine. In the last video we looked at vector, you can't make it bigger... it won't get blurry, getting smaller... so you don't have to resize it in this case. So if you are producing the logos, make it ginormous... and you can resize it smaller as you need. So how big? It's just like a little hint down here, there we go. Get it in kind of the right spot, that's what I want... I turn the opacity down a little bit... there we go. So at the moment it doesn't expand... so what you can say is, you can say... I want the logo... to pin to the Carol Smith or the Underline... doesn't really matter because they're all coming along for the ride. I want it to attach not both sides... because if I do both sides, like it did... it will push the, see, stretch, it's not what we want. We want to say just, Logo... I think just this left hand side, let's give it a whirl. She goes back to, she's a breakout with Mr. Scott... and she's now back with Carol, just plain old Smith... can you see, comes along for the ride, awesome. Now one thing we will note is... depending on how you've built yours... you might get pretty crammed to the bottom, like mine is. What we can do is we can say... the logo needs to go up a little bit up, up a little bit... then the underneath needs to go up a little bit. You could do it that way... but one of the nice things you can do is-- this kind of complexity over here has a purpose... A, to confuse us, and B, so that instead of just... doing the position on individually... we can grab the whole Vector Motion, and grab the Position... and say, actually go up a little bit... and it wouldn't matter whether you did it there... or under your Video, Motion, Position... it doesn't matter in this case. Just give a bit of space down the bottom, there we go... nope, got my in and out point still set... that's why it jumped there, come back... give me a little preview, please. All right, it just appears, let's animate it... we're going to do a simple bit of animation... and then turn it into a kind of a template. So what I'm going to do is... I want the entire thing to fade out... I'm not going to individually do this, you totally could. We've already done bits of animation on individual parts... so what I'm going to say is, this whole clip... under, remember, Vector Motion doesn't have opacity... we've learned that all together... but under 'Video', under 'Opacity'... I'm right at the beginning... I'm going to say, Opacity on, set it to 0... come along a little bit, and get it to pop up... and then before it finishes at the end... that seems good enough. I'm going to set another Keyframe... by hitting this little dial here... Set Keyframe, I'm not going to change it from 100%... because I want it from 100, and stay 100 the whole time... but just at the last part here... jumping around... I want to set it to 0. So it's kind of like this bridge, kind of goes up, stays at 100, it goes down. All right, let's have a little preview. Plays along for a little bit... and fades out. Positioning's not quite right, is it? Let's get it right here before we go off. I think I did the Position, under Motion, just so that... because we can set it to a template, we don't have to adjust this every time. So get this all perfect, how you want it... it's probably all going to need... at least Carol Smith is going to need background shadow... probably not that extreme... and Cowurk's probably a little bit washed out for what we need. So we've got it how we want... with it selected down here in my Timeline... let's turn it into our very own motion graphic. So let's right click it, and we're going to say... 'Export as Motion Graphics Template '. So we've done all that animation, we want to be able to reuse it... we could just copy and paste it, totally fine... but we're going to export it as a motion graphics template... we're going to give it a name... I'm going to call this one my 'Lower Thirds'... for the project for 'Cowurk.' I'm going to put it on my local folder, you can send it anywhere you like. I am going to add some keywords... no, Cowurk should give me everything that I need... lower thirds, click 'OK'. We can now either just copy and paste this one... that totally works. If you copy and paste it, and your source patching is on the wrong one... I'm going to move it up to V2... so that it pastes on the right track. I could go through here... and say, this person here is not Carol Smith... this is, I don't know, Judy someone. Oh, look at that responsive design-iness... or if I open up a brand new project... 'New', 'Project'... "Untitled", stick it in my 'Delete Me' folder... I've got the Delete Me folder just to throw junk in, that I know I can delete. I've already got one... New project, let's bring in a bit of footage... and the old thing, Color Correction A is going to work for me. I'm going to make a new sequence from it... and I need the lower thirds... so I can go into my 'Graphics Essentials', go to 'Browse'... I'm looking under 'My Templates'... and I can type in 'Cowurk'... there it is there. Can dump it in and say, cool. I can use this on this new project... rather than trying to find the old one... open it up, copy and paste it... you've now got this to use forever... and it's all expand-ey... and you can go in through, and switch the logo, turn it off... you've got that full control... and can you see now, how sometimes when you're downloading, you're going to browse, and you're looking at Adobe Stock. Remember, some of them were editable fully, and some of them weren't... it's because some of them were made like we just did... and some of them were made... in another program like After Effects. All right, so that's Responsive Design in Premiere Pro... pretty sweet little addition to the Essential Graphics panel... let's get into the next video. 87. How to use Responsive Time in Premiere Pro: Hi everyone, in this video I'm going to show you... what Responsive Time does. I'm going to show you what it doesn't do first... so that we can see why it's awesome. I've got this animation, you can see a couple of Keyframes at the end... it gets to the end, and watch this, it wipes off... but if I resize it - we'll make it a bit smaller for a different clip. - can you see, the Keyframes are gone... they disappeared because it got smaller. What we can do... is this version here, has Responsive Time turned on... you can kind of see it here, these little edges here... these bits will attach themselves to the end... both beginning and end, and watch this, if I resize it... look, they just stay along. This middle bit is squidgy, it can kind of resize... but these end parts kind of attach to the end... rather than a specific time... and it means you can resize this clip anytime you like... and these Keyframes come along for the ride. That's Responsive Time, let me show you how to make it. So first of all we need some sort of animation... that we can use Responsive Time for. So what I'm going to do is, over this, Co-working 08, I'm going to go... to 'Essential Graphics', 'Edit'... hit this little new button, add some 'Text'... and I'm going to type in that cowork-- I'm going to use the brand... kind of working version, Cowurking in Dublin... I'm going to make it centered, I'm going to pick a font... you can pick any font you want, Museo. If font doesn't change you've got to have it selected first... let's try again, Dan. All right, that'll do. So we've got our bit of text... I'm going to add some animation to it. In this case there's no typewriter effect... we can kind of just-- we can do a bit of a Wipe though... there is a typewriter effect in After Effects, but not in here... so let's go to the beginning of my animation. I am going to go back to my 'Selection tool'... I'm going to find my 'Effects', I'm going to find one called 'Linear'... 'Linear Wipe' is a kind of a substitute for that typewriter effect. It's just going to kind of wipe on. So that's the Typewriter Linear Wipe here. I can drag it across, can you see... that's the whole thing we want to do. By default it wipes the wrong way... so what we're going to have to do is drag it to about half... just so you can see what this Wipe Angle does... can you see, I can move it around... you can decide which way it goes. So basically I want to flip it from where it is there, to this other side... and over here where it says Wipe Angle, it's 270, it starts off at 90°... we want it to be the other side, so 270. So now it's going to wipe the right way... so I want the beginning of my clip... I want to get the transition right at the beginning to be at 0... oh no, 100%, kind of backwards. I want to set a little timer for my Keyframe, so it starts at 100... then after some time I hit 'spacebar'... hit 'spacebar' again, that fails enough time, go to 0, so I got two Keyframes... and that's really what we need to do. We need to have those Keyframes... that we can get our Responsive Time to work within. Let's do the 'end to' as well before we add our Responsive Time. So just before the end, about there... I'm going to set another Keyframe... and I'm going to get to stay at 0... and then the last one, right at the end... I'm going to get it to go to 100. So let's have a little look... it gets to the end bit and just wipes off back the same way it came. So we've got our basic structure... maybe play with the timing there... now to add the Responsive Time... it's just these two little... see, these blue dots there, or blue pricks... so click and drag it and just make sure it straddles both Keyframes... or the things you want to lock in position. So everything in here is going to stay fixed... the bits in between these two are going to be stretchy... so just make sure those go over the top... this is the stretchy bit, these two guys are forced to stay where they are... and they are linked to the end, that's linked to that end... this is linked to the back end of my clip. So it means now, watch this, I can go like this... actually it has to have two versions... I'm going to copy one, and I'm going to have another one. Make sure I'm pasting on the right track... my track targeting is right... I'm going to turn it off for these ones. So how do you turn it off? Drag it back in. So I've got one without it and one with it... so this one here, let's say we wanted to use it... we don't use our Responsive Time, we go great, perfect. I need it to be a lot longer now to match this clip... and I drag it out... and you'll notice that it wipes out kind of this direction... can you see, there's a really long clip, and it's gone... whereas the responsive design one, let's have a little look... if I want to make this entire clip... watch what happens when I drag it bigger... can you see, the Keyframes stick to the end... so my animation is happening still at the end. If I drag it out further it's still attached to that end. So that's the nice thing about Responsive Time... you can say, you can only do the beginning and end... but you can animate in and make this thing last as long as you need to... might be a logo reveal, or anything... it just sticks to the end, and it's really nice and really easy. All you do is drag those two little outside bits out... if you don't use it, it's not super hard... I can click in here and say, actually, you go to the end... holding 'Shift', so it snaps to the end. You can keep adjusting it and snapping it, moving those anchor points down. If you've got a few anchor points to do, it gets a little problematic... and it's really handy if you're creating this thing... for somebody else to use that maybe... doesn't have the exact same skills that you now possess... after like 80 something videos in Premiere Pro Advanced. You can turn this into your Motion Graphics template... and you've done a bit of that leg work... that means that the Responsive Time, when they drag it out... it's just going to adjust, and it's magic. It's really easy to apply, just drag these out. I had a problem when I was kind of like using this before... I've had it where I can't see that blue box... if it disappears you can kind of just click off... and click back on it, normally comes back to life. Yeah, that's what happened to me, anyway. It may be an old bug that might not happen anymore. All right, that is how to use Responsive Time in Premiere Pro. 88. What are Master Styles in Premiere Pro: Hey everyone, let's talk about Master Styles in Premiere Pro. What are they? They're kind of like a paragraph... or a character style from other Adobe products. It means that I get here, I've typed some, type in, I've picked random fonts... and I'm like, "What's the font that we're meant to use?" I've got a style set for the company, it's called Title 01... I can change it, ah, boring old Roboto... but it's the right size, the right font, the right alignment... so I can be consistent across my projects. It also means that if we do decide to change it... we pick some random font, here we go... random font, I can update that style... and other use cases through the video... will update as well, this one updated... and trust me, I didn't show it to you beforehand... it was a different font, it was that, now it's this... because they're both connected through that Master Style. So let me show you how to create one... connect it all up, then update it... and share it between projects. All right, let's jump in. To make one we're just going to add a bit of text... right here at the beginning... under 'Co Working 01', I'm going to go to... my 'Essential Graphics', going to go to 'Edit'... hit my 'New Text'... and Papyrus, what's he doing? That, brings up a good point, that's what Premiere Pro does... it uses the last font, size, color, and style that you were using... and then in this case, Papyrus. So let's say we are using it, and the client loves Papyrus... and I want to do a little bit on the inside... but hey, that's what the client wants, that's what the client gets. So in here, we're going to say something like... "Any size space," we're going to hold a bunch of like Co Working things. So we've got Any size space, and the client likes it. We've picked fonts, I've got to select that all to do the size... you get it all good, it needs to be centered, so it's centered... and let's get it moved across... so you get it all looking good. Basically from here on, down, it will... remember it, in the style. To create the style, have it, select it in the clip... have it click-- select it up here in your Essential Graphics. So you need one line of text selected... and you can say, I want the style to create one called... this is the "Work." So it's the client name... and this is their "Title 01." So sometimes I'll have Title 02... depending on places and formats, and stuff, so I've got this one. What's cool about it is that I get to use it over and over. So let's say that I add this bit over here... I'm going to say, it remembers the last thing you did... so if you've gone through and changed it-- I'm going to click off in the background... I'm going to go and click this in... and I'm just messing around, I'm like, okay. What font am I going to use, a client, I can't use Papyrus... I'm going to see if I can convince them to use vector... that Museo is using, you won't have Museo, so pick anything. I'm going to use Museo Sans... 'Museo Sans'. I try and sell them this, and they come back to me and say... "Hey, where's our corporate Papyrus?"... and you're like, "Ah!" All right, all right, all right... I can go back to my style that I saved... and look, instantly Papyrus... the right size, the right color, the right font... can you update it? Yes. The client comes back and said... "Ah, just messing with you... it's not going to be Papyrus, I wouldn't do that to you... you're a designer, you're allergic to Papyrus." I've got Comic Sans, there you go. So you say, all right, that's our new corporate font. The cool thing about a style is that... say you've used it many other times all through this project... you can go through and update one of them... because remember, this one's still Papyrus... that's still stuck at it's, you know, original style... this one there, we've kind of modified, right? So it's not this anymore, so what we can say is... we can say actually, sync from the style... which would just overwrite it again... or you could say, actually, let's Push to track to the style... 'Push to Track or Style'. Let's just say this will go backwards, and this will update the style. So let's click on that, so nothing's really happened... except our original one back here, can you see, it's updated, cool, huh. So we can create a style to make it easy... because later on we go, all right... now going to go-- later on we need this thing here, we're like... "Oh man, it's the wrong font." So you can go into it, click on this, find my style... and say Comic Sans... and if you get your way you can go back to something else... we're going to use, let's go back to Roboto, Roboto Light... it's the new Arial, and I'm going to say 'Sync from Style'... no, I'm going to 'Push the Style', so hopefully it goes back... and the dreaded Comic Sans is gone from all of them. So that's how to do it within a project. So you can either sync or update the style... but let's say that we want to share it between projects or between teammates... because that's really what I want to do. I want to be able to create this... spend some time, get it right and then be able... to share with other people within my team... so they can use all the same style. So at the moment this here... the styles won't appear in different projects, it's just per project... you can share it outside of this one, I'll show you. The first thing to notice though is that... when I made this style, do you see here... that appeared in my little Project window... that was the name I gave it... can you see there, Work Title 01, it just appeared. There is a little, this is the thing we can share around... we can copy and paste it to projects... so you can open up another project, select it... and just use your 'Edit', 'Copy'... open up a new project, paste it in, and it will come... and will just appear in the styles here... but copying and pasting between projects is a little bit-- you've got to open the original... and there's all sorts of offline media. What you want to do is like have a central repository. What you want to do is, you can right click it and say... actually, let's 'Export Text Styles'. I'm going to call it this, I'm going to put mine... just on my 'Desktop', just sitting there... you should put it in, like your shared network drive... I don't think these are going to appear in your CC Library yet... but I have no doubt that that's part of the plan. So I've exported it, now I can close this project... save changes, yeah, why not? Go to a brand new project called 'Untitled'... and 'Delete Me.' There's already one in there, yes there is, so brand new fresh project... and you can say, actually, while I'm working... let's import, 'Command I', double click in here, either way you want. You see, on my desktop... I see, there's different styles, 'Desktop', there it is... this is my 'Work Title 01'. So if I create a new sequence now... whatever it is... I can add some text to it, any old text... and whatever font it is, whatever random font... it ends up being-- what's another terrible one... what's another terrible one... what other ones do you hate? Hate's a strong word, Papyrus, Comic Sans, Trajan... there you go. So using this font you're like... oh, I've got to use the corporate font... forgot to use it, where is it? I've imported it over here, it's called Work Title 01... so I can go 'Styles', and it just appears in here now. So you import it over here... and it will appear in this little drop down, ready to go... boring old Roboto. All right, let's close that down, 'Close Project', save it, why not? You can actually combine a couple of ones... this is the original project I was working on. So we had that text, which was called... what was it called? Work Title 01... let's say we've got another bit of text... that needs to come along in our kind of Master Styles. Let's have a little look. Not that one, was our Judy Someone, that was it... remember we made that font there... let's say we want that as part of it as well. So what we do is we click on it here, we say, 'Judy Someone'... and we're going to create a new style for this. So you can create styles, obviously for lots of things... captions is a good idea, so they're all the same... so I'm going to create a style for this one here... this one's going to be called the same thing... I have my client name, and this one's going to be... instead of title this is going to be my lower third... click 'OK'. You can see, it appears over here... I can apply it the same sort of way. A cool thing that you can do though, is you can select both of these... and export both of them together, they somehow smoosh... so, can you see, they had two names... it's kind of like smooshed into this word... text styles dot crazy old extension. So I'm going to put on my Desktop again... and what will happen is, if I go to a brand new project... brand new, brand new, let's call it something else, 'New Job'... what I can do is import that one file... so ignoring that one now... that's this one here, has got both of them, all snucked in there. So let's import, you'll notice that over here... I've got both of those, so if I make a new sequence... add some text... I should have two options in here... Styles, I've got my Work Title 01, and now I've got lower third... just because they're in here. It looks to this Project panel to grab them... let's say another use case, where you've got a bunch of text already... so you've put in a bunch of bits of text... with no-- let's find in the font... they've got no styles applied to them... so I'm going to pick that one there, 'Noteworthy'. You do a bunch of work on these... and you've got one, two, three, four. So you've got lots of these different uses of them... but they've got no styles applied to them... so when I do make adjustments I'm like, "Oh, great!" I'm going to go into here, I'm going to click on this... and I go, all right, I need to adjust the style... I'm using Title, I want to make an adjustment. It's not going to apply to these, because I didn't use the style. What you can do is, you can say... actually, see this Work Title here... I can select all of these and I can say... you, draggy drag onto those guys. That does nothing other than apply the style to all this text. I should have changed the text in them... do you get what I mean? Let's undo it, they're called New Text Layer... let's call this one 'Something'... lovely, Dan. That one's called Something, this is called-- they don't have that style applied... so I can just grab it and say... these two guys, you get the style applied, it will adjust... keeping the same text... but have that Master Style applied. All right, that's Master Styles in Premiere Pro... quite like Character Styles and Paragraph Styles... I'm sure they'll get more sophisticated... as they grow up a little bit with Premiere Pro... but pretty workable at the moment... thanks very much, Adobe, I'll see you in the next video. 89. Infographics inside Premiere Pro: Hi everyone, in this video we're going to... look at Infographics in Premiere Pro. Basically they are a mogrt, kind of a pre-made template... that we can make adjustments to. I'm going to show you how to get it going here now in Premiere Pro. All right, so let's make that infographic... so basically we're relying on basically a mogrt... we've done that before. Basically, is under your 'Essential Graphics' panel... and under 'Browse', go to-- you've got some basic stuff in here... but you want to go to 'Adobe Stock'... you can use premium or free... depends if you've got a license. Just use the word 'infographic'. So, infographic isn't so much, like 'A' thing... a unique, like importable thing... it's just a style of mogrt, and you saw that one... at the beginning, this is the one we started with. So normally, in the past you'd have to use... in conjunction with Premiere Pro... After Effects in Premiere Pro. After Effects makes all those kind of cool infographics... and then you basically just import them into Premiere Pro. Lately, Adobe are giving Premiere Pro users... the ability to kind of bring in templates... or mogrts of these infographics... so that you can control them within here... without having to jump into After Effects. Why? Because After Effects works very differently from Premiere Pro... can be quite daunting... if you're not prepared to kind of like learn it. So we've got this kind of like in between zone... where we're relying on After Effects to make mogrts. Adobe have made, or at least commissioned... a bunch of free ones and premium ones that we can use. So we don't actually have to have any After Effects knowledge, so I've-- Adobe Stock, I've gone free, I've typed in"'infographic"... we're going to use this one here, 'Gradient Circle'... and before we get into it... there's going to be a level of amazingness... and a level of frustration... because there's a lot of things we want to change in here... and remember, it's up to the After Effects creator... depending on how much control we have... and they can't be, I guess responsible for every use case. Have you just noticed, they were drawing a cat in there. I'm sure it was, "Hey, we've got some stock footage... draw anything, look busy." There's like four people looking at her drawing a cat... well, two cats, anyway. So once you've found the one you want... you can hit the little 'Download' button... and you get this little tick. I already downloaded mine... it takes a little while to download, and then you've got two ways. The easiest way is just to drag it straight from here... straight on to your Timeline... and it will slowly bring it all through. If you've imported it a long time ago... you can go to your 'My Templates', and do a search for it. You've got to remember, the words are Gradient Circle. So I'll go back to 'My Templates', and type in "circle"... and there it is there, I can drag it across. Another handy thing, in your My Templates... it always starts with this, for some reason... see down the bottom here, we can sort by Recent Downloads... so it's going to give me the, that's the one I made earlier... some of the things we've been working on. Anyway, what we want to do now is adjust it... so we click on it, and under 'Effects'... and under 'Essential Graphics', 'Edit'... you can see, we can change bits. In my case I've got some stats about SMEs... so I'm going to click in there... you see, it's too big, so Top Text Size... so they've given us control from that, which is great. Let's play through this animation... actually I'm going to turn mine really low for this tutorial... they're quite complex. Basically they're an After Effects composition... that works good for me. Single Data Set... let's go and change a few things. So Single Data Set, I'm just going to leave off... I want to find the percentage here... and there's just a lot of changing... deciding what you want in there... and let's try and find it. It's quite a good bit of control in here... I'm going to try and find it, speed this up, hang on, wait there. All right, I found it there, Chart Controls... so 65, that's my max value, 100. This data is, 38% of SMEs user co-working... bit of information there while we're doing this course. A couple of other things I want to adjust... one thing you might have run into is the font problems. If you've got that already, a couple of things you might do... is back under 'Essential Graphics', I forget... because I've already, you know, did this a while ago. This particular font is already on my machine. So what you can do is you can click on it, right click it... and say 'Sync Missing Font', click that... that is not always going to work... that only relies, that's only if the creator has used... a font within the Adobe Fonts library... if it's not, it's not going to work. Another thing you might do is click over here, no man's land... go to, can't remember, type in "font", under 'Help'. On my Mac I can type a font, and it points to it... I love that about a Mac, don't think that appears on a PC, but anyway. 'Add Fonts', 'Replace Fonts in Projects'... you might get away with this... you might be able to find it and say... actually, this one here, I'm going to replace... with something else that's on my machine... and all of that sometimes doesn't work. I've brought in templates where the creator... has not made this editable, so it's not changeable... it's just one of the functions that the creator needs to enable. So let's do that, let's, I'm going to do a couple little things... I'm going to get rid of... I'm going to make my top text color white... because I want to get rid of the background color... background stripe color... I want to get rid of whatever that is, weird stripey color... go away. Background Opacity... yeah, I probably want the background... there's a gradient on it. I'm just going to make it dark... so I can see my white stuff over the top. Can you see what I'm doing there? Circle Gradient Color... green... Gradient, I don't want. There's quite a bit, this is pretty complex... really well done, whoever created this one. So this is kind of like a pre-made bit of infographic. The cool thing about it though... is that it does adjust, like that little slider on the outside... will adjust when I change this from-- where was it, again? So now if I crank it up, can you see... the number that I change here adjusts... both the number on the inside and the graph around here. So it's pretty amazing how far we can get... with just dragging it in and making the adjustments. Let's say that though, you do, like there's such a big problem... we need to change this font here... you can't live without it, client won't accept it... and you're like, "Oh, it's just not in here, why can't I change it?" I'm going to show you how to jump into After Effects and do it. This is not an After Effects course, it's just a... just a quick little whirlwind for those people who either... have some After Effects knowledge... or are prepared to like hack in there, and try and get it done... or if you are keen, I have got an After Effects course... specifically called Infographics, where we make stuff like this... but let's say we just want to jump in there. So we need to figure out where this file is... because it's actually sitting on our machine somewhere... we need to update it, we're not updating this... like template, that's inside of here... we're updating the single use, in this project. So I need to right click it, you need to make this bigger... so you can see it and right click it. Sometimes that doesn't work... let's 'Reveal in Finder'... it'll take you to here, wherever you've saved your file. So this is my Co Working Projecty, I spelled that wrong... you will find inside of there... there's my project that I'm working on. There's this folder that Premiere Pro made for me when I drag that across... and inside it is that, a couple of different files... folders, that's the thing that got made, that's there. I can open that up in After Effects... so open up 'After Effects', mine's already open... go to 'File', 'Open Project', and find that. It's not going to update on the Timeline... the way that we're going to create it... we're going to create it into another motion graphics that is editable. So there's going to be a kind of a little bit of reworking here. So 'Motion Graphics Template', there you are. Open it up... it doesn't like it in the format that it's in. So we're going to go and call it, on my 'Desktop'... let's just stick it here, called... yeah, that's fine. It's a fine name for me, it's going to update the version. Now After Effects can be a little bit, I don't know, daunting... it's probably the most daunting of them all, of Adobe World. So what you need to see is... 'Window', let's open up the 'Essential Graphics' panel... and that is what you'll be looking at... and this is what gets added... when the person creates this crazy animation. Lots of expressions, lots of things going on... but this is where they decide how much control you have. So in our case the creator of this thing called static-- was statistic, I keep calling static... Top Text... edit the properties, they haven't got this done... or at least when it came out, there was no option. Some of these original graphics were created when there was no time... well, the ability wasn't enabled for them... to create this, to turn it on. So I'm going to 'Enable Custom Font'... they've already got custom font size there... and yeah, that looks for me, now set that going... you can see, there's the font and the style. It's now going to be part of the Essential Graphics... that come through on the other side. So what we do now is, I'm going to save this project... it's called Circle 01 converted... Desktop... Circle Chart01 is good for me. So I can come back to this and edit this kind of template again... that's not the thing you use, not that thing we just saved. What you're going to use in Premiere Pro is this thing... we're going to export our mogrt-- motion graphics template. Where are we going to put it? We can stick it on our drive... or just say, go straight into my folder for me... ready to use. Actually, before I do that I'll change it... so it's different from my other one. The Text Color, this one's going to have pink text to start with. Let's update our poster frame... so that we can recognize it compared to our other one. It needs to be saved, I can do that. So everything that's in here is going to be put... into my local templates folder... save it. Now I can go inside Premiere Pro... and remember, this didn't update... you can go over there for a second... you can see, under my 'Essential Graphics', 'Browse'... there's that new one we made. I can drag that on and go through my process... of changing the statistic, changing the font... but now, look, oh, I can change the font, impact. We're having a terrible font-- client, they say, we now have to use Impact... it's not bad, but nobody really wants to start using Impact on a design job. All right, so that was using a kind of a pre-made infographic. It's great that we get given that control now in Premiere Pro... rather than relying on either someone else... to create them in After Effects... and we drag them in. Now we can get some control in here... and if the control isn't there, you might... depending on your skills in After Effects... be able to go out, create a new motion graphics template... and turn on some of the features you want. You might turn some of them off to tidy it up... and really take ownership of it... and in this case we're going to have to update these colors every time. So back in After Effects, you might go and change... all of those things before it comes here in Premiere Pro as a mogrt. All right, that is an infographic, pre-made in Premiere Pro. 90. How to use a CSV data driven infographic in Premiere Pro : Hi everyone, in this video we're going to create this infographic. This one's special because it's connected to a spreadsheet... like something made out of Excel, or Apple Numbers, or Google Sheets. It connects to an sv, not an svg, a csv... and it will update automatically here in Premiere Pro. Why is that so close? Look, I've already rendered it, already done the intro... we have to live with it now. All right, let's jump in and make it. So to connect up our csv data driven infographic... we need to find the right kind of a template. So not all of them will do it... and you find that's one, that's kind of pre-done for us. So under 'Essential Graphics', find 'Browse' let's go to 'Adobe Stock'... remember, you don't have to find it from Adobe Stock... they've got some good free ones though... you want to look for like data driven... or csv, or try and use those sorts of search terms. Data driven is what Premiere Pro have got a bunch of ones in here. We're going to use this one here... click it to download it, or just click and drag it... into your Timeline, give it a second... it'll wait, it'll download the pieces it needs. I've already pre-downloaded mine, so it went real fast... and it's pretty cool, let's have a little look. Actually, clear my In and Out... I'm going to set a new In and Out over here, In, Out... hit my 'Return' key. It's going to render it in here, so it looks nice. I'll speed this up... I'll get bored halfway through, hit 'Cancel'... and we'll just watch it in the slo-mo version, look at that... kind of all speeds around, and kind of goes, pretty nice, huh. So we need to update this, how do we update it? With it selected we go over here... in our 'Essential Graphics' panel, under 'Edit'... you can see it here... we've got all our chart controls, there's lots to... there's lots of good controls in here... including some of the fonts, which is great. We don't have to go and do anything like that. Ours is all about, I can't remember... Co Working Stats, that's, let's all put in here... using our Stats... and here, like you can manually update it, by just clicking in 'Edit'... there's like a default csv or a spreadsheet already attached to it. You can say, actually I only want like four rows... you can see four of them disappeared. I want this one to say SMEs... and this one to say Bananas... whatever you want to do, you can make the adjustments here... and manually go and change this here, so that's cool. What we want to do though is attach a csv... or, talking Excel or Apple's Numbers, Google Sheets... the thing for this to work though... it has to be a csv or a tsv... like a comma separated values or a tab separated values. So I've got one ready to go. So I'm going to go to 'Browse'... under your 'Exercise Files', under 'Co Working'... there's one in here called 'Co Working Stats'... and it is a csv, very common kind of database output. Let me show you what it looks like. It looks like that, it's got a column with a name on the top... and it's got all my different data points. If you are creating this, make sure you put a title in the top... or a heading in the columns... because it ignores that first row... and there's all my stats, SMEs - 38. You can read, Startup Teams... I just want you to see that it's going to match in here, hopefully in a second. So I'm going to click 'Open', give it a sec... look at that, it knew that it was five rows... let's put them all in here... and there was no column for colors. You could, if you were creating this as a... like a database driven completely... you could create that in your svg, the colors... I've just left mine blank... I'm going to manually change the colors. You can still go and edit it afterwards... you might just use it for the first time to do it... and what we'll do though is... I want to show you how to maybe update it automatically... because now we can just go through and fiddle with them... make it look nice, change the fonts, change the sizing... but let's look at, let's say we want to... kind of dynamically update this thing... kind of dynamically update this thing. If we want the csv to update... and for this Premiere Pro to automatically update we need to map these. All it means is that this first... this first column here is mapped to that column name of our csv file. Remember, they were named... who are our members, and percentage. You might have more of them and they just become unmapped... but I just want to use these two that match these two. We're going to click 'OK', and because they're mapped... it means that when I change the csv... they're going to change in here. So to change the csv the thing you need to remember... is you need to update it. So on a Mac it's very common to use Numbers or Excel... on PC, I think it's the law to use Microsoft Excel... you could be using Google Sheets. You need to do the updates through whatever it is you use. So in this case I'm using Google Numbers... and let's say we change it to two... just because when we change this to... Handsome Daniels... let me click off. Now if I hit 'Save' now it's going to save... in the native format of Numbers or Excel. It's going to be one of those xls files... Google Sheets, I don't know what it saves as. So you need to export from whatever thing you're changing it in. I'm going to 'File', 'Export'... and you'll see this, in Excel, is it Export? It might be Export or Save As... but you're looking for a tsv or a csv... comma separated values or tab separated values... just click 'Next'. I'm going to stick it over the top of the original one... so back into my 'Exercise Files', 'Co Working'... because this is what... that's what Premiere Pro is currently looking at that file. So I'm going to export over the top of it... it's going to say, "Would you like to replace it?" I'm like, uh, careful, can I go back... I'm going to live life on the edge... I'm going to update the stats, click 'Replace'... and over here... oh, did you see it update? Oh, you did. So you can be dynamically updating the csv... however way you do it, you might be... might be created via database, maybe a web app, creates it for you... or you might just manually update it. Somebody's job is to update this... and your job is to just watch it update here in Premiere Pro. That might seem a little tricky as in... what if somebody updates it, and it's for an old project? It's probably best just to go through and browse... and bring in the new version, it might be May stats, April stats... and just rename it csv. Doesn't really need to dynamically update... just as long as they keep the same column names... it will update nice and easily. All right, so that is an infographic at its maximum, inside Premiere Pro. We've connected it to a spreadsheet via our s-- I can't even do it, svg, I want to say... it's got some of them in there, a csv... and we can update it as long as they're mapped, wonderful. All right, that is it, let's get on to the next video. 91. After Effects render & replace in Premiere Pro: Hey there, in this video I'm going to show you... some of the tricks of working with After Effects. We're going to bring in an After Effects file... I'll show you some of the tips and tricks of importing... and then how to work with it when it's on the Timeline... specifically something called Render and Replace... and yeah, let's do that. All right, let's jump in. So working with After Effects files is pretty easy... there are a few little tricks to make us... better Premiere Pro, After Effects users. I've got a file to bring in, so normally you do, your 'Project file'... you go 'File', 'Import' and you bring in 'Logo Reveal'. So it's in your 'Co Working' folder, it's an After Effects project... it's called 'Logo Reveal', bring that in. This isn't the bad way but it's not the most optimal way. So what it's doing is, it's looking at the After Effects files... and seeing if there's more than one composition. In After Effects, if you don't use it very much... a composition is what we in Premiere world call a sequence. So there's two sequences to pick from... which one? I have no idea... and if you're like me, and use After Effects a bit... you never name your comps, you should, but you don't. So it's better to use - I canceled that, by the way - is to use our Media Browser to explore After Effects files... because it allows us to preview them before we bring them in... otherwise we have to like import them... see where they are, import them, see what they are... whereas Media Browser, which is... remember, 'Window', down to 'Media Browser'... and I'm going to go to... I've got a shortcut set up for my Exercise Files already... if you don't, go to 'Home' directory and dig it out, right click it... set our favorite for the Exercise Files. I've already done mine. So in here you need to be... actually, you don't need to be, you can be in List view or Thumbnail view. Weird thing with After Effects files, even in Thumbnail view... you don't get an instant preview. So 'Exercise Files', I'm on 'Thumbnail' view... I'm going to go into 'Co Working' folder... and I'm going to find the Ae. So that's my After Effects file, there's no like... a little preview here in Thumbnail, which I'm... I don't know, I think there should be... but the problem is, there's more than one comp in here. So it doesn't know which one to preview, so maybe that's it. So you can though double click it to go in... and you can actually go inside the After Effects folder... it does take a little bit of time, give it-- the Dynamic Link Server... just briefly, the Dynamic Link Server is just... a way of connecting files dynamically... from After Effects to Premiere... and it just means, when you update After Effects files... they update instantly in Premiere Pro, which is really nice. It actually opens up the After Effects file and says... do you want Comp 1 or Comp 2... and you're like, "These thumbnails aren't helping"... but you can double click them... and they're not imported yet... but you can preview them up here... and kind of work your way through which one you want. In my case I've got two kind of like logo stings... for the beginning of our little project here. I'm going to open up the second one... so one's purple, and for some reason, this morning, doesn't always do this... and if I double click the first one... can you see, it says Comp 1, if I double click the second one... it still says Comp 1. Let me know in the comments whether yours is fixed or not... I'd be interested to know whether... yeah, mine's broken, everyone's broken. The way to get around this is to close-- so hit the little lines there and then open the second one... and you can see, this is the second one... just a different color way. It might be completely different project... or a different composition that's inside After Effects... and you can work your way through them. So we can bring it straight from the Media browser... so that's not imported, because we're using the Media browser... we can import it by dragging it into the project... or just drag it straight into the Comp. Who remembers what I can hold down... to kind of push all this along, you remember... 'Command' on a Mac, 'Ctrl' on a PC... I'm going to put it there and it just pushes it all along... Ripple Insert is what I want to say... whatever that is, pushing it all along thing. My problem is, I've still got my in and out points over here... so it's jumping out there. Let's clear the in and out points... and now let's talk about some of the things you can do. So obviously, inserting After Effects is pretty easy... Media Browser is a little bit extra handy... and what we're going to do is, I'm going to set it to 'Full'... mine's playing back okay. So often, After Effects compositions won't... I try to add some Motion Blur and stuff to it... to make it stress the computer out... but it's actually doing just fine. So what we-- let's imagine that it's running really slowly... we know that we can render in and out, so 'I', 'O'... hit 'Enter' on my keyboard... and we'll render this little chunk, and work fine. The trouble with it though is... if I end up moving it and using it somewhere else... you can see it's gone red... if I start adjusting it, it kind of... for something like this... because I've done it in After Effects... it's done, like I don't need this to not be done... like to change it anymore. I need it to be finished... it's something that I use on say loads of projects... it might be social media kind of, like call outs... or it might be, say the end of your video... some sort of kind of trailer... or maybe it's like the YouTube "What next" kind of brackets... and kind of, you know, "What to view next"... and click on the channel and buy merch type of thing. It's something you've made in After Effects... and you don't need to redo it all the time... or have it rendered every time. So what you do is you do something called-- so we don't need in and out... and all we do is, up here, with it selected... we go to our 'Sequence', and we've used Render In and Out just then... this one here, it's called Render... no, it's called Render and Replace, where is it? It's not up there at all... you right click it down here, and say 'Render and Replace'. So this is different from the other ones... the other ones were like temporary files created... and this one does a similar job... but kind of more like proxies. It's kind of somewhere in between... so what it's going to do is, it's going to render it... and actually make a new video... but it's not making like a temporary proxy video... it's actually the finished version. So make sure that you are on... your 'Sequence Settings'... sequence settings, that, this is all kind of... how you want it to be when it exports. It's the right size, Frame Rate's perfect... because that's going to use that... to create a replacement for this... and slightly different from proxies. It's actually the thing that's going to go out... it's like a replacement for it, never to be switched out again... does that kind of make sense? Render and Replace, just do it. Pick a format, I'm going to use QuickTime... this, these presets will change... depending on your sequence settings. So find something that you want to work with... in my case, you know, something like this... Match Source ProRes 422, it's going to be perfect... or that one there, because I know... it's 25 frames per second, in HD... let's hit-- It's going to go, it's going to create a new file... next to my original one, I'm going to-- you can include video effects... so if we've added noise or something else to it... it will smoosh them together. I don't have anything else applied to it, let's click 'OK'. Now what happens is... this file is actually not the After Effects file anymore... can you see, the red bar or the green bars are gone... because it's actually just plain old mov now... sitting in my hard drive, let's have a look. So this was the Logo Reveal that I had... that I imported into After Effects. It's not using that anymore... it's using this new file with a great name... Com2 Logo Reveal_blah blah Rendered.mov So it's used that now, and switched it out... so you could go through and delete this now. You don't want to obviously, but you can. I'm trying to make a point here, I guess... so yeah, it's just using that file now... and you can copy it and paste it... and make sure it goes onto the right track... with your track targeting, but it's just a file you can use... because yeah, let's say you, you're not going to reuse... just use it as is, it doesn't need to be changed... if you do need to change it. Other thing is that, it's actually imported... into your project as well, there it is there... it's this second mov... not the After Effects file. So if you do later on though need to change it... you need to unpick that... you can right click it and say 'Restore Unrendered'... to go back to that kind of After Effects version of it. So notice that, here's my mov... there's the After Effects file that I've imported. If I hit 'Restore Unrendered', watch that project file... can you see, that actual file disappeared. So it went back, it's now using this... and it needs to be rendered again. It might run slowly, but you can make changes to it if you need to. Cool, so when you are using After Effects files... it's going to stretch this machine out pretty heavily... so just Render and Replace, you can go back afterwards... if you're doing lots of changes to your After Effects files... probably just use your normal Render Effects In to Out... just to make it run fast... but if you're doing lots of changes... it's going to have to update all the time... but there's lots of times where After Effects... you know, the "Like" and "Subscribe" little thing that appears... you need that, just not be this crazy bit of animation... that slows down your machine. It's the same every month, or week, or day, whatever your process is. A couple things also to note... when you are using that Render and Replace... is that-- a few things won't be included... in that Render and Replace, that you can do afterwards. So in terms of say a Fade In... so I've got my opacity rubber band showing... so opacity showing there, Command or Ctrl click... to add a couple of points, so that won't be included... if you rendered that in and out. So Restore Unrendered, and I go and render that now. That opacity is not like part of it, not baked in... it's something over the top of the original file. Same with, say like an effect. So if I go to 'Effects', and I go 'Transitions', and I use 'Dissolve'... and I go 'Cross Dissolve'... in social media, that's okay. This isn't baked into it as well... like, see this kind of like half and half. Other things that aren't baked in, any Time Remapping... so if I use the 'R' key for Rate Stretch... if I make that heaps faster... and I go into, and say, 'Render and Replace'... that's not like baked into it, it's an effect applied after. I can still render it, Render and Replace... but it won't include that... even if I include video effects, it won't bake in Opacity... it won't bake in Transitions, and it won't bake in Rate Stretch... it will bake in, if I go and add something like noise. I'm not sure why I always go back to noise, but hey... Noise & Grain, if I add that now and start cranking it up... cranking it up... and then I go and say, 'Render and Replace'... and I tick that box on, that will be part of that original file. Let's have a look at it in our project file. So that one there, is it? Double click it... can you see, it's all part of it now... but the Opacity Fade In isn't. All right, that is it, that is working with After Effects. Let's look at going the other way around... let's stick stuff into After Effects from Premiere Pro. 92. Replace with After Effects composition from Premiere Pro: Hi there, in this video we're going to take... regular old footage like this, send it to After Effects... and make it look like, oh... this, with a kind of a camera move. Mainly we are exploring how we get from Premiere Pro... send a regular bit of footage into it... kind of the pros and cons, and tips and tricks... and round tripping from After Effects... back into Premiere Pro, and in this case... we're going to do this After Effects camera trick... slow movie pandoli thing, look at that. All right, let's jump in and actually do it. Let's bring it in, so let's go 'File', 'Import'... I've got a normal old, what is it called... it's called 'Micro Interactions.mp4'... so bring in that, and what we'll do is... we'll fit it into our sequence somewhere. I realize this particular video isn't particularly... in theme with my Co Working thing... but hey, we're just going to jam it in here... because we're in the After Effects bit. So I'm going to add this video to it... hold down my 'Command' key on a Mac, 'Ctrl' key on a PC. So it is part of that, it's too big at the moment... so I'm going to right click it and say, 'Set to Frame Size'. So it fits in there, it's now HD instead of 4K. So it's in here now, what I want to do is... add that cool camera effect you saw at the beginning. So that's something After Effects does... it has separate cameras, you can fake cameras... and you can do amazing things in After Effects. So what you do is, if you want to send this to After Effects... you can obviously import it into After Effects directly... and then bring it in later on... but it's easy to get it in position, get it the right size, which is HD... right click it, and then you can just say... replace this with an After Effects composition. What will happen, After Effects will open... it'll ask you to save your brand new... so it's going to create a new After Effects file for you. It's going to say save it, and I'm going to say, cool. I'm going to put it in my Exercise Files with everything else, in Co Working... and this one's going to be called 'Micro Interactions... interactions... - Screen Move'. I like adding those little screen moves to kind of... I don't know, just sex them up a little bit, it's a little bit boring. So to add that camera movement... again, this is not an After Effects course... if you want to, yeah, I've got a couple... of After Effects courses to check out. What I'm going to do is, I'm going to make sure-- I can't help myself doing a mini tutorial in here... make sure you can see this little cube here... we're going to 'Layer', 'New', add a 'Camera'... we're going to leave it all by default, click 'OK'... that little reminder says... don't forget to tick that box on your little mp4. So that got imported from After Effects... let's have a little look at what's going on in Premiere Pro. Back in Premiere Pro, it looks the same... you can see it's got a pink color... because it's an After Effects composition. You can see over here, it is... what's it called now, 90 Replace with After Effects... it's got a bad name. If I hover above it, it's kind of using my file name from up here, ignore the 90. It's how I keep track of these tutorials while I'm doing them... but it does say in that little link there... it says micro interaction screen move.aep Let's see if it's over here, micro interactions, there it is. It's not connected in there, do I know why... I don't know why... that's it there. It's used my file name, and the actual long version of it. So there it is... so it's in here, and it's using that dynamic link. So it means, when I make changes over here... so I've got my camera... it can be seen by the camera, at the beginning here... I'm going to say, actually, let's go to 'Transform'... I'm going to set my Point of Interest and Position, Keyframes... I'm going to grab my Orbit tool... and I'm going to kind of just adjust this a little bit. I want this, like slow movie pan thing... I want to adjust the pan... just so I can do it there. I want to zoom in a little bit... there we go. There's a lot of toggling between those... there are shortcuts between those tools... but I want that, I want this kind of angle... and I want it to kind of slide across. So at the end, maybe not right at the end... somewhere around here... Orbit tool again, I just want to kind of like change it... here we go. So that it kind of does this, like slow move... it's not as slow as I hoped... you get the idea, right? Trying to make it look like I'm filming my screen, when I'm not. So I've done this, let's check in Premiere Pro what's happening. You can see, dynamic updating, woo hoo. I'm on Full Resolution, and it's, my computer's... the fans are on, making a racket, but yeah, it's a bit jumpy. So when you are doing lots of updates... you want to check how it fits in, like over here... and with all of this, so you need to probably... just move it down to a quarter or an eighth... if you're working in 4K... there you go. This is lower, but it's playing back a nice enough speed. So if I want to preview this, and you know, better... I can use my In and Out points... hit my 'Enter' key and render the In and Out. You can see, it's a bit time consuming... so it's better just to lower the resolution... but at least now I can play it back and see the full resolution. Do you notice, even if it's on 1/4... it's playing back lovely because it can... it's like, well I can, so I will, even though you've said, be 1/4. So let's, the one thing to note though, is if I do make a change... so I go into here and I'm like, go to this end part... and what I want to do is, get it to zoom right in. So I'm going to grab my zoom, and I'm going to say... get it to like, do this whole transition... where it just kind of like pixelates and goes right in... go into the sun, let's do it. I feel like there's some sort of... I don't know, deep meaning to this, into the sun. You'll notice that over here... you see the red, it's, the green bit's gone, now it's red... so you have to re-render again. So that's a little bit annoying, so it's up to you... how you want to do this, but it's cool... that it dynamically links and watch this last little zoom... ah, what a transition... sunlight to coffee. I feel like there's something in there, all right... and then you get to a point where you're like... actually, I like that now, and I'm going to move it around... and it's not going to change it... you might go to the right click and say 'Render and Replace'. Now for me, often, Render and Replace, I do more... oh, file importer detected inconsistent. So if you get an error like that... and it goes away too fast... you can ignore it... and just go about your work, and hope it doesn't come back. Let's click on this and let's have a look, yeah, inconsistent file. I'm fine, something wrong with the Metadata... I don't need the Metadata, famous last words... I'm going into the ignore pile... it doesn't seem very critical... and there's it playing, let's go back to full. Ignore that. Anything else I want to share with you... what was I showing you, there, got distracted. So yeah, Render and Replace... oh, I normally only use the Render and Replace... when it's like intros... reusable stuff that I'm going to use in different projects... and over again and yeah, because this might change... when I get, you know, comments back... and I'm not going to move it and reuse it. It's just going in this one document once... I'll just turn it down to 1/4... and just use my Render In and Out effects when I need to test it. One last thing you can do is, especially with After Effects... is with it selected you can go 'Command E', or 'Ctrl E' on a PC... that's a generic, you know, thing to say... open the original, so if I click on this and go 'Command E'... it'll open up the file in After Effects... oh no, because I've rendered and replaced it... that's interesting, because I rendered and replaced it... with the mov, it's opened up in QuickTime, in my case... it'll open up different on your computer. So if I get rid of that Render and Replace... and I have it selected, and I go 'Command E'... it'll open up in After Effects, nice. All right, Command D works on lots of things... but it depends on, like if you've got a Photoshop document... I don't have one, if you have it selected here, have a psd... it will open up in Photoshop if you hit... 'Command E' on a Mac, 'Ctrl E' on a PC... what have it got, cool, is it... not that... ooh, where's that logo, for import? All right, one last thing I'll show you, and we'll go... there was Tourism Island, remember we had the graphics... we had this thing... if you've got that, it's Adobe Illustrator file... with it selected, 'Command E', 'Ctrl E' on a PC... instead of trying to work out what... you know, what created it, and open up Illustrator... and then find it on the Finder, and load it in... you just say 'Command D', it'll open up in the original creator file... and you don't want to see me open up Illustrator... so we'll end the video here. So replacing stuff with After Effects compositions... you just right click it and say... bring, replace with After Effects... and do your After Effects business... it will connect it nicely for you. All right, Ireland Awaits You, in the next video, at least. 93. What are Productions in Premiere Pro: Hey there, this video... we are going to look at something... called the Production Panel, that's it there. A production in Premiere Pro... is a way of working with multiple editors. It's a way of breaking up multiple jobs, like this one here... we've broken down our production into different projects... Day 1, Day 2, Day 3, 4, 5. It might be Video 1, 2, 3, 4, 5... it might be Episode... it might be Scene 1, 2, 3, 4, 5. It's a way of breaking down larger productions... into smaller bite sized pieces... where multiple editors can work on it, called a Production. Let's jump in and see how they work. All right, first up let's talk about... the kind of three different ways you can work... with another colleague, another editor. So the normal way, I'm using my little finger quotes again... and the most common way people use... and probably the most common way I use is... just to have your project, so your Premiere Pro project... on a kind of a shared drive... and that can be either a NAS drive... so a drive, a NAS drive is just a hard drive... that is connected to the internet all the time. Look up "nas" if you are looking for something like that... it's basically just a hard drive connected to the internet, you can both share... or use like a remote file sharing service... like I use, I use Dropbox, that's all I use. So it's a similar sort of process... instead of your own physical hard drive, like a NAS drive... you're using Dropboxes. There's pros and cons for both of those... and basically we've got one Premiere Pro file... and we share that file together... and when he's got it open, I can't work on it... when he finishes and saves... Dropbox syncs, and I can then work on it. So that's fine for small projects, for larger projects you've got two options. There's one called Teams, and one called Productions. Now Teams is a little out of the scope of this course... mainly because you need a special license... you need like a Creative Cloud Enterprise license... or a Creative Cloud Team's license... for that special kind of team's projects... but for us, regular Joes, you get something called Productions. Now Productions are very similar to Teams... you get a lot of the perks for that. So let's look at Productions... this is more of like a demonstration, then following along this one... I want you to get the idea of how Productions work... rather than following me step by step. So I've got one that I've created here on my Desktop... so basically what productions are, not projects... projects is the thing we know and love already. Productions is a way of grouping projects together. So I've got one here, I've got this documentary... now that is the Production. To open it I'm going to go to 'Premiere Pro'... and you can see, 'Open Project'... and you've got this thing that you've ignored... you're like, "What did that do?" This is what it does, I'm going to open up a project... oh sorry, a production... I hate that they got the very similar name, it drives me mad. You can either hit 'Browse', or if you've recently opened it, it'll be in here. So I'm going to open it up, and that's what it is... it's a little panel, it's a bit boring, all by itself... but that's essentially what that file is... and all it does is connect other projects... to make them easier to organize. In our case we've got this documentary, we've got Day 1, Day 2, Day 3. Now why would you do it? It's because Tayla Coman, my other editor that I work with... he can be working on Day 3, I could be working on Day 1... and we can split a project. It will be connected up at the end... but it's a way of separating maybe Scene 1, Scene 2... Tutorial 1, Tutorial 2, we do a lot of... we'll have hundreds of tutorials in a course, like this one you're doing now. Let's open up Day 1. All right, so I've got Day 1 open, Tayla's working on Day 3... and it means we don't trip on each other's toes. I can have Day 1 and Day 2 open... it could be just used as a way of kind of connecting a large project. You can use this by yourself, it's probably a little extra work. You might find that valuable... but there is a few pros and cons for using Productions... but I can work between these two projects here... but I can see in the context of my larger production. This is an evolution of, if you shared projects before... it's same same, but no, it's called Productions now. So in terms of the color coding, over here... it's pretty clear why I think it is, anyway... green pencil, you are editing, red lock, somebody else is editing... Tayla Coman, in this case. If I close down this, not panel, close down this 'Project'... you'll notice that, blank... blank means nobody's got it open. One thing to note is... I can open the one that somebody else is working on... but it's a read-only. I can't make edits to it, it's just kind of like locked. I can look at it, I can copy and paste from it, which is really cool... but I can't go and make changes to it. If it does go yellow while you're working on it... it means that Tayla's actually working on, at that second... and things might need to be refreshed. So you might need to close it and open it up again. So I'm going to close down-- you see the locks everywhere... so I'm going to go 'Close Project'. All right, now let's close down this project, 'Production', sorry... and get started from scratch. So let's, we've got, see, Close Project, and Production... so we're going to close this 'Production'... I'm going to make a new, not project... you can find in here, a 'New', 'Production'... and where am I going to stick it? I'll stick mine on my Desktop, I shouldn't... but I'm just doing it for this demo. Let's say this is my Production for my upcoming-- what course am I doing next? I'm going to do Figma, probably Figma course coming up. So "Figma... Training Course"... I'm going to put on my 'Desktop', let's have a look. So what happens is, we get this panel... essentially what the production is... it's giving me my first project without asking... because I'm probably going to need one of those... and let's say this one's going to be 'Tutorial 01'... and this is where I... over here now I have that project open. You could close this now, this Production panel... go in here, 'Close Panel'... until you're ready to add your next video. Let's add another, so we're creating projects here... instead of going 'File', 'New'... we're using this panel to create the new project... so that it can kind of connect them all up. So let's have a look, let's make a 'Tutorial 2' for this video. Now I've got two of them open... I can drag in my footage for it... what have we got, I'm just dragging in anything... yeah, these guys, this is my tutorial for Tutorial 2... I start my editing, start working on it... start building up my sequences like I do normally... and this here is just to help me connect... this whole big project for this whole course... when I've got like 100 different videos... or at least 100 different projects... and it means that I can have multiple editors working on it. Often, I'll have somebody working on the first one and the last one... I'm kind of meeting in the middle, trying to, at least... and I can see which projects have been worked on in here... which ones are being worked on currently. Now the one thing to be careful of, with this Production... is that it's actually manipulating my Finder on a Mac... or on a PC, it's your Windows. So let's have a look where I stuck it... I stuck it on the 'Desktop', I called it 'Figma Training Course'. So it made a folder for me, thank you very much. Inside of here it's made a couple of projects... so it's made those for me, this here, remember, is... is the Production Panel... it's the file that connects them all together, don't delete that. These things will disappear, these are just the locks... that means that nobody else can open it. When I close down, watch this, Project Tutorial 2... if I close it down, let's go, let's do Tutorial 1... 'Close Project'... 'Save', why not? You'll see in here, that Tut01 lock is gone... so just ignore those, they come and go... but it also means that you need to be very deliberate... when you are, say adjusting these things... which can be one of the slight troubles with it... no, you just need to know what's happened. So in here if I go-- actually I'm not going to call them Tut 02 anymore... because that's a weird word... I'm going to call it just Figma 01 and Figma 02. What you'll notice is, see in my Finder... it's actually renamed the project. If I try and do it in here, and say... I'm going to call it, in here... Figma 01, it doesn't like it, normally... it normally doesn't... because it's open, it's updated... man, it never used to, maybe it does now. Just be careful, my advice is to do renaming... and you're organizing within this panel, not in your Finder. Maybe it's different on Windows... it's meant to freak out... good old Premiere Pro. The one thing about a Production folder... is that it doesn't want media in there. So on my Desktop, inside of, where is it... my 'Figma Training Course'... I don't want to then go and put a folder in here called Footage... it doesn't-- it breaks it... honest, it breaks it... if I double my mp4s in here it won't like it. So they need to be in a separate folder... so don't put-- it's just a way of connecting projects in here... and try not to put all your assets in with it... in this particular folder here... where is it? This one here... that's one of the things to remember. If you need to add an existing-- let's close down this project. One of the other things... you can only have one project open at a time... multi-- sorry, Productions, come on, Dan. So you can't have more than one Production open at a time. Multiple projects, we know that already... but we can't have multiple productions. So I'm going to close that one down, save everything... and go back to the original... the other one I was working with, my documentary... I'm going to open up Day. If I do need to add an existing project... rather than making them in here... that seems to, I don't know... sometimes I do that, most of the time I forget... and I need to add it to it later... just right click and say 'Add Project to Production'... go find it, I've got something somewhere... here's my Day 4... this is really important. So I've added an existing project just to tie this all together. It's going to say, a new copy has been created. So at the moment I've just got one copy... it is on my Desktop... where is it, there, Day 4, so I've got that copy, it's saying... it's going to create a new copy for it... and put it in with the rest of these. So let's say, 'Copy'... all right, it's brought it in, there's Day 4... and now I've got two versions. So Day 4 there, you just got to be very careful... on how you want to proceed. Do I back this up, do I not need it anymore... that I've got a duplicate, probably don't need it anymore... but inside my Ms Donut documentary... can you see, it's come along for the ride... and now because of my OCD, I'm like... it has to be called right, all uppers and lowers, 'Day 4'... and you can see, it's updated here in my Finder. Now you'll notice that I'm doing online, on my Desktop... you need to do it either in Dropbox, OneDrive, Google Drive... can't remember them all, there's a lot of shared drives... or on your kind of network drive, not on your Desktop... because Tayla can't get a hold of this file if it's on my Desktop. So just make sure, if you are using... shared file services like I am, Dropbox... just make sure your, this folder here... this one here is in Dropbox or some sort of... shared file sharing thing like Dropbox. Another interesting thing is, when we get to say a bigger project... let's say it's back to my Tutorial 01... and I'm at like, we've got like a process of... First draft, Second draft, Finals... the kiss of death, Finals. You can create folders in here... so this one's going to be 'Raw'... and let's say that these ones are in Raw... and this one here is going to be in First Draft. That one's in First Draft, and being worked... oh, I can't move it because Tayla's working on it... he's got to go close it, First Draft. Now what's happening is, these down here... can you see, first notice, it's called New Folder, not Bin... you're like, "I thought Premiere Pro called everything a Bin"... it does, these aren't the bins, like within projects... these are actual file folders which, can you see... inside of my Production, it's actually made folders, and moved them in. It's just shuffling them around into folders... and yeah, just interesting to know... that's how it works. Also, let's say that you've got 1 in here... you don't need Day 2 anymore... for some reason, you need to delete it... you delete it and you're like, "What happened?" You're like, "It did, it's gone," Day 2 is gone... I've got Day 3, I've got... oh, there it is, you see it disappearing... and it's gone, you're like, "What happened?" It's actually just moved it to a folder called Trash... which is really helpful. It means it's not gone forever... it's just kind of moved out of our kind of Production list. If you really want to get that deleted... you have to go to the file here and actually drag it to the Trash. Premiere Pro likes to keep it around, just in case... which I think is probably a good idea. If you are just a solo editor you can use Productions... just make sure you don't put files inside the folder... you don't need to use the shared network drive... if you are going to do it just by yourself... it's not a requirement, it's just requirement of somebody else... outside of your computer need to use it... you can totally use it on your own. If you are working with somebody... and it's either blank or they've got some weird user name... some sort of like, I don't know, some weird user name... you can get them to go to 'Preferences'... remember, 'Edit', 'Preferences' on a PC... on a Mac it's under 'Premiere Pro', 'Preferences'... go to 'Collaboration', and you can... where it says User Name put in the user name... and get them to update it... so that you actually know who it is, and it's not user123. What else? Oh, this is a big one... let's say that I'm working on-- I've made mine a bit messy now, haven't I? So I'm going to tidy it all up... I'm going to get everything out of the folders... get rid of the folders... anything in there. So I've got Day 1, 2, and 3, let's move this one back in. All right, so I've got Day 1, which has got... a bunch of stuff on the Timeline here, I've got Day 2... which has got a bunch of stuff on the Timeline, let's do Day 4. Do we make one of these? Day 4 has lots of stuff on the Timeline, let's make a new one. So let's go to 'New', let's make 'Day 5'... or, I don't know, Episode 5 or Scene 5, whatever it is. So I've got, oh, bad naming, let's fix that. So I've got my Days, this one here... has nothing in the Project window. I'm going to make a new sequence... let's go 'New Sequence'... and I've got a sequence, and I've got no files in here, or no footage. Let's say that most of the footage is actually all in this first one. So Day 1's got everything dumped into the Project panel... so you can go and steal stuff from that project, which is handy. So I'm going to go to Day 1, I want to say, actually, I need this. So you can open these, still in there, Source monitor... find what you want, you're like this, yeah, this is the one I want. I want this bit of B-roll, of the apron... and what you do is, even if it's on the Timeline... let's have a look, Day 1, maybe it's over here... you can say, actually, I want this, I'm going to copy it... and I'm going to go back to my 'Project 5', my 'Sequence 1'... I'm going to paste it in here... and what you will notice is that, can you see... it didn't come along, it's not in my project for Day 5... it's still referencing that Day 1, which has its perks, pros and cons. It means that you just have one project... with all the raw footage in... and all your other days, just kind of, like sample from it... rather than having to load them all back in here. So that's one thing to know... is if you're copying and pasting between projects... while you're running a Production... it will bring it in, and it will run fine... and you can do all your edits, except that... it's not going to appear in my Project panel. This Production will manage the-- "I remember that on this project... Dan copied and pasted from this project." we'll leave the clip in here... but we'll have it on the Timeline here, in Day 5... just one thing to know. Another thing is, one last thing is, over here... when you go to 'Window', where is it... so 'Window', 'Workspaces', this one here... where it says Import Workspaces from Projects... this will, might drive you mad. So with it on, if I click that on... it means that if I-- say Tayla finishes his project, and saves it... and I open it up, it'll open up with his layout. What I mean by that... his work space might be like over here, and all this closed... and because he's working on a different sized monitor... so if you don't want that to happen... you just say, actually, 'Work Spaces'... 'Don't import Work Space from Project'... just leave my Work Space alone, please. There's one last thing you might want to do... working with the Production. All right, Production's great... if you're working with more than... I feel, like two or more different people. For me, most of my stuff is just between me and Tayla... so I often don't use Productions to connect things together... because we work on other sides of the planet... and basically if he's working on it while I'm awake... well, he does quite a bit, he works really late... but we're on different time zones... on completely different sides of the planet, so it works for us... but Production's handy for those really large projects... there's pros and cons... you decide where you are at... and what kind of projects you work on... where the Productions is a good system for you. All right, that's a lot of talking... Productions, finished... let's get on to the next video. 94. Advanced workspaces in Premiere Pro: All right, Advanced Workspaces... it's not that advanced... it's just stuff that you probably haven't used before. So you end up adjusting your workspace... to get it right for your screen size. I often have one for my, like 4K monitor... and one for my laptop... and I save them as separate workspaces. So in this case I'm just going to... close down my production... get it how you want, so you do all this kind of like dragging around... and get everything kind of how you want it to be... and then you go into 'Window', 'Workspaces'... and you save your workspace, there it is, there. 'Save as New Workspace'... and I call this one "Dan," I always give it my name... so it's easy to see that it's not one of the default ones. Let's say I've got an editing desktop... and then I'll switch to my laptop... okay, unplug the screen here, make another one... and have "Dan Editing Laptop." What's advanced about this video... let's do the non advanced stuff. If you make an adjustment you can go into here... and say 'Workspaces'... 'Save Changes to this Workspace'. So it'll update, if you go to Reset Saved... it'll go back to the way it was a second ago. I'm going to save and update it. Again, what's advanced about it... let's go to 'Window', 'Workspaces'... and it's kind of all in here, under 'Edit Workspaces'. Probably the most useful thing is... can you see this bar along the top here... you can drag the ones that you use the most to the front... so it's-- let's click 'OK', you see, it's up the front here now... and also hide the ones that you never use. So let's go to 'Window', 'Workspaces', 'Edit Workspaces'... and let's say that you don't use Effects... you've never used it, you just want to keep it nice and tidy. You can either push it to the Overflow Menu... which pushes it into that little double arrow there... which you can still get to... or you might go, actually 'Don't Show Me' that again. I don't use that one, but let's say... Graphics is going to be in my Overflow Menu... it means effects is gone... and Graphics is in this little Overflow Menu. So you can create your own ones. The weird thing about workspaces is... they're not part of your, like Creative Cloud license... they're per program, locally installed... and it's a real big drama to be able to export them... and share them with another computer. You kind of basically need to reset them again. Have a look, there might be in the future... a way of saving your workspaces... you know for a user... but at the moment it's saved locally... and they're in hidden folders that are not easily defined... but Google "how to find my workspaces" online. It's different for Mac and PC, and it's no fun at all... but the nice thing is, once you've got it set up... you can save it, get it up the top here... move it around, tidy up the top... oh, Advanced Workspaces... did I make that exciting? Oh, let's get on to the next video. 95. How to use Multi Cam video in Premiere Pro: Hi everyone, in this video we are going to look at Multi Cams. I got two separate bits of footage... two different shots filmed at the same time, on different cameras. I'm going to show you how to stick them together... so that we can play through the Timeline... and just switch between whatever camera we want. It's all synced together nicely... it's very exciting, let's get going. All right, first up I got a new project... let's import some stuff... it's in our 'Exercise Files', is under 'Donut Dynamite'... bring in everything from there... and you need to identify a Multi Cam... got some lots of B-roll and other things... but at the moment I just want these two... Interview Sync A and B Cam. So these are my different shots, let's open them up. So in the Source monitor, so this one, it's close up... and I've got this medium shot... and they are recorded at the same time on different cameras. So what you need to do is... we're just going to do two, you can have a lot more... what we need to do is check out which has the best audio. "I'm Madame Donut." "I'm Madame Donut." In our case, these, whoever shot this footage... has made the audio good on both tracks. Often, one will be good... because you'll be using a good-- your camera will be hooked up with really good audio... and the other one will just be recording... with the default built-in camera audio, and it will be horrible. So for this thing to work though you need both bits of audio... so even the horrible stuff. So if you're recording this yourself... record one with your great mic, that's fine... and the other one... just have the default microphone on your camera recording... just so you've got something-- because that's what Premiere Pro uses to stitch it together. In this case they're both the same, both equal, so I don't need to worry. To make a Multi Cam you select both of them... so I'm clicking the first one, holding 'Shift'... click the second one, right click it... and say, 'Create Multi Camera Source Sequence'. So the naming is going to use the video clip name... I'm going to add the word Multi Cam to the end. You might just call it whatever you want... by calling, custom... down here, we're going to use the audio tracks from both clips to sync them... and we're going to use the audio from the good track... which is Audio Track 1. Anything else? Enumerate Cameras, just means, I think that's the default... it's just going to assign like camera 1, camera 2 to whatever you've got. If you've got names already on the clip names... like I've got A Cam and B Cam... yours might be, you know, your Sony A7S, or something else. You might want to know which camera it is... and you can say, actually, just use the clip names. The one thing I like to turn off... I'll leave it on for the moment because I'll show you what it does. It's going to move these things into its own separate bin... I don't like it, but let's click 'OK', see what happens... you see, what's happened is, I've ended up with this Multi Cam... it's this strange looking icon here. It's moved those two files just into this little folder here... I'm not sure why that's useful... it's being processed, I'm going to-- you need to untick it, or do what I do, and just drag it out afterwards. I find I need to kind of rename mine now, my Multi Cam. So I'm going to call mine "Interview"... I'm just going to call it "Multi Cam" I don't know, always find the naming comes out a bit weird. I need to see it in my Program window, and then go... all right, that feels about right. So you don't kind of use this one straight off... it's kind of like a separate clip, you need to add it to a sequence. So I'm going to go to 'New Sequence', I can't see it... let's open this up... and, there. I also need to go to 'Window', 'Workspace'... 'Save Changes to Workspace', thank you very much. So I've created a sequence based on that Multi Cam... I'm not going to call it on Multi Cam, because I'm going to get confused. This is just my regular old sequence with the Multi Cam dumped on it... it's green because it's different. Now we need to be able to see the Multi Cam option... so it's hidden, mine's on here already, yours won't be... hit this little '+' button in the Program monitor... and you're looking for this thing, Toggle Multi Cam View'. So it's kind of like group of squares... just click, hold, drag it, drag it, and drag it down there, click 'OK'. Let's turn it on, make sure your clip is selected... and what we need to do is... with it selected, if we just change it... it changes the whole clip to show... just the camera A or camera B. What we need to do is make an edit. So I'm going to zoom in down on my Timeline... and I'm probably going to... I like to use my audio track... so that's 'Option +', or 'Alt +' on a PC... to make the audio track bigger. I'm going to find my edit point. "Donut Dynamite, with my husband..." So there, in there, I'm going to switch... from camera A to camera B to kind of like hide the pause... so about there, I'm going to make my cut... so I'm going to use my 'Command Shift K'... or you could use your Razor Tool. If you're on a PC, remember, it's 'Ctrl Shift K' and what I'm going to do is... do I want this one? At the moment we're on camera B... if I go to this one, I might go to camera A... and that's how you kind of toggle between... you need an edit point... "Donut Dynamite, with my husband..." I'll find another point... we switch between here to hide this big-- So I'm going to do my cut again... 'Command Shift K', 'Ctrl Shift K'... and about there I want to trim this out. So I'll just use my 'Q' key, using some multi shortcuts here... kind of trim it up and move it along... and what I want to do, in this one it's sync A... you can see this one here... I want to switch it back to this, here we go... "People keep coming in." And that's how to use Multi Cam... you can use a few shortcuts like... I don't know, when I first learned it... there's a lot of tutorials online where it says... you can play, use your shortcuts 1 and 2... 1 and 2, 1 and 2. 1, 2. You can click on this 1 and 2 while it's playing. So you can do it while it's playing... I don't know, I've never been able to edit that fast... if I was that fast... just play it through ones and edited it as I go, that would be cool... but I find it undoable. So I need to make my cuts first... and then be a little bit more deliberate. We can use those shortcuts though... so I'm going to undo all my crazy shortcuts... is we can get to a point here... and decide, actually instead of doing like the full-on cut... I can just get to this point and hit '1'... and it will switch it over, nope, you have to put a cut in first... because it just switched the whole thing. So 'Command Shift K', and I am going to say, 2... so you can use that shortcut 1 and 2. Make your cut first, I'm cutting the audio as well... you don't have to, you can unlink them... but use that 1 and 2 to toggle between them. Now we're using something with, like one strong audio track... you might be doing an interview between two people... and they may have two good audio tracks... and what, at the moment what it's doing is... it's keeping track 1 all the way through... because that's the one I said. You can go into here, under your Program monitor, see this wrench... there's quite a few things in here for Multi Cam. It's only highlighted if you're inside... or have our Multi Cam selected, or in Multi Cam mode. I think the button operated, you can see here... see, the camera follows audio... that means it'll jump between the two... when you make your edits from camera 1 and camera 2. My audio is the same on both tracks, so it's not going to change anything... not the + buttons in the wrench, so I'm going to turn mine off... you can also, if you've got a few cameras... and you need to know what the names of them are. You can go through, go to the wrench... and you can actually 'Edit Cameras'... and you can decide which one is first. Let's say that you've got, they're not A, B... because that makes sense, to be in that order... but let's say they just got different camera names... or different people, names of people. You can reorder them by dragging them around... means that-- so A is in top of B... let's do it the other way around. So now B's on top of A, you can turn cameras off if you don't need them. Not sure why you'd include it in your Multi Cam... but there's something you want to turn off, you can... let's click 'OK'. Now if you've made an adjustment, and you want to change it... you just go back, let's say that I don't want this to be... this now, you just click on it and say, this one... you all use that 1, 2 shortcut, to toggle between them... or, I don't know why, but there's a better zillion ways... of changing it, you can go into, where it says Multi Cam... and say I want it to be, actually camera 2... and switch in between that way. Now let's look at diving into Multi Cam... because you'll see here, we've gone ahead and started our edits... but we haven't done any color correction. So let's say I want to do that now... I can do it individually to the separate clips... and copy and paste them to all the separate bits I've changed. It's probably nicer to actually... just dive inside of the Multi Cam... plus it's interesting to see how it's constructed. That's the sequence that I'm working on over here. What I want to do is, this Multi Cam... which I'm kind of using just as a big video... that somehow magically I can cut between different shots. What I can do is I can right click it and say... open in, 'Open in Timeline'... so I can actually open this up separately. So I'm inside my Multi Cam now... and we can kind of see it's just like overlaid them on top of each other... the audio, that's how they matched up the audio... and it's muted one of the tracks. If you decide that's not what you want, you want Track 2... just open it in, and turn them, and switch them around. What I want to do is, actually I want to color correct these two. I want to try and, I don't know, make them-- they're shot on different cameras, they look different... so what I want to do is, kind of use my... remember, Match Shot from earlier on... way back, eons ago in this course. What I want to do is be able to see both of them... so I'm going to twirl them back, so I can see one side, and the other. I'll put them back when I'm finished... but I wanted to be able to see this side, and that side... because, you can see, they're just very different. Let's say, fix one of them, I'm going to work on B cam... so B cam's here, I'm going to turn off the Multi Cam view... it's confusing me. So I've got this one, I'm working on... yeah, I'm working on that one... I'm going to just do some basic correction... I'm going to do auto, don't tell anyone... and I am going to... say that I like it, I worked on it, like it, I want to match it with this one. Remember our little Match Shot... so I'm going to be able to see this one... I'm going to go to my Lumetri Color... I'm going to go to my 'Color Wheels & Match'. I'm going to say 'Comparison View', please... and on this side... I want that... I want this side to match it. So we're going to go 'Apply Match'... well, for this to work, actually, you need this selected... you need that selected... and on this side, I get confused with this. Is that the way, no, it's backwards... let's click 'Apply Match'... no, other way around... then come on, so on this side, is the one I want to fix... and on this side is the one... that I want to steal from. So I've got the one that needs to be fixed, selected... and it's on this side here, I'm going to say, 'Apply Match'. It's going to match this side, you can see, it's pretty good... like it's done a pretty nice match. Let's turn it on and off... nice, Comparison View, I love it... and I love this Match thing, but in all honesty... I do get a little bit confused about... like which one should this one be, which one should be on which side... I don't know, use it loads... and every time I have to kind of, I don't know. I guess I want to mention it because... if you're finding it troublesome as well... it's not you, it's us, me and you. So I've edited it in this Multi Cam... I just need to put it back to the way I found it. So both of these got their edits on it... and because this Multi Cam - I'm going to close it down now. - is being used in the interview... these, all these separate little cuts have been adjusted as well... and it's interesting to see how Multi Cam is put together. It feels like this, huju, but when you go into it... you're like, ah, just overlaid it and lined up the audio... and there's a magical trick for jumping... between the two different track names. Another thing that might be useful... I don't really use it, but you can right click this... and we saw there was some Multi Cam stuff. There's one in here that says Flatten... I can flatten this thing... the difference is, at the moment it's this Multi Cam track... which I can then, click on open Multi Cam... switch it from camera A to B. If you want to turn all that off for whatever reason... you can actually just go to 'Flatten', it's not really destroying it... but what it's doing-- oh, have them all selected, undo that... have them all selected and then flatten them. 'Multi Cam', 'Flatten'... it's not very destructive. All it's doing is, it's ignoring that Multi Cam now... that whole thing we made. It's now going directly to this... so that it's just a regular edit that I've done manually. It's just got this lumped into there... that lumped into there, I can't now go in, and go to Multi Cam... turn off Comparison view, Multi Cam... there is no multiple cameras now. So you turn that functionality off... but at least now these are just regular old clips... and there must be a reason for it. Hey, this is the advanced class... there's somebody out there going, "Phew." Awesome, now I can turn Multi Cam off. All right, so that is Multi Cam... I want you to play around with this project... see if you can switch between them... get used to diving inside the Multi Cam... switching to the different cameras... and think of your next project... where you've got multiple cameras... and hopefully make it a little bit easier... to both sync them and switch between cameras... and we've only done, what, two cameras... imagine if you have four or ten, that would be exciting. All right, on to the next video. 96. Class Project 12 - Multi Cam: It's class project time, you thought I'd forgotten. This one here is pretty cool... it has got-- it's from this company called Cinestudy. It's not a company, they support the industry... the editing industry... and they've supplied some free to use multicam footage... which is hard to come by. I'd prefer if you get to use your own footage, but not everyone has it... so if you've got your own footage, definitely use that... but if you don't, there's a couple of options here. So here's the link to it... and if they change the link, check out their website. Sometimes, whenever I put a link on these things... they seem to move things around... but the link should take you to here, the Edit Challenge - Multicam. Watch this short little video... the only difference is that he explains... that you can match the... match the clips, using the clapper, on the waveform. That just means, like at the beginning here there's a clap... can you see, there's a clapper... and you'll see a little spike on the Timeline here. Here's the clapper. That's how you'd match it... before Premiere Pro had this lovely audio feature... so you don't have to like line them up. What you need to do is just use the feature that we used in the last video... where we align them all based on audio track. These tracks here have all got the same audio track on them. So there's no bad ones, so it doesn't really matter which one you sync to. Cool thing about, there's three videos, they're pretty cool. They're the different artists... it's a really cool song that's being performed. Okay, so what else is on my list? So sync it using the audio... I want you to grade the footage as well... I want you to do something... I want-- don't want you to leave it too plain... it can be subtle or it can be quite distinctive. So grade it like a particular movie style, or some sort of effect. I want you to add a bit of creativity to it, whatever you think. Make sure you upload your video... Behance or Vimeo, you've done this loads before. The difference with this one... is you need to upload it to us like normal... but you need to make sure you use the #cinestudy... wherever you use it, just so they can track it... and also you need to use the credits listed on the website... here it is here. So the credits are down the bottom here, it's this stuff... so there's two songs to pick from, you can pick from the... "Before You Accuse Me." So you'd use that chunk and all of this... the Camera Operators, the Gaffer, the Grip... all of these, all the way down to here. If you choose the second video, just use all of that down. The other thing they're doing it here... is they're asking for considering a donation to help them out. So you might consider that as well... it's pretty cool what they do for the industry. So you might think to throw them a few bucks to support them. And the same as before, share it on social media, love to see it. Make sure you tag us, and if you can find... Cine Study on the various platforms, tag them as well, and thank them. On that page, there's various different ways of downloading... the way I did it was I just clicked the 'Download Raw Footage' here... it opens up in Google Drive, and you can see, there's... "Before You Accuse Me," BYAM, there's cam 1, 2, 3, 4... and then this other version, 1, 2, 3, 4. Use those, download big chunk, yeah, all four of those... and all four of those, there's four of them... I didn't download the fourth one. Anyway, I'm looking forward to see how your edit goes. On to the next video. Actually, no, you go do your homework... I'm going on to the next video... I will see you in a little while... because that's going to take a little while, that project... enjoy it though. 97. Amazing file management tricks to save the day in Premiere Pro: Hi everyone, welcome to the amazing File Management tricks... that are going to save the day in Premiere Pro. I'm trying to sex up this video... it's got some amazing tips and tricks in it... but I kind of had it down as file management... it was like, it's the subgroup that it's in... and I don't want you to go like, "Oh, geez." I'm going to skip old file management... because there's some good ones in here. All right, let's get started. So first up, if you're playing along... I'm using the last video from the last file... It's got a bunch of stuff that I imported... I'm actually going to import some more of the same... it's going to be weird. So 'Command I', and I'm going to... move more from Donut Dynamite. Let's say I wasn't sure, I was like, "Have I got this in here?" I'll just import it again. The weird thing about Premiere Pro, it'll import it twice... which can be really annoying. So what you can do... make sure you're in your 'Project', go to 'Edit'... and you can go in here and say... 'Consolidate Duplicates', watch... they just get rid of them all, nice. The next one is my favorite... no, I've put them in some sort of order of my favorites. So this, this video is destined to get... less and less interesting towards the end. There's good ones, I've not included any bad ones, I think, but anyway... my next most favorite one, is when... let's say that I've got this... I'm going to add a couple of bits of B-roll here. So let's say we're cutting up some bad transitions, I'm just... let's just dump a few of them in here, onto my Timeline... and then you're like... "Actually, I've got all this other junk, what is it?" "Do I need it? Is it in the sequence?" Make sure your 'Project' window is selected... you can go to 'Edit', and you can say, 'Remove Unused'... it just deletes them... unless they've been used on a sequence, in this project, cool. That one's a bit, I don't know... I feel like that is too rash and harsh. Often I just want to know, like what's been used... and what's not being used. So what you do is, basically you do the exact same thing... and then go 'Edit', 'Undo'... because then they're back in there... but they're highlighted, and that's kind of enough for me... I'm like, okay, I know that one's not being used... and maybe I should have, like... "Oh, why haven't I used the Mix Butter ones, the best one." I have no idea whether it's good or not... but you get the idea, right? You can remove them, but if you undo it straight away... it'll just highlight them, and I find that's quite useful. Next is, what I normally call packaging your document... it's from like graphic design lingo... where we need to kind of... we've got a project file and we've got videos... probably everywhere, some on our desktop... some on our downloads folders... some are on a hard drive, somewhere on the SD card. We just want to get them into one place... because we either need to archive it... or we need to send it to somebody else... or just look less like a messy person. So you can do that easily in Premiere Pro... have the project you want to tidy up open... have it selected down here in the 'Project' panel... go to 'File', go to 'Project Manager'... click the sequence you want to backup, all of them... one of them, I've only got one. Over here I want to exclude any unused clips... depending on what you want to do. I'm going to exclude them... I'm going to include the Audio Conforms... and the preview files, and rename. I haven't renamed in my files and my clip name, so it doesn't really matter. These preview files, we talked about them earlier... remember, Premiere Pro couldn't... doesn't like to read an mp3, let's say. So it creates this wav file or unpacks it as a... I can't remember the extension, but unpacks it... into a format it can use. So do you want to include those, you don't need to... because Premiere Pro will generate them again afterwards, so it's up to you. Collect Files to a New Location... so you're going to have a copy, that's the big one... it's going to collect them and copy. So you're going to have duplicates of all of this... it's kind of way of getting it off onto a backup drive, that's what I do. So you clicked it all, stick it onto a backup drive... and then you know you have to go and find everything... try and drag it, and links break, and you have missing files. I'm going to stick mine on my 'Desktop'. Let's go have a look how it gets created. So there it is there, that's the name of my file, my project... I'm using the project names as the video names as well, so ignore that. This might be like, I don't know, 'Co Working Space' video'... and inside of there you've got a copy of your project file... dot pr, prog j. Those are the previews that we brought along for the ride. There's the videos that are being used... these are all the videos that are being used... you will notice, I was going to... I wasn't sure if I put this in or not, but I guess I should. All the mp4s just get dumped in the file format... these movs in the project... some of the mov, some of the mp4s... these are using an underlying codec called avchd... and they, the way Premiere Pro needs to deal with them... is it needs to put them in this BDMV folder, inside Stream... and there it is there, that's the file that you are working with. If you want to tidy things up for whatever reason, you can drag them out. Premiere Pro won't like it because it'll be missing them... but you can link them, it's up to you whether you want to keep them in these... like, I don't know, messy folders, or not... but anyway now I can grab this thing here and I can say, Zip... and on Mac it's called Compress... on a PC I think it's Send to WinZip, or this Compress Folder... I can't remember what is on PC, it's in here somewhere... and you can then zip it all up and send it off... or stick it on a disk, you know what to do with it... but just remember it's a copy, and you will never remember... it is under 'File', 'Project Manager'... which doesn't seem, I don't know, seems a bit ambiguous... but really handy to tidy up those messy files. All right, the next one... we've done maybe once or twice during the course... but let's put it all in File Management, is Reveal in Finder, so in here... and you're like, "Where did this one, where did I get this from?" I can go right click, and somewhere in here... Reveal in Finder, I'm not sure what it is on a PC... is it Reveal in Windows? You'll know... because it'll say Reveal in something... Finder is a Mac thing, I thought. It'll open up, let's open up my other window here... my other screen, there it is, it's just telling me where it is. You can do it from over here as well... you can right click it and say... actually, show me this in the Finder... towards the bottom, Reveal in Finder... you can also Reveal in Project. So Reveal in Finder gets us back to the exact same place... but Reveal in Finder... let's look at something else... it'll highlight it over here, which is handy... Reveal in Project, there you go. Next tip, the next one is searching in here. I've made it bigger to make it-- we're going to do a lot down here in the Project panel... so we did searching or finding here in the Timeline... remember it was just Command for Mac, Ctrl for PC, F... and you could do finding stuff. We did that earlier, you can do it over here as well. So just whatever you've got selected... will activate that, using that same shortcuts. So over here, on my Mac, 'Command F', 'Ctrl F' on a PC... and I can do my Find... I want to find everything that has the word butter in it. Now one thing can be a bit confusing... is that, it's got two things here... and if you've adjusted it like we did earlier, it's going to go fine. Mine makes a happy little noise... it's the computer butting his head against the glass. I can't find it... I know there's the word butter there... it's because we've gone, match this... so all, it needs to match all of these things... I want to say match any of these two... this or that, any of them... and it's highlighted over here. There's an easier Find in this one, you can just use it up here. So let's type "butter," and there you go. The strange thing though is that it doesn't turn off, ever... you have to like remember to hit the cross to get rid of it. It's pretty good, you can search for frames per second... so 25 is weird, like it's bringing me everything... that has anything to do with 25. So this has 25 somewhere in the Meta data... it's not the frames per second... these ones are, perfect, there's something in there... you can see it, can you see it, I can't see anything in there... it says 25, something in the Meta data finds it... so it's pretty-- tries to find everything... but if we do 25.00... still has it in there. I'm not sure why that one's appearing... just make sure you delete it when you're finished. You can be thinking camera model... if that Meta data is included in the video... the different camera models, maybe the date... anything you can search in there. His little friend over here is quite interesting... this one creates a search bin... we know bins is like little folders... so what you can do is, click this... and say we get kind of a similar search as we had before. So find all the Meta data that has that 25 frames per second... and this, no, just all of that... and let's click 'OK'... and you can see over here... it's weird, it's created a little bin with a little... can you see the little spy glass in it... this bin has grabbed a bunch of files... that have the word 25 in there somewhere, this random guy... but weirdly, look, there's-- let's look at Color Correction 02... that's something that you won't have in yours... because I randomly imported that before... but you can see here, it's there and there. Have I got duplicates now? No. This is just like this permanent search... it's always running, well kind of... it's like a saved search. It means that if I add something else later on... it'll appear in here as well... just kind of like a way of segmenting things. It's not a duplicate, I can use it out of here... but it's just like a-- it's not a copy... I don't want to use a copy, it's like a-- what's the word I want, another iteration of this... if that's a word, I don't think that's the right word... but hopefully you get what I mean. It's just showing you another way of looking at this... and you can open it up separately... you can double click on it, and just look at this stuff... I can go back up to my original one... and let's say I do add something else to it. So something else, 25 frames-ish... so this Color Correction H, I'm hoping is 25 frames... I'm not going to drag it into that folder... it's not a folder, like we've been using, it's a search bin. So if I drag it down here, it is 25 frames... and you're like, "Oh, didn't appear in here." This thing is not-- oh, it did appear, it's not very quick... just give it a second. It eventually does the search again... I have no idea, like the time difference... I end up just kind of clicking on it... and going and clicking things, and it seems to happen. I don't think my clicking helps... there is just a timer that goes-- I'm going to go search some more... but I think it's controlled by hamsters... so just be patient and wait for it to update. How to get rid of it? You can just delete it... and you're not actually deleting your files, it's just a different search. You might have a search bin that has 1080p... or, actually drop this down, there's quite good stuff in here... depending on the Meta data of your original footage... is in Frame Rate, hopefully that'll clean it up... and get rid of that guy, it did finally. So I've just got those ones with 25 frames per second. All right, that is doing some extreme searching... let's get on to the next trick. The next one is to do with the Meta data... across the top here, we've looked at... kind of adjusting this in the past, but you can save it... so, let's change it a little bit. So let's say that, for us, Frame Rate is not that important... or it is, but there's other stuff... so let's just turn on something else. You right click any of these guys along the top here... top of the columns, pick something else... let's have a look at Basic. What else we want? Let's use, say-- whether the video and audio being used... and maybe... what video codec is using. So we can click 'OK', get it in the right order... by scrolling left and right... I'm using that scroll wheel mouse... you can just drag a bit left and right... I'm using that scroll wheel mouse... I can hold 'Shift' and drag it up and down a little... scroll wheel, that's a handy trick... and pretty much most of these... if you hold Shift down and scroll left and right... it'll scrub left and right on them. When I say scrub left and right, I mean... scroll wheel, holding shift, up and down... up and down on the scroll wheel, goes left and right. So I'm going to go along to this end point... where is it, here, I want to move all these along... it's a bit of a pain, kind of getting them all the way along... but it works eventually. Did I select all of those, did I? Video usage, it might be the audio channel as well. Okay, we've got there, kind of shuffle them all along. You can save the layout... you can click on this option here and say... 'Save As New View Preset'... so I can say, this is my, I don't know, "Assembly." When you're doing kind of-- is that Assembly, that looks good to me. So it might be Assembly, you might have... I don't know, it might be an audio version... where the audio information is closer... or you just might have one that you use all the time, the Dan one... and I'm going to not do that. You can obviously set a preset... remember, do that, then go into your keyboard shortcuts... find the words Project View... and then turn it into a shortcut. I'm unlikely to ever do that... I don't switch them enough, click 'OK'. So it just means that later on... I can switch them back and forth between different ones... if you do need to load a different one... because you've saved a different one, you can go back to this. The other thing to note is that this view here... is also tied in where my workspace is... so Dan - Editing, if I save the changes to this work space now... it will remember this as well. So video usage, I'm going to drag it all the way over here... and Media End, Back End. So this one here is kind of in the wrong spot now... so if I go back to my 'Window', 'Work Spaces'... and say, actually, let's 'Reset to Saved Layout'... you'll notice that it all comes back to normal. So you might have your, remember, editing version... you might have it, your version for audio... and switch these around, spend a bit of time getting it right... Color Correction 01, just so that you can see what you need to... codecs or frame rates, whatever it is... and they will save and connect to the work space. All right, the next one is kind of tricky... you can get yourself into problems with it... it's pretty easy to do. Let's say that you're working on stuff... and you've got a bunch of stuff that you have already used on the Timeline... and it's really messing... you're like, "Actually, I just don't need any of this, that, and that... I just don't need to see it," just need the interview... and all the stuff can go away. You can right click any of them, and go to 'Hide'... look at that, nice, tidy Project panel. The problem is, is the next person to come along... that you send it to, goes, "Where's all the footage?" I can see it over here, it's not here, where is it gone? So make sure you tell the person you're sending it to... and you can, to get it back, you just right click anywhere in here... and say 'View Hidden', and toggles it back on... and it is a toggle switch. So let's say you just turn it on for a second... to start checking these things in the Source monitor... and adding them, and then you actually... want to go back to your tidy option. If you go 'View Hidden' again, it toggles back and forth. All right, I'm going to turn that off... 'View Hide', it is a nice way of tidying up a project. I'm too scared to turn it on myself, for fear of losing stuff... and spending ages trying to find it. All right, next tip, next thing is a quick easy one... finding footage, right clicking it... and instead of trying to like search the Meta data... and turn it all on, on these little columns... you can actually just find properties. So right click the 'File', go to 'Properties'... sometimes you need to give it a second... for it to go through and figure it out... and this is the stuff, that this file... Premiere Pro knows about your document, all in just one big lump... rather than trying to turn things on and off... and depending on how it was shot... how much Meta data the camera put into it... or what's been stripped out in the editing process... you might find lots in here, you might find very little, but that's the way to do it. Let's close that down, oh, one thing I thought of is... there's actually a panel for Meta data as well. So let's select on this one, go to 'Window', go to 'Metadata'... mine's already on somewhere... if it's ticked on it's just on somewhere, that it can't-- oh, there it is, you turn it on and off... so you can see it all, there is a panel as well... and the cool thing about this... the problem with this is... you've got to kind of do a bit of searching through... to find the stuff that's actually applied... but you can actually add stuff to this. So you can start deciding-- adding Meta data this way... using this panel here. All right, let's go back to my Source window, and next tip. All right, this last one I hope you never need... if you're, for whatever reason Premiere Pro crashes... it will try and load up our version... it tries to say, "Hey, I've got this version, let me try and load it"... and you say, "Yes please, please"... and you cross your fingers and you go, "Please, please, please"... and you hope it loads with all of the changes. If that's not the case, or just something happens... know that this is the file, the project file, the main file... that we'd be working from... but there's this other file called Auto Save... and in here are a bunch of versions. So the current one plus all the ones... and it's kind of, they're time and dated backwards... they're in sort of chronological order. These are actually just separate project files... you can open them up separately... just to see if there's one of them in there that, you know... has the thing you wanted or at least... maybe you were part way through... something that you plan to undo, but it crashed. So have a look through those... just in case there are other versions... not just the original prproj. All right, thanks for sticking with this one, it was a long one... that is file management... and I hope you learned something. Hope it wasn't too boring... let's get into the next video. 98. Intro to sound in Premiere Pro: Hey, haven't seen you for a while... this is like real life again, well, real life-ish. I thought I'd jump in front of the lens... to introduce this next section... just because, I don't know, disclaimer is... I'm not a Sound Engineer... and we're going to get into some sound stuff. So keep that in mind when you are doing this bit, that... I'm not a professional Sound Engineer... but I'm going to give you all the tips and tricks... that I've learned over the years... to get my audio from really bad to good, and good to great. Another thing that I wanted to explain was Audition... so when I was kind of getting this, outline ready for this... a lot of people were like, "Teach, include Audition"... and I used to... when I used to teach Premiere Pro long time ago... there was no-- you had to go out to Audition... for fixing sound, Premiere Pro had some really limited sound editing tools... you could do a bit... but all the really nice... I don't know, user friendly stuff was in Audition. Audition is a separate software that Adobe... you know, as part of your license... so we used to have to go out from Premiere to Audition... then Audition, back into Premiere Pro. We're not going to do it by one thing in this course... because Adobe made the choice a little while ago... to bring all that really good... intuitive stuff that was in Audition... and drag it and put it into Premiere Pro. So now we don't need to jump back and forth... and now the Essential Sound panel... which I'm going to show you in the next video has-- they're exactly the same... there's an Essential Sound panel in Audition... and there's one in Premiere Pro, and they do the same thing. So we don't need to go back and forth as much anymore... so if you're wondering why we didn't do Audition, that's why. Most of the stuff is in Premiere Pro now... does a pretty good job. All right, that is it, I'm going to go back... behind the computer screen, and yeah, let's jump into the next video. Actually, one more thing before we get started... is when you are doing, you know, working with sound... it can be important to, you know... if you are still editing and working with sound... and you're reasonably serious about it... which, you know, should be, depending on your output... your laptop speakers are not a great idea... even, like if you've got big set of speakers plugged in... or a nice set of headphones... the problem with most of them is that they are... they're the wrong, they're wrong for the job... and most speakers that you buy... try to take the input or the sound... and make it better themselves... they add a level to the things to make them feel nicer... and slicker, and happier, and bassier. So they do stuff to the, you know... the track coming through. So what you can do is... the word is-- you want, can you see, there, it says monitor... so monitor or neutral speakers, the problem with them... is that they're expensive, potentially, and they don't sound great. What I mean by that is that... they just let the audio kind of pass through untouched... as much as they can, whereas, like a normal... a nice set of hi-fi speakers tries to boost and add... and make volume too, so they're changing the sound output. So if you are looking for something for your video editing... look for monitor speakers or monitor headphones. What I tend to do, what I'm doing now is... I can't use speakers in my office... like, can you hear it now, probably can't... it's raining outside, I've got kind of... it's really loud on the windows... so it's hard to do any sort of, like serious sound stuff... and also my fans on my laptop... they're not running at the moment... but give it a little minute, and those fans... man, they're deafening, like, they're really loud... and they, you know, it's hard to clean up audio that way... so I use headphones. I've got a good set of monitor headphones... that I don't use very much anymore because I just use like, these... this is just a regular set of headphones, and out of the box... they're not very good for... for fixing sound or listening to it properly... but Sony have this app with it... these specific ones that I use... have app on your phone... and you can really change it, and you can adapt it... to be more neutral and get rid of all the extra bass... and all the other things they do... so up to you what you want to do. If you do have a fan-- like these are super fancy... they're super expensive, just... every designer bought a set of these at some stage... I felt like that, go to a conference... and half the people are wearing these headphones... but anyway, you need to do something... noise canceling, I find are really good... these particular ones are great... but a monitor set of headphones... that kind of cup over the head are really good to have... and aren't super expensive. Now if you're only dabbling... and you're only doing little bits and pieces, might not matter... you need to get it close enough... but know that if you are getting serious... you do need to probably upgrade your speaker or headphones. All right, let's get started with some actual Premiere Pro sound stuff. 99. How does the Essential Sound Panel Presets work in Premiere Pro: All right, Sound time. This video we're going to cover the Essential Sound panel... just introduce it for the people... that haven't done my Premiere Pro Essentials course... and haven't really used the Sound Panel before. For the people that have... we are going to explore what we're actually doing... when we're playing with the Essential Sound panel. It's really useful to know that this is a front end... on a lot of the more hard core effects... that are here in my Audio Effects library. So basically, this is connected to this, I'm going to show you how... plus we'll do some really basic editing here... get this dialogue, music, and ambient sounds... all kind of balance, with a couple of little shortcuts, wait to the end. I'll also show you, what the hang... background walla walla is, a little Easter egg for the end. All right, let's jump in. First things first, let's make a new project... and let's bring in some footage. So it is in your 'Exercise Files', there's one called 'Sound'... just bring in everything from here. What we'll also do is bring in some more footage... from, in previous one... let's look at Donut Dynamite... and bring in these two, the Sync A and B... and let's start by making a sequence from A. Let's switch our audio, our workspace, sorry, to audio, on the top here. If you can't see that, 'Window', 'Workspace', and 'Set Audio'... just rearranges everything... we'll cover these in a little bit. The thing we want mostly... even if you don't want to change your workspace is... I want you to be able to pull up Essential Sound. So we did a little bit of Essential Sound... in the Premiere Pro Essentials course... we're going to dive in deeper today. So first up we've got our dialogue... and the cool thing about Essential Sound panel... is actually, there is way too many ways to control sound... I'm surprised there's so many. What they've done is they've actually grouped them... the one, you know, the things that are useful for... controlling and adjusting sound... are all grouped into dialogue. For dialogue, the ones that are useful for adjusting music are grouped in here. So the first thing you need to do is assign... these different tags to it... so that Premiere Pro can say... "Hey, these are the ones you should be looking at, not these other ones." Let's bring in a couple of other bits... so let's go to our 'Project' panel... let's make mine a bit bigger. What we'll bring, we've got some dialogue... let's bring in some... music in the background. We'll put that underneath, and let's grab some cafe noise... and we'll put it there as well... for no reason, I don't know, music needs to be at the bottom. So we've got three bits of audio... we'll ignore the video for the moment. Let's make it bigger as well... remember our shortcut - you might not remember - for audio... it's 'Option +', so we'll make this a little bit bigger... grab this middle bit. So now we can see our audio... so what we need to do is assign the different parts... here in our Essential Sound. So this here is my Dialogue, so your dialogue... and it's going to give you stuff that can control dialogue... this one here is my Cafe Noise. So this is my ambient one... so it's only-- you can see, it's changed... gives me things that reflect... useful controls for ambient sound... and for this last one, music... there's another one there, Sound Effects, as well, there's Interview... doesn't really need sound effects, but you get the idea. Let's look at the automatic features to get started. So the 'Dialog' selected, let's go to 'Loudness', and go 'Automatch'. It's going to, watch, you see, it lifts it up a little bit... to try and match... it's going to try and balance our decibel levels... for this particular, you know, for a dialogue... it's going to try and get it to a nice healthy... probably somewhere between the kind of somewhere around the -12... maybe just above. This ambient stuff here... let's see what it does for this, loudness, for ambience... it's going to try and match it, and it's lifted it up. Let's look at 'Music', let's go to 'Loudness'... what does music sound like, lowered it down... because music-- and the background stuff... so it doesn't get very right, dialogue, nails it. These other ones, let's have a play through... "I'm Madame Donut, and I own Donut Dynamite"... it's not bad, but let's look at this ambient music, it's just... I've made this cafe music, I'm going to mute it... sorry, mute it, we're going to learn these buttons... Solo means only this track is going to play... all the rest of them are muted, let's have a look. So I've got some background cafe music... to kind of make it feel like this cafe is full... and it's not, feels a bit echoey. So I wanted to make it feel like a busy kind of cafe going on. So what we're going to do is play it... a cool little trick when you are working with audio... is you can lower and-- lower the volume, and raise it... by using a couple of shortcuts. So down your keyboard, you want the square brackets... it should be next to your P key, those two, so watch this. I'm going to hit 'spacebar' on my keyboard... and use those to go up and down... to try and listen to the ambient music or ambient track... to try and get it in the right spot, 'spacebar'... "I'm Madame Donut"... you've got to have it selected first, just so you know... "Donut Dynamite, we work... we live and work here on Maui, we opened ours..." What I might do is mute the music track... as cool as it is, I want to get this balanced out first... "and I own Donut Dynamite with my husband... we work, well, we live and work here on Maui." "We opened our store about seven months ago in the town of Waiduku."... there you go. I feel like it's not interrupting the dialogue... but it is, because you need to play audio... obviously, you can't see it. So that's a handy trick, is just have it selected... play it through and use those square brackets up and down. The next thing we're going to talk about... is all of the things over here... let's solo the... solo the dialogue... "Madame Donut, and I own..." So with it selected, let's say-- like my problem when I was learning is... like there are effects, so the Effects panel., audio effects... and there's just so many, like which one of these... is going to help me, like basically... up until the Essential Sound helped me learn them... I was just, I'd go into this one, 'Compression'... and go to 'Dynamics Processing', and that was it. It's a great way of like tidying up kind of rough dialogue... we'll look at that in a little bit... but this panel over here, let's close that down... let's not go via the effects, and try and add them individually... because they go on, and then you've got to start adjusting them... whereas now we can start with this one, and say, 'Preset'... let's have a look at-- You can see, all these are turned off... I can start working through them... and we'll have a look at them individually... but I want to show you something... I want to say, 'Presets', let's say... it's 'Balanced Female Voice'... let's go 'Clean up Noisy Dialogue'. I played around with this, this is the best preset... it's turned on a bunch of these and adjusted them, can you see... if I bin it... go to 'Default', and say, actually, with it selected... I'm going to go clean up, keep an eye on it... it's not there. You know why it's not there? Because I hit Delete, you saw me do it a second ago... you saw me go like this, and then hit Delete... and then went, you're like, "Delete it," and I'm like, "Yeah, get rid of it"... thinking it was going to delete the-- just take it off. Weirdly, I've never done that before... and that shouldn't be there... because look, it's gone forever. It doesn't matter how you restart Premiere Pro... so, hey, I Googled it, figured out how to do it, and I... hey, let's leave it in the course... because it can happen to the best of us. So you need to close down Premiere Pro... save the project you're working on... you need to go to your Documents... go to your 'Documents', find 'Adobe' folder, 'Premiere Pro'... the version number that you're working on... it'll have your name in there somewhere, or the name of your computer. Find the 'Settings' folder, grab this, drag it to 'Desktop'... reopen 'Premiere Pro'... and it kind of makes it again, watch. It'll kind of flash up there, there you go, now back to normal. All right, let's continue on and pretend... that I didn't do that, see you in a sec. So we're back, we've got our dialogue selected... I'm going to try and find my flow again... Essential Sound, and we've picked a preset of... our 'Clean Up Noisy Dialogue'... let's actually change it to, like 'Balanced Female Voice'. What is that doing? It's turning a lot of ticks off, on here... but what we can do is... we can dig in, because if you want to stay-- start playing around with the equalizer, you're like, "What is going on here?" You've got-- you can pick a drop down... and there's an amount, but if you want to get into more detail... you can go to your 'Effects Controls'... and you can see, that effect, that effect... that effect and that effect... or from the Audio Effects panel has been applied in certain ways. So some amazing Sound Engineer has been commissioned... to make all these presets, watch this... if I change, watch the effects over here... and I pick a different preset. So let's go back to... From 'Outside Of Building'... you see, different effects are applied... and you can start to get a sense of... like what is consistent, what is good for removing... hiss and noise... by just kind of picking these... deciding what Adobe think is a good preset... and then just getting an idea of what's going on over here... and allows you to go into a bit more detail. So let's go to, say something like... what does Balanced Female Voice look like. So Dynamics Processing, I use a lot... but like, Graphic Equalizer, like... yeah, I know what it does, but let's have a look... what they've decided really helps a female voice be balanced. Let's click on 'Edit', you can see in here, that's what they've decided... is a nice subtle female voice boost... but let's have a look at the presets... can you see, the equalizer is actually tied to this. This is the simple version... that we're going to play around with, but know... all this kind of more hardcore stuff's going on in the background, watch this. If I pick something else, like... Radio, do you see, that's what's getting changed, all this. Now for me, I kind of know what decibels are... and the different frequencies and Hertz... but man, I get a little bit scared in this... but being able to play an Essential Sound... gives me a lot more confidence, and, you know, tinkering... and getting a bit more deeper into sound... watch this, again, if I change my simple cup Bass... they're kind of connected, right? So that's what that is. I wanted to show you the connection between... Essential Sound and your Effects Controls... and diving in here a lot more. We're not going to do it too much... because yeah, I'm not qualified to go through... and explain exactly what's going on in all these different ones... but I want to let you know that these are getting applied... and you can drag them straight from your Audio Effects... onto your clip, make adjustments if you want... use the presets within here... or you can use Essential Sound panel... which is kind of like a, I don't know... a simplified version, which I love. So this is kind of like an overview of like... how this controls this side... let's dive into a lot of these in more detail... like these specific terms in the next video. Actually, before we go, this one always comes up in class... did you see it, you're like... "What the hang is background, walla, walla?" Let's edit, listen. "Donut Dynamite with my husband"... Kind of makes it warm and lumpy. Basically, walla walla is a term used... let's say that you're shooting a scene for a sitcom... and there's dialogue, they're in a cafe... what will happen is, the extras, the other actors... have to kind of pretend to be talking... but they don't want any distinctive words... so they get them to say the word walla walla. So if you're an extra... you know, I was an extra on a TV show once, strange fact... in the background you get asked to mumble or say the word walla walla... because it doesn't mean anything... It's not going to distract from the... you know, the lead actors' dialogue... but it gives it that cafe kind of... like, "Hmm, walla walla" in the background. If you want to turn people's-- roll off the sharpness of somebody's dialogue... because it's meant to be background, that's what that is. It's usually just background dialogue... but it's called background walla walla... and, I don't know, it's a fun fact, and, I don't know... but that's it, no more talk about walla walla... let's jump in the video... and dive into these individual parts... so we can really get to use them properly. 100. Clarity in the Essential Sound Panel in Premiere Pro: All right, in this video we're going to look at clarity... which is this option here, in the Essential Sounds panel... and in my opinion the, I don't know... the easiest way to make average audio a lot better... rather than just raising the volume of it, or lowering it down. We can adjust different parts of the volume, which is really interesting... and I want to show you that clarity... actually, is this effect called Dynamics Processing... and we'll dig into this a tiny bit. All right, let's jump in and make ourselves... more clarity or more dynamic, bad jokes. All right, let's get into it... first thing is, let's grab 'Sound 01 - Mono'... let's make a sequence from that... and what we'll do is, we're going to build something... is it weird, Premiere Pro is kind of strange, the way it organizes... it's by Frame Rate now, I didn't choose Frame Rate... let's go Name, so it's at least 1, 2, 3, 4... let's rename the sequence, and let's call this one "Dialogue"... this is me talking, so I need 01 in there... let's grab this 02 as well, and put it in... and we're going to work on this wav file. Just a little heads up, I kind of mentioned it before... a wav file here is the better file, to be using... it's a lot bigger than an mp3... but it's not as stripped back and compressed... and you'll find, you know, if you have the option... recording wav files or at least... if you're downloading them from say stock places... often, there's an mp3 and a wave version. The wave versions are bigger... but have more information in there that we can use... to kind of fix or, in our case, we're going to clarify. We're going to work on this track first... let's have a little listen. "All right, so this is where we end up at the end of this video today." So this is what I do mostly to make audio sound better... especially dialogue, that's what I do a lot of. With it selected we'll make a dialogue... first things first, make the 'Loudness', 'Automatch'... just make sure it's in the right decibel range for dialogue... then we turn on 'Clarity'. So there's all these ones, have toggled them all, closed. So let's go to 'Clarity', let's turn on 'Dynamics'... and you can see here... it's added the Dynamics Processing. This is where a lot of the work, at least I do, gets done... and you can drag it up and down. I'm going to set an in point and an out point... just so that it looks-- If yours is not looping... just make sure you've got your-- it's a little hard to see all these buttons, right? It's a bit crammed in here, in my one... so you've got to make sure you're on 'Loop Playback'... - so that's where-- - "This is where we get to the end." So let's have a little look... I just want to show you... yeah, this is the one I'm going to dig into mostly... just for a couple of reasons. First one, let's have a little look... so this slider here, you see, is actually connected to this graph... so Premiere Pro has actually said, let's, just... this is really important, let's make a nice little slider... and in the background we'll adjust this for them. The reason I show you in here... is that there's a whole bunch of other presets, look at that. So you can apply the Dynamics Processing effect straight from the Effects panel... and drag it on, and then go through, and pick one of these ones. They've got some amazing names... there is Maximum Pumping, there's Rap Resonance... Smooth Vocal. We're going to leave ours on the default... because somebody has gone through... and decided that this is what works for voice... and I know it does, because it's the graph that I like to draw. So I'm going to hit 'Reset', just kind of show you... I guess, just a little recap of this one... because I do like it so much, and use it so much. Basically, down the bottom here... is how loud something is in your clip... up here, at 0, it's maximum loud... as loud as you can get before it clips, and all the way in here... are all the different volume levels, -10, -20... and my voice that you're hearing right now... occupy mainly this middle part... and what sounds good is... if you grab some of these noises that I'm making... that are coming out of my face, that are lower in volume... and if you raise them up a little bit, so some... some of this stuff here, in the kind of -40, 30, 20... if you raise it up a little bit it makes it feel fuller. If you grab some of this, let's do it... so let's grab this, this little dot here... and move it down to kind of around the -30. So all the things that are about -30, if you raise them up... to now be about -20, you've raised them up... you've expanded them up a little bit... not touching the really loud stuff, that can stay there. Basically, it's being compressed... but you want the middle stuff to be lifted up... and the stuff in the background, the noise that's... really low in my voice, and mainly... it's kind of background junk that the microphone's picked up. So all of this really quiet stuff, I want to be even quieter, -70. If you're at -70 you're going to be even lower... you're going to be now down at -85... and you'll find something, you know... do you recognize this curve, happens a lot, right... and from our curves, from... when we're doing our Hue & Saturation, or our Color Grading part... this ends up being a really nice kind of graph... that suits voice, makes bits fuller, it's basically-- "We end up at the end of this video today." "All right, so this is where we..." What you can do is turn on and off while you're playing... see this little Bypass, they call it Bypass, it's on and off. "End up at the end of this video today." "So this is where we end up at the end of this video today." "So this is where we end up at the end of this video today." The difference here, from what we've done before... in like the Essentials course... is we just raised everything up, right? We said, make everything a bit louder... so the bad stuff got louder, as well as the good stuff... and in this bit here, if we make parts of the dialogue louder... keep some of it the same, make other parts lower... it's kind of changing the volume of different parts within the clip... rather than just everything up, everything down... and I wanted to show you all the different presets... that you can kind of jump into, not just this slider here... and it's also really interesting when you kind of see... that these sliders are doing something on the back end. It's a little bit more complex than my slider... but hey, I think it sounds good, how I had it today. "So this is where we end up..." Let's look at making terrible audio good... you can never make it great, but you can make it good. 101. Reduce Noise - Removing hiss or noise floor: Hi there, in this video we're going to remove the hiss... that's in the background of your recording. You can kind of see it there, bubbling away... it is noisy, down at your noise floor... we need to fix that using the Repair Reduce Noise... and we'll dive into the corresponding effect... that appears in your Effects Controller, as well... get a little bit more advanced with this sound correction. All right, let's jump in. All right, bring in the 'Sound 04 Hiss'... I'm just going to stick it on the same Timeline, down here... now I have hiss, basically in everything I record. So let's have a little listen, I'm going to set my in and out points... kind of around this chunk, because I want to... it's really handy to have some pre-roll that's quiet... rather than fully edited... because you'll be able to hear the hiss in here. Let's actually do an out point there, and let's play it through. Now I won't turn it up, I'll turn it up a little... actually, I won't turn it up in here... because you'll have your own speakers... so turn it up, see if you can hear it. Oh, actually you've got the exercise file loaded in, didn't check it. We can see it visually down here together... and we'll just use this, there's this noise floor... they call that the floor... and there's all this noise around the noise floor. It happens, mostly when you're recording... and you can tidy it up... and it's often with the DeHisser, or removing hiss. So I am going to expand not only this... because I want to see if I get rid of it here... but I want to see what happens to the voice... because sometimes you can spend ages just clearing it out of this empty area... only to find you sound like an alien. "Now if you're excited to turn your passion and skill"... "Now if you're excited to turn your..." So what I need to do is make sure that this is selected... it's dialog, it's auto matched... I've actually already done that pre this course... and under 'Repair', 'Reduce Noise', and crank it up... and see how good it is, let's have a listen. "Now if you're excited to turn your passion..." I sound a little bit robotic, but can you see... especially down here, in this empty area... oh, look at it, it's just gone, it's flat. So I've got rid of that noise floor, but we're at maximum... "If you're excited to turn your passion in..." So again, this slider here is for, I'm not going to say amateurs... because it's for people like me... but we need to dive in and go... "Okay, let's get a bit more advanced." What got applied, it's this effect called DeNoise... which they've called over here, Reduce Noise... so let's have a look. Custom Setup, we can learn a little bit, let's have a look. So what's happening here is... basically this blue stuff down the bottom is... "Now if you're excited..." My voice, that's my, all the dialogue that's in there... at the top here, what the Denoise is trying to do is... see the red stuff down the bottom... sorry, at the top, the red stuff is being fired at my stuff... to reduce parts of the frequencies in my voice... to try and remove the hiss, there's like-- let's crank it right up, so we can see... can you see this slider is the same as this one over here... you can kind of play with both... see the slider, that kind of connected. Basically this... "your passion and skill..." trying to pause it on a bit, where it has lots. There you go. So at about 2000 Kilohertz, that's where hiss appears... according to this effect... and it's firing this, like anti 2000 Kilohertz at it... to kind of neutralize it. The trouble is that I'm going to lose that part of my voice... so that's where, if you crank it right up... you end up kind of sounding a bit funny... because it's removing this part of that particular part of my voice... or, can you see it over here... "decided to turn your passion..." removing bits of these parts of my voice as well. It's just interesting to kind of dive in here... and get a little bit more control. This other one's useful, Output Noise only... so this is going to only play the stuff that's being taken away... can you hear it... let's crank it right up. You'll have to do this in your own video... or with your own Premiere Pro. I can kind of hear it, you can hear some mumbled bits... and that's what's being removed from my voice... those are the bits that I'm not going to have in this dialogue anymore... so that can be interesting as well... but anyway, we've dug in, we've removed the hiss, it works really good... for that kind of background noise, if you are suffering from that. A couple of tips for removing hiss... if this is not working, like physical removing... the easiest way is to grab background music... you know, there's a lot of background music on my stuff... because you-- I'm going to... "Now if you're excited..." the noise floor is all mixed up in the audio... so that's the easy trick. The other one is, just with your gear... if you're a-- I'm an amateur, remember, so the troubles I've always had... is if you've got lots of hiss... it's probably that your microphone's turned up too loud... and if it's turned up too loud... it might be because the microphone's not powerful enough... and you might need something like a preamp... to help the microphone be more powerful... give it some phantom power. The other thing is, change your audio cables, make sure they're okay. I've had a bad audio cable for a long time, and didn't realize it. Don't use really, really long cables, I had that as well... problem with audio, when it was just going through... a really, really long set of cables. If you're recording straight into a laptop, like a USB mic... like I do for these tutorials. You might find that it actually works a whole lot better... when your laptop's not plugged into the wall. There could be a lot of grounding issues... and the actual laptop can actually send stuff through... the power cord can send stuff through the microphone. Make sure that your laptop actually has an earth. In New Zealand, for some reason they give us plugs for our, like Macs... that don't have an earth prong... it's just like a two pin plug... and if you buy an adapter to give it an earth plug... the little doohickey for the battery pack, for a Macbook Pro... that gets rid of a lot of the microphone problems. Also, play with the port... that your actual microphone is plugged into... they're not created equal. Some of them allow power, some of them don't... so do move them around to see which one actually gives you no noise. You might find that one plug is better than the other. Anyway, those are my short tips for fixing... kind of mechanical issues before you get to Premiere Pro. Once you're in Premiere Pro, drag the noise slider up... and then don't be afraid to dive into the Effects Controls... to fine tune any of these sliders. So I'm not going to go through every single one now, and explain all the effects. It was more of a, like a, to get you to figure out... that this slider is connected to effects... and that those effects can be adjusted... which gives you a bit more kind of advanced control. Let's look at the next one, let's look at DeHum in the next video. 102. How to Dehum audio in Premiere Pro: Hi everyone, in this video we're going to look at the DeHummer. The DeHummer removes kind of... electronic rumbles from the background. We're going to go from this, you ready? "Born and raised in the Philippines... - to - and I have two other siblings." "I was born and raised in the Philippines... and I have two other siblings." "I was born and raised in the Philippines." All right, that's what we're going to do. We're going to DeHum it, let's jump in... oh, as well, if you're like... "I know what the DeHummer does"... there’s a couple of great little shortcuts in here for... just playing audio, looping audio... yeah, some nuggets in here, stick around. All right, we are going to use 'Interview Sync B Cam'... let's just make a new sequence... and just kind of work on it, on its own. Remember, shortcut for zooming in on audio is... 'Option +' on your keyboard, and backslash, '\'... to kind of zoom in. What we're trying to do is... we're going to remove that hum, so we need to find... it's easier to remove it when there's no audio as well. That looks pretty good. So there's a guy talking in there... but I'm trying to find a bit of audio there... that seems good. "Well, I have..." All right, that seemed like a nice big long bit... I'm going to start my in point here... for that little click... out point, make sure my loop's on... then it's hard with that guy so small. Let's move this over a little bit... still can't see him, there, he is there... loop playback, don't even know if it's on, just toggle it... there we go, it's on. Another thing, actually, let's not use that looping... let's use the proper audio looping, so with this selected... down here, can you see... there's two things I want to show you first... before we get going, is play only audio... because that's what we're going to be working on, which is really handy... because sometimes, over here, it can be for some pretty... like hard core video going on... or you might have a really bad laptop or computer... and it's just stressing it out. So you can just actually work on the audio, without having to play this... also turn the loop on here. So this controls the audio looping... and just playing it, over here, is the whole thing together... that one there, the little button that normally appears there. So that's what I'm going to do. Cool, so I got a chunk in there, right? So let's add our DeNoise... let's select the whole clip, like dialogue... and I want to go 'Repair', and it's 'DeHum', actually. So DeHum, turn it up, turn it down... have a little experiment with it. What is the default down here, I can't remember. Basically, this is Hertz, so... where I live and grew up, and live now, New Zealand and Ireland... we all use power that uses a Hertz of 50 Hertz... and that's kind of the hum that you can hear in the background. There's a lot of electronic equipment running... what is it, I have no idea... probably some industrial thing, part of the... part of the kitchen running... that's the hum running in the background... and if you try and DeNoise on 50 Hertz... or 60 Hertz, I'm going to change it, listen... can you see, that kind of like, the weird vibration... kind of went away for 60 Hertz, but didn't work for 50. It's because they're in Hawaii... Hawaii is America... America uses 60 Hertz. So I found this little video... where is it, there. If you search for... you don't want to search for this... but if you did 50 Hertz versus 60 Hertz, versus 400 Hertz... you can kind of get a loud version. So this is not too loud, but if you've got headphones on... dial it back a tiny bit, listen. I'll get the editor to lower it down as well, because it's a bit loud... but you can hear that... that's the hum of my people, New Zealand, Ireland, where I am in... that's the hum that electricity makes through, like... mainly older machines... but in America you'll hear this... and you'll hear it through microphones quite a bit... it picks up that noise. So that hum, especially internal here, commercial equipment... that's the hum we're trying to get rid of... I don't know why I showed you that, just pick one or the other... it'll either work or it won't, but hey, now we know... oh, look at that... if you hover, most common in Europe, Asia, and Africa... most common in North and South America, here you go... and then the volume, how much it goes up and down... will depend, because what you need to do now... is we've worked out the Hertz, we need to include a little bit of audio... because we don't want to destroy her voice. Maybe we'll go this way. So I've got a bit of that and that... "Well, I have..." "Well, I have..." Let's turn on and off... "Well, I have..." "Well, I have..." Can you hear that kind of hum going in the background... that's the DeHummer... and actually it's not a DeHummer... that's what it's called, over here it's called the-- where's the audio, just turn it back on... there it is, it actually is called the DeHummer. You can go to 'Edit', and you can have a look at it... and if you have some sort of weird frequency that, you know... you probably don't, but you can adjust this and decide... that if you're on a plane, it's 400 Hertz... if you're in New Zealand, you're 50 Hertz, and you can adjust it... and then this other stuff, I have no idea what it does... but just getting used to, getting into these effects... and being able to maybe tweak them depending on your unique situation... "Well, I have..." The other thing to know is that... no one thing will fix it... DeHumming is, what's happening in here, but also reduce noise. There's all sorts of other noise going on in the background... the cafe may be running, or something's happening, it's noisy. So we're going to do both, reduce noise, how much? Let's just play it. "Well, I have..." Oh, it's good, hey. So DeNoise does a lot of the work... I wanted to focus on DeHumming at the moment... but let's have a listen. I'm going to turn DeHum on and off as we go... and let's have a listen if it works as well, let's go. "Well, I have..." "Well, I... have..." "Well, I have..." You can hear it, right? I can hear it... it's going to be hard to hear over this audio, for this video clip... but do it yourself, mainly focusing on a bit. I'm going to turn on again, listen quietly... hear that rumble gone. We're getting a bit finicky here, but hey... we could slap some music underneath it... it's not going to work for this interview, so we do need to clean it up. So the DeNoise is doing a great, most of the job... and DeHumming is like the little extra bit you do. Another useful thing for turning all these effects on and off... because you want to hear it, like it's pretty amazing... what we can do here in Premiere Pro, let's listen. "Well, I have..." So I'm going to turn all these off at once... so I'm going to hold down my 'Option' key on a Mac, or 'Alt' key on a PC... and you can click one of them, and they all go off. There's no like big giant button to turn all the effects off... maybe there's one, if you can see one, let me know, I can-- that's one of my things with audio... there's no, like giant button up here that says, turn all off. So that's what I do, click this one off... and then we're going to turn on and off, listen. "Well, I have..." "Well, I have..." Oh, so good. All right, that is the DeHummer in Premiere Pro... let's get on to the next video. 103. How to use the DeEss properly in Premiere Pro: Hi everyone, in this video we're going to use the DeEsser. This one here, it removes the sibilance from our voice... when we are saying things like super smooth... what did I say earlier? I can't remember... but it is a way of reducing those... if they feel a bit harsh, apply the default... and then have to dive in pretty quickly... to looking at the filter a lot more. Not particularly hard, even though it looks a little scary... let's jump into the DeEsser. Let's bring in a file, it's a new one... that is in your 'Exercise Files', it's under 'Sound'... and it's called 'Sweden', it's a new one... it's a wave file that I just recorded, it's my voice... let's listen to it once. "Our family, are going to save our money, this year... and go to Sweden in December... and experience everything the Ice Hotel has to offer." So I did that on purpose with a lot more... like sibilance than I need to... like a lot of-- this is going to be a little bit louder... on your headphones as well, a lot of "sss". I did it on purpose so that we can remove them... with the DeEsser, there you go. That's why it's called a DeEsser... it removes the s' and the c's... and any of that sort of noise out of your voice. Mine's not too bad but let's work with it. Let's dump it on any old sequence, and let's have a look at it. The DeEsser, out of the box never seems to work for me... you might have different luck. So I've made sure it's dialogue, I'm going to go to DeEsser... and I'm going to try and remove it, I'm going to go... I'm going to turn it off... I'm going to max it out and turn it on and off as we go along. "Family, are going to save our money this year... and go to Sweden in December." So what I want to do, Sweden sounds like the best... "In December, and go to Sweden." Sweden sounds like the best bit, so find Sweden... and let's isolate it, so let's do... "Go to Sweden," so in point... "to Sweden." that will do. So that's the kind of rough thing... you can grab a different part of it. "December." I need it to loop... or again, under our 'Effects Controls', where are you Effects Controls? We can use, make sure it's selected... we can use loop in this bit. "Tweden, Tweden, Tweden." That's not what we want, we want the S... where is Sweden? "Go to Sweden in December." Sounds funny. "To Sweden this year, and go to Sweden this year"... and "Go to Sweden." There you go. So we've got all of that, maybe go to... maybe Sweden's in there... "To Sweden, and go to Sweden"... You're going to go slightly mad listening to me say Sweden lots. So what we need to do is get rid of-- let's turn it on and off, let's see if it works... Use the right one, play around. "and go to Sweden, and go to Sweden.... and Go to Sweden." "and go to Sweden, and go to Sweden." Did you feel like it didn't do anything? It doesn't. Never works for me at least, yeah, I don't know... maybe because I work on my voice the most... so it's weird Kiwi voice. The first thing you need to do is turn it on, and then go and change it. So put mine back to the default-ish level... with it selected, it's applied this DeEsser effect... let's go to 'Custom Setup', let's go to 'Edit'... and what you'll find is, most of the s'... for most people's voices, or the sibilance... happen between around here, kind of up a bit higher... up to like-- so this is Hertz... so kind of, I find it's around this area more... so that's what we need to do. To make this work we need to-- it's a bit of a tricky thing to do... I'm going to move it, so I can see my little loopy Timeline here... I want to find where that S is really hard... "To Sweden in December." - I play... - "Sweden, and go to Sweden"... "and go to Sweden, and go to Sweden, and go to..." I want to try and pause it, so this Play button... "and go to Sweden." You can use this one or the regular one, whatever you want to do. What we're trying to do is capture that... like when I start doing Sweden... I'm going to do it again, right there. "Sweden, and go to..." That felt good. You can kind of see it, like that is-- that big lump there is my "ss." What we need to do is... you can't really drag it, you need to use the center frequency... and this is kind of either side of it... the bandwidth around our center. I'm going to drag it so it gets-- see this big peak here... everyone's sibilance is going to be different. So figure it out, might be lower, might be higher... you might get the DeEsser to work like this. So there's my center frequency... once you get it there you can then do the bandwidth out... and just make it bigger or smaller... depending on, you want to kind of try and grab it all... and that's going to grab most of my S, hopefully. Let's hit 'Play' again over here. "Sweden, and go to Sweden." Now what you've got to do is... how low do you go, 0, it's weird, like... I don't know why decibels do this, but 0 is maximum. So that's not doing anything... go all the way down here... and it's going to remove a lot of the S, and sound a bit weird. So let's remove it all, and let's have a listen... "and go to Sweden, and go to Sweden." It sounds like I have been punched in the face... or, have something in my mouth when I'm saying, "with Sweden." So it's too low, so you've got to find something... that doesn't seem obviously bad... but remove some of the S'... "and go to Sweden, and go to Sweden." Can you see what's happening there? So with it off, let's turn the power button off... let's have a look at how tall it is. "In December." "and go to Sweden, and go..." It's weird, like sometimes, catches it... and sometimes it doesn't, why doesn't it? "Sweden." Turn it on again, that's why. "and go to Sweden, and go to..." So I'm going to turn it off, okay, we can't. Let's just turn the power back up... and let's do it that way. "Sweden, and go to..." Turn it back on. "Go to Sweden, and go to Sweden." See how tall that is? Editors will make this lower, you can just hear my voice... "go to Sweden, and go to Sweden." but if I turn it back up to maximum... you'll see it dipping, like a-- "and experience everything the Ice Hotel..." Has removed all that part of that frequency of my voice... that is the DeEsser. You'll have to adjust the center and the bandwidth... and how much it goes down... for me, what's going to feel good... "and go to Sweden, and go to Sweden." "and go to Sweden, and go to Sweden." "and go to Sweden, and go to Sweden." something so it's not too bad... but without wrecking the rest of my voice. So we'll leave that on there, let's listen to the rest of it, all the way through. You probably don't want to, I'm going to do it anyway. Let's set the In and Out points... there we go... and let's play it through. "and go to Sweden in December... and experience everything the Ice Hotel has to offer." So it's doing something weird with my voice... I know my voice, you know my voice very well now as well... so it's a little bit more obvious. For somebody who doesn't know my voice... you can remove a lot more sibilance that... you know, nobody's going to know that that's not their voice. Obviously, you don't want to-- you're doing feather touches, just gentle little adjustments... but that's it, make sure you apply it, see whether it works... jump into the Custom Setup, see how you go finding that little peak. It's a little bit tricky to time it, and play it, and have the hump on screen. You will have to do a bit of practice with that... as you can see, I'm not particularly good at it... kind of hacking away, and eventually find my little mountain to remove... and then try and remove enough, but not too much. All right, that is the DeEsser in Premiere Pro. 104. How to remove Echo in video in Premiere Pro: Hi everyone, in this video we're going to... remove echo from our recordings. This is something that I shot in my kitchen... never record in your kitchen, it's so echoey. I'm going to play it a couple of times... with the effects that we do on and off... so you can kind of hear the difference... and then we'll get started, you ready? We'll start with it sounding very echoey. "Kia ora, today I'm going to take you through my way of choosing fonts." "Kia ora, today I'm going to take you through my way of choosing fonts." "Kia ora, today I'm going to take you through my way of choosing fonts." I might have overcooked mine a tiny bit in this tutorial... but it's pretty amazing what you can do... with the Reduce Reverb effect in Premiere Pro... let's jump in and get to it. All right, let's start with importing... from the 'Sound' folder, something called 'Echo'... and let's make a new sequence from it. Let's use our shortcut, 'Option +' to zoom in on the audio... have a little look, let's listen. "Kia ora, today I'm going to take you through my..." Pretty bad, so I'll set my 'I' key, my 'O' key... make sure that I've got the loop playback on... if you can't see it... "Kia ora, today I'm going to take you through my way..." So it's pretty bad. Never record anything in your kitchen... even if you think it's a really good intro to a show... anything with hard surfaces is bad for echo. So let's click on it... and let's go, you're a 'Dialogue', and we're under the 'Repair'... and we want this one here, it's called 'Reverb'. You know why they call it echo... I'd call it echo because that's what everyone calls it... but if you're in the sound game... you are calling the-- echo is wrong, you got to call it Reverb. So what we need to do is 'Reduce Reverb'... there's not a lot we can do, you just drag it up and down... and decide on, if it's enough. So let's have a maximum amount... let's have a listen. "Today I'm going to take you through my way..." It's pretty cool, like it's not good, like it's way too high but it's amazing... how much echo you can get rid of. "Today I'm going to take you through my way..." "Kia ora, today I'm going to..." You would have noticed there... that I'm not dragging it up and down while it's playing. You might have run into this earlier in the course... when we started sound, well a couple of videos ago... so I should have probably thrown it in there... but let's watch what happens. I'm going to hit 'Play', and drag this up and down. "Kia ora, today I'm going to take you through my way..." "Kia ora, today I'm going to take you through my way..." "Kia ora, today..." I'm just kind of like listening with my ear going... like how much of this can I apply... because it does adjust as we're going. What you might find is, especially if you're using this one... "Today I'm going to take you through my way..." Watch what happens when I drag it up and down. "Today I'm going to take you..." "Kia ora, today I'm going to take you..." Can you see all these like keyframes that have appeared... yours might not have happened... you might not be playing it this way... if you play it this way and start dragging this up and down... it adds a bunch of keyframes. Basically, it's going up and down... while I was dragging it, can you see? Let's watch this number here, 'Amount'... can you see, it goes up... "Kia ora, today I'm going to take you through my way..." That's a pain in the bum, I don't know how to, well, I know how to stop it... you can turn those off, delete the keyframes... and now what we'll do is we'll play it. "Today I'm going to take you through my way..." "Kia ora, today I'm going to take you through my way..." "Kia ora, today I'm going to take you through my way..." Basically, start at one side and keep going... until you notice it, and then come back. So I like starting at the top, and just keep lowering it... until I feel like it's gone... and that's Reduce Reverb. You can go into here and have a look... because it's a Reverb, effect, go to 'Edit'... there's not a lot you can do in here... you can just drag the slider up and down... which is the same as doing it over here. There's some presets, but basically they just move this to... they just move that slider up and down... so there's not a lot you can do. "Today I'm going to take you through my way..." "Kia ora, today..." I can see what it's doing, Light Reverb. One thing that I'll mention here as well... is we've been using, like dialog, slide, reverb, go into here... if you know you just need reverb you can go to your 'Effects'... - mine are over here in this kind of workspace. - and just type in "Dereverb"... and just go straight to the source, and just drag it straight on. There's nothing different here, but you'll probably find... you'll end up adding a few of them. So in this case, you know, that's it... add reverb, lower reverb... it's not going to get rid of everything... but it's pretty amazing how much it can get rid of... but if you're like, "Oh, there's still a hint of reverb"... it's pretty impossible if it's really bad... in my experience. Next thing I want to show you is... like often we're not just doing these things in isolation... like I was using this lapel mic and it was okay... now there's a bunch of stuff you can hear in the background... in this clip. There's always a bit of pre-roll, you can find... I've left this bit in here, there's like... it's just me not doing anything, so let's have a look. Actually, let's clear the in and outs... and see what else can get rid of, I like to work in these... echo, you need to listen to the dialogue... but over here there's no echo... but there's some stuff going on, junk, noise floor, let's have a look. So I want to find a bit that... not doing my sucking lips and drinking stuff... so something like that, let's preview that. Can you see, so much going on. So what I want to do is a couple of things. It's this balancing act now, that, I've shown you Noise in isolation... and DeHum in isolation and DeEssing, and all that sort of stuff... so it gets to jobs like this, where you need a bit of it all... and why do you need it all? Because Reduce Noise, especially if you're in this bit... if I just turn on Reduce Noise and crank it up, watch this... it just goes flat, you're like, "Done, job done." The problem is that when you add... that much level of denoising to, the dialogue as well... "Kia ora, today I'm going to take you through my way..." "Kia ora, today I'm going to take you through my way..." It makes me sound... a little bit robotic. So what you need to do is this... balancing of all of these, Reduce Reverb... get it to a nice point, make sure the dialogue's okay... and in this case, the noise, just sounding a bit too robotic. "Today I'm going to take you through my way..." Trying to find a nice place... and the other bit is adding a bit of... in my case I'm in my kitchen, there is this DeHum in here... I can kind of hear it when I was practicing. So I'm going to set my out point, and I'm going to listen. Now this is a little hard... you know, get the file yourself, set the in and out points... play around with the DeHum, on and off... I'm in Ireland so it's going to be probably the 50 Hertz... I know because it's me, I know where I live... but there's going to be this balance of... how much DeHumming versus how much Noise... to get it to sound like pretty clear here... without the dialogue sounding bad. So kind of something like this where you can hear a bit of it all. "Kia ora..." "Kia ora..." Now just turning DeHum on and off, while it's playing. "Kia ora..." "Kia ora..." Just have a listen yourself... and work out this kind of balancing... of all of the different parts... because the DeHummer, remember, what was it, DeHummer... removes like certain parts of the frequency, not all of my voice... whereas the DeNoiser, which is like a blanket one... kind of gets rid of lots of voice... lots of background noise. It's pretty, you know it messes with my voice quite a bit... so it's nice to just get in these tiny little pieces removed from my voice... rather than this big kind of chunk that gets removed. "Kia ora..." Large kind of parts, anyway, in these low frequencies. So it's a little bit of each, tweaking... finding what works for you, in your situation. Also, before we go, if you haven't seen it, I'll play a snippet... that's what this recording was from, let me play you just the first few seconds. "Kia ora, today I'm going to take you through my way of choosing fonts." So that was where I shot it for... just a little intro for these kind of sort of things... if you haven't seen the Bring Your Own Laptop show... it's free, it's on YouTube, check it out, like and subscribe... it's kind of short pieces... edutainment, is what it's called... a little bit lighter, and less software focused than what we're doing here. What you might have noticed, well, if you heard it there... the echo is still there, why is the echo still there? It happens to me all the time I'm in Premiere Pro... I'm fixing stuff, turning it on and off, but it's part of like... that one there's like an hour long... so there's like 100 little changes that I've made... and I've gone and done something like this where... I've turned it off, turned it on... oh, it's great, and then left it off and rendered, and it's gone out... and because it's a production team of two... or for that show, that particular episode... that was just a production team of one... just me, recording, editing, and end up just leaving it off. It's been a lot of work getting rid of the echo... and left it on, and it's now stuck in YouTube... and you can't replace it... so there you go. All right, that is it, removing echo... but you got to call it Reverb from now on... I'll see you in the next video. 105. Class project 13 - Sound : Hooray, it's another class project, said no one... ah, that good, I hope so, anyway. In this case I've got a bit of sound I need you to fix... it's in the Exercise Files, under, it's called Rain. The thing with this though is you'd be like... opening up Premiere Pro, go to Essential Sound... you're like, "Where's the rain dragger, there's no rain slider." So I guess that's on purpose... I could give you one where you could drag a slider, and it would be easy. This one here is a bit of a curveball... so this particular-- let's have a little listen... "All right, hands up." You'll have to listen to it in your Exercise Files... I left a chunk at the beginning there, you could hear the rain... like it was just a really rainy day... and you can see, the shape of my office... basically... there's a slope on this other side, with a bunch of windows... so the rain just pelts against it. So when I'm recording, it's pain in the bum. I want you to work through Essential Sounds... what you've learned so far... play with them, test them and try and get rid of that rain noise. You can use the ones that we've done in this course... or if you want to use other audio effects... you can do some research online... to see how to get rid of rain in Premiere Pro... this is up to you, how you actually do it... I don't mind which way you would do it. You can do it with the Essential Sounds panel... I've done it before. The one thing to do though is... have two versions on your sequence... this is what I mean, so have a version that hasn't been touched, an original... and this one here, that you work on to be fixed... because when you export them out and submit them... it'd be great to hear the before and after... so one that's fixed, one that's not. Also add text so that when other people are looking at it... and if you share it... you've got kind of one that shows, indicates that it's original... and the other one that shows if it's fixed. Also what you might do is... I've given you a bit more extra dialogue... so that you can work with it... but you might actually trim it up to be just like... about the there-ish, maybe the W key... just so that it's not-- people aren't spending ages listening. "All right, hands up." So good luck, submit it... anything else, actually-- You can use your own file... I've given you rain because it's hard to find... you might not have bad audio... but if you've got bad audio... I'd rather you use that, it doesn't have to be the rain... practice with the rain, definitely... but definitely, if you've got your own stuff... we'd love to see it, practice with it. The other last thing is, let us know in the comments... which techniques you found the most useful. This is going to be really useful for everybody... so if you are submitting this... check to see what other people have done. Let's check out if there's any comments... see what other people have done, what worked for them. Do it yourself first... and then go and check the comments... what other people have done, you'll be like... "Oh wow, I didn't realize that"... and go and try it and discover new things... especially if you've used something out of the scope of this course. Same thing, render it, upload it... share it on social media as well... be great to see how good or goodish you get it. All right, go forth, remove the rain. 106. How to make Mono audio stereo in Premiere Pro: Hi there, this video we're going to turn this mono track... you can see it here, it is just hanging around... on the left hand side, we need it to be on the right as well. It's pretty easy, go to your... 'Effects', 'Audio Effects', 'Special'... 'Fill Right with Left', or 'Fill Left with Right'... depending on your track... that's right, I gave you the answer right at the beginning. It's a short video, there's a few other things to think about... but yeah, let's jump in. Let's open up a sequence we worked on earlier... it was called Dialogue... we started with this, you might have already noticed... that there was, this original one only has a mono track... I called it Mono, it's all jammed... on the right hand side, left hand side. You can see down here, there's an L and a Right. So to get them onto both channels... let's clear our in and out, happens all the time. Another thing to kind of have a look at... is just make sure this is bigger... so you can see your decibel meter here... "All right, so today..." You can see there... it's all bouncing on one channel... it's just an effect, go to 'Effects', Audio... no, 'Audio Effects', it's 'Left and Right'. I can't even remember where it is... just type in "right", and 'Fill Left with Right'... or 'Fill Right with Left'. I can never, always do it the wrong way around... so just drag one until it sounds right. - "I'll be showing you..." - Perfect. My instant gut feeling is, I want to fill the left with the right... but it's clearly not right, nothing. So I want this one, can you have two on at a time, you can... they cancel each other out, let's delete that one. "Showing you my way of choosing colors..." Perfect, that's it. A little bit of extra to play around with is this... is quite echoey as well... my office is reasonably echoey... I've made sure I've got triple glazed windows... those guys there, they're closed at the moment, because it's dark... but I put carpet in to try and do it... and I've got sound boards, and I forget to move them around... they're just big panels I made... that have got soft stuff in them to kind of absorb sound... you can tell, listen. "All right, so today I'll be showing you..." You can hear all the funny stuff going on. So I want you to practice with that as well... you don't have to submit that, it's not a class exercise... but it's a good thing... there's a bit of echo in there... there's a bit of humming going on, a bit of noise... so have a play around with. Once you've done your Fill with Right to Left... have a play around with this one. "All right, so today I'll be showing you..." Just try and make it as nice as you can. That's it, easy one, Effects... Audio Effects, Special, Fill Right with Left. All right, next video. 107. How to auto duck music between dialog in Premiere Pro: Hi everyone, welcome to some Ducking. We are going to-- got a music track, we've got some dialogue... and what I want to do is... I want the music to actually lower down a little bit... underneath the dialogue... can you see, there's some spaces here... so watch this, I can click this... click on 'Ducking', 'Generate Frames', and watch this... it's going to drop down the volume while I start talking... then back up again, let's have a quick listen... "Loud." "Sound." Then comes back up, comes back down again. It's a way to auto generate keyframes... so that the music dips under the dialog... or whatever you want to be sound effects... doesn't have to be dialogue, but that is Ducking. Let's go in and show you how to do it. First up let's go 'File', 'Import', and let's import 'Ducking'. I use 'Command I' there, 'Ctrl I' on a PC, find 'Ducking.mp4'... and let's make a sequence from it... and we've got, from that same folder, it's under 'Sound'... so we want 'Ducking'... and I want also the 'Music 01'. I've already imported it earlier in the tutorials... so I'm going to have these two. Basically, select this, we need to give it the 'Essential Sound'... we need to tag it with 'Music'... we get the music stuff... and what we want to do is play around with... probably 'Auto Match' first because it's way too loud, I'm going to play it. Music comes at full noise, tapping at '0'... what we want to do is, say, actually, let's auto match it... and it knows that it probably should be a lot lower. So remember, 'Option' on a Mac, 'Alt' on a PC, and hit '+'... make sure you're clicked in here. We can make the volume bigger. This thing here, I need to duck underneath, with these gaps... you can see this, on here, there's a bit of me going speedy drawing... and then I start talking, then it's speedy again... whereas it gets speedy again in the middle there... and then it kind of gets back to me. So there's bits and pieces where the music to duck under... that's what I want to say. So it's selected, just click on 'Ducking'... now this needs-- this won't work... if you click Generate Frames, nothing works unless-- because it's saying 'Duck against what kind of track?' So it's saying 'Duck against Dialog Clips'... and we haven't assigned this, the dialog clip yet. Now it'll work... or undo... you can just say, actually I want you to duck against... anything that doesn't have a tag, it's up to you, they both work. I'm going to assign this one, my 'Dialogue' tag... because that's what I plan to do anyway... and I'm going to say, 'Duck'... this thing here, this music here has a music tag... it's going to 'Duck' underneath 'Dialog', and 'Generate Frames'... you can see there, by default... I'll leave it as default to start with... just kind of dims at the beginning there... ducks down and opens back up after all this dialogue. So let's have a little listen. "Okay, better wing." This is way too loud, with my laughing... so let's go 'Dialogue', 'Auto Match' as well, bring it down... and it stays down the whole time... then at the beginning-- end, it goes back again. So you're like, "It saved me a couple of key frames." you can get a bit more serious with it. So with it selected, the 'Sensitivity', 'Duck Amount'... and 'Fades', we'll play around with... probably the first one before anything is just to lower the fades. If you lower the fades, it's this kind of ramp, either side... if you lower that down... and don't change anything else, you'll actually get-- let's lower it right down, and just have a little look... can you see, if the... if the fade is not-- if it's a lot more steeper... a lot more steeper... it's got a chance to get in and out between all the gaps... so that's probably the first thing to do... rather than anything else... is just play with the fades, just to see where the little gaps are. Let's have a little play here, maybe another one of those... "Better wing, Google 'better wings.'" You can see, because the fade's quite low... it's jumping in, in every gap... and obviously that we don't want that. Now, in all honesty I find ducking never works for me... personally for the work that I do. I don't want to brag on ducking, because it seems real cool... but there's a lot of messing around. If you've got big work to do, play around with the fades... and just keep generating, keep generating until-- I'm going to zoom in. - you find something that kind of... it's a bit of sensitivity. Sensitivity is like how low the actual dialogue needs to be... before it gets activated. So let's lower it down a bit... it's going to do... can you see, it's kind of trying to find... more specific holes... but it's doing some weird stuff... that's better. There's a bit of a gap there... so it's lowering through there... but it's up through all of this, because it's quite low... I actually I want it to be up a little bit higher... and it's getting too aggressive, so let's increase the wall or the ramp... so that it doesn't have a chance to squeeze in there. You might find your happy medium, that seems actually pretty good, let's go. "Okay, better wing." "That seems sort of kind of right there." Can you see, that, because I'm whispering that it thinks it's a break... so you need to make the sensitivity just a bit higher, I think... and for me the Duck Amount is ducking too much... so I want to duck less, please, let's go one more. "Okay, better wing." You've got to hit 'Generate' or else nothing happens, let's try it again. So that's good, overall, I want the whole clip to be a bit lower... this Clip Volume thing, that's what's useful for... you can actually just grab the whole thing and lower it down, rather than... messing around with anything else... because we've added a bunch of keyframes, this is actually easier... because if we grab this now, we can't really just do that one part... because there's all these keyframes. So Clip volume. "Better wing, better wing... but some sort of, kind of like linearty thing." If you get it close and you're like, oh, except for this one bit over here... that's actually pretty good. I'm taking it back, ducking works okay. Let's say you want to get rid of this... you can click on these and hit 'Del', just click on them... and just say, actually, I don't need any of those... and the rest of it's all good. "Better wing... but some sort of kind of a linearty thing." "Kind of works, like the bird's face." So just a recap, sensitivity is based on the dialogue... how low does it have to go before it starts playing with the volume... that's the sensitivity. The Duck Amount is how loud it gets... or the difference between the highs and the lows... and the Fade Amount is the kind of length of this gap... how far apart they are... and that really does change, where it can actually squeeze in or not. So you can use it to help kind of balance like... hey, it's going in and out too many times here... the Sensitivity is kind of right... but you can increase the Fades to say... actually be a slightly more extended ramp... so it doesn't have time to get in and out everywhere... does that make sense? The last thing I want to show you is Duration. Duration doesn't work for me... so I'm going to show you another way. You might find a great way of this working, duration for music... let's say that I've got this other-- I'm just going to copy this, I've got two versions of it... and let's say you've got a bit of track... and it gets close to the end... you're like, actually I just want it to be a bit longer... you know you've got clips all the way in here... and you're like, I want it to be a bit further along... so I'm going to get my CTI to the end here. If yours is not snapping, remember... hold 'Shift', and it will snap, and I can see that it-- you know, I'm extending mine out to... 4 minutes 36 seconds and 23 frames, I'm going to copy that. So in here you can click on this, and just, where is it, click on there... turn on 'Duration' and drag it, and hope for the best... but it's easier just to click in there... and paste what you copied out of there... hit 'Enter'. It's going to render some files, it's going to try and extend the track... let's hit 'Enter' on my keyboard... see that little red line there... now it's generating like a temporary file for me... and we'll play in a second... but it messes up with the audio... and it's really obvious, I haven't been able to make it work... without it being very obvious, so you might find... let's go out here. It's not bad, it's just ruined the music, in my opinion... like it's made it kind of hollow and tinny... and it's stretched out, which is cool. So you might find it works for the track that you're using... have a play around with it... and the reason I'm, yeah, I'm not that worried... because there's actually a really good solution in Audition... so in the next video we'll-- I'll show you how to do it in Audition... it's got an amazing thing... that might end up over here in Premiere Pro, but I love it. Let's go and do that in the next video, goodbye, Ducking. Well, one thing I didn't-- I forgot to show you... is that if you start messing with duration... after you do the ducking, everything's out of time... so - zoom in a little bit - so watch this... if I turn the ducking off, watch all these mountains, they don't readjust... you can see now, they're all in weird places... so you need to make sure that when you generate frames again afterwards... just make sure, yeah, you're conscious of turning this on and on... it's going to mess with your keyframes, and you'll notice that... if I go and manually delete some of them... oh, there's good stuff at the end. If I turn Auto Generate Keyframes again... it kind of overrides it, so it's... yeah, be careful once, maybe get it started... but then make your edits and then... don't hit Generate Frames again, that could be... yeah, could be painful. All right, now we're going to end, bye. 108. How to extend music using Audition for Premiere Pro: Hi everyone, in this video we've got some music... that's not quite long enough to cover our track, we need to be longer. Imagine if there was a way we could just send it to Audition... and it would send back a file... that was the exact right length, hooray, it's pretty spectacular... let me jump in and show you how to do it. To get started find your 'Interview Sync A'... not the sequence that you might have made... or we've probably made, the actual mp4... let's make a new sequence from it just to start fresh... and let's give this sequence a name, let's call it "Music Extend". What we need to do is we want to bring in 'Music 01'... and instead of building up a really long clip... let's just fake it by copying and pasting this one over and over. Remember, copy, 'Shift' drag to get it to snap to the end... if your snapping's not on, and then just paste, paste, paste. Let's get it, I don't know, that long... just so it's way over what we need... and our music doesn't stretch to the end. So we need to get it closer... so we worked out duration doesn't work very well in the last video... using Music and Duration... what you can do is you can go in this track here, extend it in Audition. To get over to Audition you can either drag this file directly into it... or you can right click it and say, 'Edit Clip in Audition'. What it ends up doing is, not adjusting the original... so it ends up making a completely new file... which is going to be a wav file in here, watch. So that anything you do, you see... audio extracted in audition will be on that file... leaving the original okay, but in this case we want to do... a bit more than just mess about with the actual track. We want to turn it, like if you haven't done audition before... it's not tricky? It's not tricky. What we're going to do is, kind of like Premiere Pro... we've got this raw footage in here, I want to say... actually, let's insert our-- 'Insert into Multitrack'. So basically it's putting inside of a sequence... like in Premiere Pro, we're going to give ours a name... I'm going to call mine "Music Extended"... I'm going to put it in my 'Exercise Files' with everything else. Actually, I'm just going to stick mine on my 'Desktop'... I won't include it in your files... and everything else is going to be okay. I've got this file here, so basically... see over here, that thing there is like my sequence... it's called a Session, and I've got that wave in it. So what I need to do is select over here... I need to go to 'Clip', I need to say 'Remix'... and 'Enable Remix'... yes, please. Analyze this for a little while... to kind of figure out what the tempo is... and the bits that it can use to repeat... I don't know, it's a huju, I love it though. Next up, you will have seen that this Property panel... just opened up when you did Enable Remix... and over here the Target Duration... how long will you want to be. You can grab and drag it, and slide it, or type it in... for me, I want to go back to Premiere Pro and figure out how long I need it to be. So I need it to be this, 5 minutes and 21 seconds, 0 frames, '00:05:21:00'. Now unfortunately you can't just paste that in there... it freaks out, well it'll work, check it out... if I don't-- put that in there... it's going to work pretty fast. It's pretty amazing, it's done my loop, these little jagged lines here... are the kind of transitions from one to another... let's play it through and see if we can hear them. You couldn't tell, and it just kind of repeats all these chunks all the way along. The problem is... a lot of the shortcuts from Premiere Pro work... so I can use my backslash key, '\' and it shows me the entire clip. It's 5 hours long, and it will render it... and you'll get-- I did it for giggles... and it ended up being like a 2 Gigabyte file, you don't need that. So I'm going to undo. When you do do your duration, remember, backslash, '\', just in here... basically you need to edit this out... so that there's no colons at the front. So just kind of delete all that stuff... and it should work, hang on, should it work? Yeah, 5 colon 5 seconds colon 21, '05:21'. Let's give it a sec, same processing, see how massive it is. Nope, let's turn on once again.. don't listen to me, undo. Let's just type it in, let's replace this 5... I thought I knew how to do it, was it 05:21? So it's just delete over the top, 05:21, and 000... give it a sec... let it do its thing, backslash, '\', that's better. So these little wrinkle crinkles here are the bits that get extended... so do play over them and just see... you know, if you notice anything bad... it's pretty amazing, like I don't know how it does it... but it's pretty crazy. If you do have problems or... like what it does is, like there's a beats per minute... that it can't really fudge too much... so it ends up being, can you see... it's remixed the duration to actually 524, to be exact. If you're like pretty-- you know, like I can live with that... you know, those kind of like 3 seconds in there, I can fudge that... with the start and the end... you might try and go a bit earlier, set it to 520, and see what you get... but you can actually force, so you can say, under 'Advanced' here... you can say, 'Stretch to the Duration'... and all it does is, can you see up here, it's at 100% playback... it actually just does a bit of gross kind of squishing... to fit your exact time. It depends on how much of a purist... a purist in terms of, you know, beats per minute... whether you notice it at all... I don't, but I've done that in classes before where... "inaudible" The person that made this will care. So yeah, do you want to do that? You decide. Over here you can play around with the... you know, the Edit Length, Features... Minimum Loop, Maximum Stack. To be honest, I don't know enough about it... to give you any sort of real information... I know that I drag them around... and it plays with the length then can play with them... but somehow, magically, Audition does a really good job of this... and I'll have to put my hand up and say... I just use the remix feature quite often... and I don't play around, or understand it a huge amount. So you might have to dive in and learn a bit more about it. Now getting it out there's a couple of ways... we're going to go for this simple way... that is simple, if you haven't used Audition before... we're going to go to 'File', 'Export'... and we're going to use this 'Multitrack Mixdown'. Basically it's going to smoosh all my multi tracks down to one track. This is kind of like my working sequence... we're now doing the rendering... if we're talking Premiere Pro speak... it's called a Mixdown here. I'm going to, entire session... I'm going to leave it as a wave... because it's a better file format, it's going to be bigger... it's going to have really great detail. It doesn't make much sense in our one because we started with an mp3... we're not really gaining a whole lot... but when I downloaded the original for this music... I would have chosen in wave format, so here you go. I'm going to stick mine on my 'Desktop'... 'Music Extended', there it is there. I'm going to put it in with his buddy... so this 'sx' is just like the project file... we can keep that around if we need it. I'll put this in with this guy just to keep it there. Let's render it, give it its time to do it... where we got it, let's have a little look. So on my Desktop I've got... I've got Music Extended, and there's my wav file. So I can drop that into Premiere Pro now. The only trouble with going from Premiere Pro... and not really understanding the audition very huge amount... we've got that extracted, remember, that one we got created, so we don't wreck it. We don't really need that anymore... because we're not using it, it was on the Timeline there... so you might just go straight from your mp3 or music file into Audition... and let's go for, what do we want, that's it there, the Mixdown. So that's a little bit off, but in my case... there's this kind of trailing off. "Sibling and, my mom have always been..." Make sure it's 'Music', 'Auto Match' it. It's always too loud... and then start playing, using your square brackets... with it selected, square brackets down... "I was born and raised in Philippines, and I have two other siblings." These guys need to be dialogue... and be auto matched as well, but you get the idea... it's cool, huh, that's what it is. The reason I didn't go too much into Audition in this class... like I used to, is because we used to use a lot of the things that are in here... in the Sound-- Essential Sound panel... you can't see it, go to 'Window', 'Workspace', 'Default'... and then 'Reset to Saved Layout'. I'm in 'Adobe Audition', look, it's pretty amazing... click on it, you say, I want 'Dialogue'... I want it to be 'Loudness' and 'Auto Match'... and all those things now have been bought through into Premiere Pro... this kind of Essential Sound helps connect both the programs... and some of the technology, and effects, and plugins that are made for this... are now kind of available to us in Premiere Pro. Just pretty exciting, except remix... which might come, that Duration thing, we looked at, the last video... really needs to be this Remix option here, it's amazing. All right, that's it, that is extending music... in Audition for Premiere Pro, let's get on to the next video. Actually no, it's Friday night... I'm going to take a break for the next video... you can get on, it's ready for you right now. I'm going to take a break, I'll see you on Monday. Actually, I was packed up walking out, and I thought... actually, you know, what I should show them this... I use Envato Elements for a lot of my music, great stuff in here... and you can find a lot of music that have loops as part of it. So let's say that I don't particularly like this track... it's one of the first ones I found... I just wait, no vocals, upbeat... this kind of beats per minute, and I... you know, I'm in here, and let's play it. So it plays along, plays along, so there's four tracks... basically here to here is one track, and it ends... then there's a shorter kind of alternate version... there's a shorter version, and then there's a full-on loop track here you go, at the end here. You see it just kind of launched into it... so the back end of it and the front end of it match up nicely. So you can just loop that forever... and it will loop without you having to do the magic in Audition. so there are lots of them in here, you can see, this one has three tracks... three different versions, is very common... for especially kind of, I don't know... this kind of commercial music made for the backgrounds... of podcasts and YouTube shows, and action bits. So yeah, you'll find lots of stuff... that will actually loop without you having to go and make it loop. All right, now it's time to pack up... maybe go get a beer and relax for the weekend. I'll see you on Monday. beersie, where are you? 109. How to use the Track Mixer in Premiere Pro : "I'm Madame Donut." Hi everyone, in this video we're going to look at... the Audio Track Mixer, it's this thing up here, a little bit scary. We're going to look at that, plus the Clip Mixer... just a brief overview of it all... plus we'll put these good looking little meters down the bottom... plus a few other little tips and tricks... just getting us understanding the Audio Track Mixer, let's jump in. First up open up a sequence we made earlier... called 'Interview Sync A Cam'... if you don't have it, grab 'Audio Sync A Cam.mp4'... along with these two audio tracks. This one here, there's no name there... how do you figure out what it's called? You just have it selected and type 'F' key... and will open it up in the 'Source Monitor'. You can see that it's called Cafe Noise... and then on another track, hit 'F' again... this one's called Music 01. So just put all three of those together... and then you need to open up... both our Clip Mixer and our Track Mixer. We're on the Audio Workspace... so up here I should see my Track Mixer and Clip Mixer... we're going to talk about the differences of those. If you can't find them, 'Window', 'Audio Clip Mixer'... and then there's 'Audio Track Mixer'. Now the Audio Track Mixer is per sequence... because in this course we've been making different ones... this one here is just called... you know, that's the sequence that we're working on. So first up, before we go on... if you are in any way pretty good at audio... this one's going to be a little bit basic for you... but most of the people I teach... are coming at it from maybe a different angle... and have no kind of real experience... and these scary-looking mixers and sliders, and meters and stuff. So the first thing is to look at the difference... between a Track Mixer and a Clip Mixer. We know what clips are, right? They're just these little bits here, individual... like little selections of either audio or video... and there can be lots on a track. We've only got this little bit going on here. The Track Mixer's tracks are layers that's... this is a track, that's a track, that's track. So one track, let's say track, Track 01... we can have lots of different clips on it. So the track is the entire thing. So when we're dealing with the Track Mixer... when we adjust, say the volume... we're adjusting every single thing on that track... including all the clips, whereas the Clip Mixer which is... that one there, actually only, watch this... if I, from here, you can see I've got one-- bits of audio... I've got one, two, three, I've got my dialogue... I've got my Cafe Noise and I've got music... you can see them all here. So I play it... I've got it on solo... make sure you're not on solo, or muted... and I can see... that's all three of these playing... watch this, when I get down to over here... where there's only one, two clips... so playhead, playhead, playhead, watch... can you see, this one's grayed out and this one's not working. So the Clip Mixer I never use, I end up using, say this... so look at this, watch this... if I drag this up, this is track or Audio Track 01, watch this... when I drag this up, can you see, that moved up... add your own sound effect. So that's up, that's up, watch this... as I drag it down, watch the rubber band in the bottom... you see, that changed, watch it again, ready? Drag it down... so it's-- we're doing the same thing, it's up to you whether you like this... this becomes, this Clip Mixer individual clips that you're working on... is a lot handier when you've got... when you're trying to, like mix down, like a really... you know, you might be doing music... where you've got tender instruments... and you're trying to do it here in Premiere Pro. For me, that'd be kind of weird to do, I guess not... I think, you know, you do that sort of audio mixing... in something like Audition, but you can do it in here. So the Clip Mixer's individual clips... we're going to do it... I'm going to undo, everything's fine. We're going to use the Track Mixer mostly... because it is a nice broad sweep of controlling an entire track... especially when we've got tracks that are all audio... You might have special effects... we've got kind of cafe noise or music... and probably the best thing about it is... you'll be able to see all, see these meters here... these little bouncing colored lines, gradients. Over here you can only see them in one go... they're all mixed together. So it's hard to balance them, whereas over here... you can start to work out... that the music is a little bit loud. So I'm going to start slowing it down. You can see this bouncing in the right part... like, does this need to be just a teeny bit louder? Okay, music. "Well, I have..." Because for me it's not background music... it's meant to be fake cafe music... because they're not, they're in an empty cafe, I think... Their Donut shop, they must do it... before hours or after hours, or something... but I want to add that vibe. So I'm going to keep working back through this... and seeing, make sure not going too loud... "Donut Dynamite with my husband." and we're trying to get the music, and the cafe noise in there... "We opened our store about seven months ago, in the town..." There we go, so that's essentially what it's used for... be able to see all the meters together, it's really handy. Over here you can name the tracks... see down here, it's got audio one, same, same thing... so this is going to be my dialog... you can see it changes over here... just makes it easier when you are mixing these things. It's going to be a background noise... and this one's going to be my music... The obvious thing is, you're watching out for red stuff... anything that goes up above 0, there's a 0 up here... this is how much decibels is, how much you're raising or lowering this, is the output... this is what's getting mixed out. So you don't want to get it too high... bad, blowing eardrums, clipping, clipping the audio... we lose part of the range... so keep an eye on the reds, of course. So you will do a lot of clip mixing... when you are deciding, like individually... this one is different from this one because they're different clips. I've just randomly picked something up... but they're being recorded in different settings, different equipment. so you'll end up doing this kind of clip mixing... which you might use, the Clip Mixer to do that... "A lot of wing into that work." or you might be doing a lot, like we've done in this course... is working on the tracks kind of down here... with this kind of rubber band on the audio... adding keyframes, lowering it, that sort of stuff. You can see it changing up here. All right, what is-- let's go back to the Track Mixer. What is this one here? What is this mix at the end here, this big thing? Doesn't really have a lot of the rest of the parts... it's your Master track. So down the bottom here, can you see... if I drag this down a little bit, can you see... there's this one here, this is the Master Track. So basically all of these other tracks... let's actually make our list bigger. Actually, don't use the rubber band thing. Option - and +... so I can see both my Master and these three tracks I've got. Basically, this is, this one, this one, and this one... all run through this, so you can adjust the overall volume... of all of these different tracks by using this thing. So watch this, if I go back here... they all go through this one... "Donut Dynamite." So if you want the whole thing to come down a bit... this is lowering the volume for everything... "About seven months ago..." It's a way of controlling everything, everything passes through here... and why do we only have three on this side and one Master? It's just because we have three tracks down here... can you see, we've got dialogue, if we add a fourth one... so I've right clicked it in this kind of no man's land... I say 'Add Track', you can see, I got another track... there it is there, it ended up in between background and music... but I could add my fourth track, and you can have as many as you need... by continually adding tracks. I'm going to delete that track, thank you very much... but then you have one Master. The other handy thing about this, well, handy thing... a different way of approaching sound, using this mixer is... see this little chevron down here... you can show and hide effects, close it... close it down? Open that up... and up here you can decide that... let's say that we want to... add that Dynamic Range... remember the Dynamic Range Processor we learnt before... you can hit this little drop down and say... so under 'Amplitude and Compression'... there's 'Dynamics Processing', we can add it this way... double click it, we can start editing it... remember this from earlier? So it's just a different way of applying it per track... rather than dragging it from the Effects Panel... 'Effects', 'Audio Effects', and dragging it over... just a different way, not better or worse. You can close this back down, butting that little chevron again... actually, let's add-- to get rid of one, you go to 'None'... there's no, like delete, you just go to 'None'... let's go to 'Time and Pitch', just go to 'Pitch Shifter', that's like the... funnest one to add. Let's go for... let's go for one of the presets... let's go for 'Angry Geobul'. Very good, classy. Ah, it's the same with variance. Work your way through. All right, you can add multiple ones up here... and it's doing for the whole track... rather than just the effects that we're doing before... maybe we're doing it per clip, in Effects... and we're working on, say this one here... we're applying these things one at a time per clip... and you have to copy and paste them... whether it's the same dialogue on everything... you can apply it just to the track, rather than individual clips. Before we go, simple ones... Mute, Solo, and Record, we'll record in a sec... but muting is the same buttons down here. Mute, Solo, did we do this, you know how to mute tracks. Soloing means only this track apply... my background noise. So you can kind of finesse this a little bit... you know, do that, don't hit Record yet, it's... it works, it's just weird, if you haven't used it before. One little shortcut, if you are working... with lots and lots of different tracks, you can... remember, you can hold 'Mute', you can click on all these... what you can do is, actually hold 'Shift'... and click 'M' for mute, and it does them all... and then just turn off the one you want... depending on how you want to work. Obviously, you could solo it, you know, 'Shift' and 'Solo'... and everything gets soloed, which is not very useful, because they're all on. So Shift clicking any of these will work, random shortcut, I know. Actually, the last one, and probably my most favorite... I should have showed you at the beginning, a little shortcut... is, all these, like this thing, this panel occupies... a lot of space for me, in what I do... in the kind of, I don't know... the level that I'm at in terms of my audio gain... what I do enjoy though... is all the different waveforms, sorry, meters... and you can actually turn them on down here, which is real cool. You can right click in the kind of no man's land... go to 'Customize', and somewhere in here, that's it... no, it's 'Volume', we're looking for the meters, which one is it? There it is, 'Track Meter'. If I drag this down here and say... all right, you're going to be, remember, give it a spot... I'm going to make mine very important, put along the top here... squeeze it in there, let's click 'OK'... check it out. Actually, I might need the names, reorganize this, but let's just do it... there's my Dark Lord, I forgot to turn that off... but you can see all the track, you know... bouncing up and down by itself. Now we're going to have to fix that... because under my Track Mixer... I had that weird Pitch Shifter on, let's turn it to 'None' - "Donut Dynamite with my husband." - and again, reorganizing this, if you haven't done it before... you need to open up the customized thing again... and you need to start going, "Okay, what's important?" So maybe that one, that one, but not the A1. The A1 needs to be down there, and this... I don't know, think it can move, so it's on the top level still... how much do you need Mutant Solo... and then... you got a nice big meter along the bottom there. Is it nice and big? Might have to reorganize it again, so actually... let's put it down there... come on. You've got to drag it from the top here, I always forget... and then these guys, you've got to drag down the top. This is a weird thing, you can drag these, I know you can... but anyway, we'll drag it the long way... Dialogue, that's the name, track name can go, one up here. So now I've got some nice big meters there. Remember, if you want to save your Timeline layout... you can go in here and say, 'Save Preset '. All right, so that is it for a brief introduction to the mixers... let's do, let's do a Submix in the next video. 110. What is a sub mix in Premiere Pro: Hi everyone, in this video... we're going to learn what a Sub Mix is. In this case we are going to create this Sub Mix... that happens to be marginally darker than his friends... run a couple of our tracks through it... and apply an effect before it heads out to the Master Mix... and off into people's eardrums. All right, let's dig into our Sub Mix. So what is the Sub Mix? Sub Mix is, well we've got this Master Mix, right? Everything runs through here - let's close that up. - so this, we've got three tracks... and they all run through this Master Mix... so everything has to pass through that. It's kind of like the final stop you can do... you can add effects, and you can adjust the volume... but let's say you want to do it to just a couple of tracks... that's what a Sub Mix does. I can create a Sub Mix, and say... just the background cafe noise and the music go through it... but not the dialogue... it's kind of like a Sub Mix or a little baby mix. So create one down here in this gray area... say instead of add a Track we 'Add Audio Submix Track'. It kind of appears down the bottom here... where is it? There it is, Sub Mix 01. You see, it appears here, how do you know it's a Sub Mix? It's like a tiny percentage darker than the rest of them... so slight, I don't know, seems like that in this room, at the moment... it might look darker for you. Let's name this one, so this is going to be my "Reverb Sub Mix"... because what I want to do is, I want... at the moment the music, both the music and the background noise are quite... you know, well produced... I want it to be, feel like it's in a room... have that kind of like echo... but not echo, it's reverb. So I want to pass it through this... so what we do is we say, you... instead of going through the full mix, the Master Mix... we're going to go through Reverb Sub Mix that we just made... and you, but not this one, we don't want the dialogue to go through... because we want her to be reverbed. So nothing really happens except that... this has to go through the Sub Mix before it goes through the Master Mix. Think of it as like, it's from kind of cable days... where you plugged this into this Sub Mix... and this Sub Mix plugged into the Master... and then the Master was your output, maybe to your speakers. So these guys have to go through this now. So just as a little example, play it. - "I'm Madame Donut..." - If I turn this down... "and I own Donut Dynamite." those two are muted ... because they have to go through the Sub Mix... So I can I can adjust the volume up. That track, for these two tracks, we're done. "Seven months ago, in the town of Waikudu." What I want to do is... first I want to move that in, so I can hear, there you go. "It's going quite well." What we're going to do is add an effect just to the Sub Mix, so up here... I'm going to find the Reverb; 'Reverb', there it is there... and I'm going to use this 'Convolution' one. That's pretty good for writing reverb, some pretty cool presets... double click it to open it... and there's some really cool stuff in here. "It's been really amazing how people..." You can kind of just keep this open and move it around as well to say actually... I'm still not-- I'm going to mute the dialogue... because I want to get this working first before I balance it. So I'm going to just increase the volume of it. So this on... I need more. Can you see, it adds that, like little reverb, sounds like it's in a room... I think we were trying to get rid of, in the last videos... and then you can work your way through here. I won't, you can have a look through these... I just want to point out the amazing... like, who decided that, you know, what we need... we need inside of a shower... door open, door closed... and like, medium sized cabin... not large, massive cabin. Well, what's a cave in a cabin? It's probably acoustically different. I just-- these are all like... I know that these are actually mimicked off actual... like proper situations, they're not just like... made up through somebody dragging the sliders... I think they've modeled with them on proper rooms. You can listen to them, they're pretty amazing. So I figured out, like... I was deciding between living room or living room with nothing in it... and they do sound different. So you've got some adjustments down here, you can play around with... but that's not the reason we're doing this... we're doing Sub Mixes, I've got my like empty living room... and it has it down now, and turn it back down... set it to 0. Now I'm going to bring in my dialogue again. "People keep coming in, so we keep making donuts." Now I'm going to play around with... in comparison, how loud this is. I've mainly used it to add that effect... but you can apply lots of different things to this Sub Mix. Where it becomes super useful... is let's say you've got dialogue across a couple of tracks... at the moment we've only got one track, or maybe there's sound effects, or... whatever you're doing... the same thing, it has to be on multiple tracks... because of videos and stuff. It means you can group up these three tracks, or these three audio tracks... through one Sub Mix... and apply the effect, or the fixing, or the correction... rather than trying to do them all individually per clip. All right, I hope that helped you understand what a Sub Mix is. Let's get on to the next video. 111. How to record Voice Over in Premiere Pro : Hi everyone, in this video I'm going to show you... how to do voiceover, straight into Premiere Pro. It's pretty easy if you can see this icon, click it... it'll probably work, but for the times that it doesn't... watch the rest of this video, let's get in there. All right, to get started I've imported a file from earlier on... it's in our 'Co-Working' folder, it's called 'Micro Interactions'... you don't need to import this one... but I need something to voice over the top of. So what we do is... you might need to create a new audio track ... right click in here, 'Add Track'... doesn't have to be on its own track... but all you need to do is be able to... be able to see more information in here. So remember, 'Option +' will expand the audio tracks... you need to get big enough, that you can see this thing. If you can't see it at all, remember, right click 'Customize'... and you can just drag it on, or somewhere easier to see... and all you need to do is, hit it, so let's go. My little counter, 3, 2, 1. "In this course you're going to learn... how to do amazing sign up micro interactions." "You're going to learn how to do amazing sign up micro interactions." That was super cheese, you get the idea. You might find that the wrong mic is working, you might hear yourself... if you-- that's probably the biggest weird thing, is if you hear yourself... Premiere Pro is trying to feed you back what it's hearing... so you can either do the easy one... it's just to mute your computer while it's recording... it'll still record you, so it'll stop that, that's a bit of a pain... or you need to stick headphones on so that... that feedback loop doesn't happen. Now if the microphone's the terrible one... you've got a nice mic plugged in, and it's not recording from it... right click anywhere down here, and go to 'Voiceover Record'... it won't work if you right click any of the video tracks. So you've got to right click any of the audio tracks... and go to 'Voiceover Record Settings'... and you can see in here... here's my little meter bouncing around... the name of my track, mine is Voiceover... the source I'm using, this Audio Technica 2020 USB Mic, it's really good... and yeah, you want the pre-roll, which is that counter... and you want to record a little bit afterwards... it's best to do both of those... pre-roll and post-roll, it's recording while you're doing it... but it just gives you a little bit of empty noise that you can fix. Remember, earlier on there's a sound down queue... it sounds like, anybody remember pong... you can turn that on, and you get audio cues, it counts you down. Now the other thing you may or may not have noticed... is that it created a wav file for you based on the audio track name... so that's this... and where is it? You right click it, and you say, 'Reveal in Finder'... here it is here, and it is in-- Basically I save this to the 'Desktop', there it is, my Project... it is inside-- it's called-- Adobe makes this folder for you... only when you start recording... it's called Premiere Pro Captured Audio, there it is there. There's my project name, and there is the audio, nice. All right, that's it for voice over-ing in Premiere Pro... directly into it, awesome. I'll see you in the next video. 112. Sample-Level Audio Edits between video frames in Premiere Pro : Hi everyone, in this video I'm going to show you... how to change your Timeline... instead of dragging along and doing frames per second... it's going to do audio samples per second... where there's like bazillions. The short answer is, right click this... and go to that, 'Show Audio Time Units'... let me explain it a little bit better. So at the moment we're in frames or frames per second, right? We know that most of the stuff we've been dealing with... in this course has been 25 frames or 23.976... or 60 frames, 100 frames, 120... that's the way that we've been working in Premiere Pro. So it means that if I've got a bit of audio... see this bit here, I want to manipulate this little chunk here... it's going to be tough because... you know, I've only got this, like the scale is not big enough... audio is recorded in like samples... and, like this particular audio track is probably... you can kind of see it over here, 48000 Hertz... so you know, consider it 48000 frames per second... so you can zoom in quite a bit. So to change it, so I can work in... that sort of frame rate, at least that sample rate... you go up to your little burger menu here... and just turn it on, 'Show Audio Time Units'. So in this particular case there's 48000 of them... so you'll get to a second... so that's the 3 seconds and 36000 samples... and eventually when it gets to 3 seconds and 48000 samples... it'll switch over to the next second. So let's have a look, just keep zooming, look at that... we can get in real detail now, you see... you can start doing, let's say you need this little bit gone... or adjusted, or raised, or done something with... remember, holding the 'Command' key down on my Mac... 'Ctrl' key on a PC... to click on the rubber band here... you can start doing some really... fiddly adjustment to the audio. There just might be something that you need to get in there, and tear out... you can zoom in way closer than that as well. So remember, 'Option +' to get in on the audio... wrong button... nope, right button... it's making my track bigger, Dan, just hit '+'... and eventually you start to see the waves, where are they? Let's look at something a little bit more drastic... let's get in there, oh, look at them... you can zoom in way further as well... remember, holding down the '+' key, you don't have to hold anything down... you just want to zoom in, let's say this waveform here... I want to make this taller... remember, 'Option +' on a Mac, 'Alt +' on a PC... so I can see it all... I'm going to go full screen with my little Tilde, '~'... and look how zoomy I can get... oh look, it turns into little waves, there you are... little wavy Hertzy guys. You can start grabbing all these little peaks and troughs, very exciting. To turn it off, let's go back to full screen, Tilde, '~' key again... and let's turn off, sorry, 'Audio Units'. Now we get to see it back in kind of frames per second... feels real clumsy at this giant size... where's my 48000 separate little units, phew. Lucky we don't record that sort of frame rate, we will one day... it's pretty common to do, what, 120 these days... man it's going to get bigger and better, my phone can do 60, easy. I'm sure these phones can do 100, but anyway... I digress, let's jump into the next video. 113. Complete understanding of Markers in Adobe Premiere Pro : Hi there, in this video we're going to get nerdy with markers... show you what a clip marker is, versus a sequence marker... we're going to add details, look at this... oh, we can write in it, and look at this, fancy in and outs. We can color code them, a bunch of shortcuts... all right, let's get in and learn about markers. First thing, let's go back to my-- I'm going back to another workspace... go to 'Editing', or I've got one that I created earlier... and let's bring in a couple of files, double click to import. It's in 'Exercise Files', called 'Markers'... bring in everything in here. Now we don't have a sequence to start from... and we need a portrait version, anyway. So let's go to 'New Sequence'... let's use the Red 1080p, 25 frames per second. I'm going to call this one my 'Breakdancing'... and the sequence is the wrong format... like there's no portrait defaults. We'll create some when we get on to social media in a bit... but most portrait is just the normal kind of ratio... turned up on its side. So I'm going to go to my 'Sequence Settings'... and just inverse these. So this could be 1080... by 920... not always, but that's kind of what we want... Breakdancing, I have 'Sequence 01', where do I get that from? No idea... oh it, no, I have no idea what's sequence 01. So I've got this, let's add a couple of images... it doesn't really matter, grab four... there's no-- it doesn't really matter for markers if we're using images or videos. Now the brief overview for markers is... out of market you've got two kinds of markers, right? I hit my backslash so I can see it all. So you get two kinds of markers... you've got the-- I've got nothing selected... Sequence Marker, can you see, it appears up there. If I undo that, if I have something selected, I hit 'M', it's on the clip. The difference is that the markers on the clips come along for the ride. The ones that are in the Timeline, nothing selected, 'M'... will stay there, doesn't matter, like what we have moved. So there's different use cases for both. If you need a change or you need to note something... within this video, no matter where it is... or maybe it's timing, like the first 30 seconds... needs to be like, say you've got an ad... and the first, say three seconds or five seconds... is forced watching, like on YouTube... the other stuff is optional. A lot of the time you'll set a marker... at say three seconds, 3.00, and hit... make sure nothing's selected, hit 'M'... and at least now you know that's your, you know... that's you're above the fold before people like, can hit the "Skip this ad." So we've got two kinds of markers... double clicking markers gives you a whole lot more information. So any of them, double click them, you get this big marker window... and in here we can give the marker a name, which is interesting. So let's give this one, let's say this, "Above the Fold"... I still call it Above the Fold... even though it's definitely got a name. I can't think of it at the moment... but kind of above the fold. So I need to have all my, kind of call to action before then... at least the most compelling part of my ad before here... you can add comments. We can obviously color them, let's color our different ones. you might be using them as... well, I'll show you a really cool little thing you can do... is let's change the duration, at the moment there's 0 duration... that's why it's just like this little... you know, this little shield here... but if I extend it out any sort of time, click 'OK'... can you see, you can actually start reading what's in there. So you can actually add markers of like... maybe it's your sections in your video... you want to kind of identify the intro versus the outro... maybe sections where advertising... you know, with advertising, gets jammed in. So you have to open them up for that to be seen. You can leave them in there... and people can go into them and have a look. So if I'm getting this from somebody else... I can open up the 'Window', 'Markers' panel... and they can show me, look, there it is there... and I can add another one, remember 'M'... and I can double click it, go in... and let's say yellow stuff is the must change... oh no, yellow is maybe... let's say we've got a red, and this needs to be a reshoot. Why? Because, I don't know, because of this thing... click 'OK'. Again, if you want to open them up, just drag out the out point... you can do that without dragging that out, there's a shortcut. So undo both, dragging those out. You can hold down the 'Option' key on a Mac... 'Alt' key on a PC, I think, there you go. You can just start dragging them out... so you don't actually have to go to the Duration... just click on them and drag them out... so there you go. Hold 'Option' on a Mac, 'Alt' key on PC, just click them once, actually... and that'll just turn them into that, like two segmenty thing, you drag them out. The problem with these comments, I find... is if I zoom out, can you see, they get smaller... and if I zoom in, they become unreadable. So it's our way, I'll often use really simple markup like this... if I'm sending it to another editor, if there's just simple changes... add the good stuff inside of here, rather than up here... and they can kind of open this panel and check it out. They can filter by all the red ones... maybe to do first, the green ones... good job, editor, you've done a great job here... but the yellow ones and the red ones... they can turn it on and off, you get the idea. What do I use them for, a lot for... is where I, like I'll do a lot of the recording and rough drafts... I'll add markers to show like what my thought was here... because I'm not doing the final edit, or maybe... you know, I've shot the B-roll separately... and I want the editor to go through and actually insert it in here. I'm like here's where this video goes... and this is what I was thinking... and I can add my details in here. Now shortcuts for using markers... let's say you've got a few of them, let's go 'M'... to get back and forward with them, it's... let's say the beginning here, 'Shift M'... M's to add one and Shift M is to toggle... just keeps jumping through them all... can you see, it's jumped to this one down in this clip here. So 'Shift M', just kind of moves along... it's 'Command Shift M' on a Mac, 'Ctrl Shift M' to go backwards... I never remember that. We shortcut it out by now, you probably ought to. It's called a Button Editor, and in here... go to end... that's one of these, click in and out, Mark... come on, Dan, add marker, I use these two. So you can drag these two down, there we go, you... and go to previous, we'll put them just behind there. All right, click 'OK', totally running out of space. Let's go to my bins, which ones, shortcuts do I not use? Don't use you, don't use you... see these little weird little spaces... you can use little spaces just to like separate things... it's not really a space... we've talked about this before, probably. So there's that one, did I get the other one on there? Let's click 'OK'. See this space, ends up being just a gap. So I've got my Go to Next marker, and my Go Back Next one. All right, come on, Dan. Now one last thing with markers... is you can select in your Timeline... make sure, in there, remember, we can do, Find over here in my program... sorry, my Project panel, where's my Project panel? It's down here, there you go. I'm going to find in the F that's selected... but if I remember, if the blue line is highlighted... around my Timeline, and I hit 'Find'... which is the shortcut, is 'Command F' on a Mac, 'Ctrl F' on a PC... there's actually, if you've got lots of markers... you can actually switch this to markers... that contain the word Reshoot... and it should jump to it, there you go. That's not the last thing... the other thing was, when you are selecting all of these things... and copying and pasting things... by default the markers only stay on this sequence, they don't come along... because they're specific for a sequence. You can turn that on under Markers... you can say, actually, when copy and paste is done... include the sequence markers. The next, next last one is... there's actually a couple, I should look at my notes... before I say, "In the last one..." The second to last one is this Ripple Sequence Markers. So there are times where you need-- at the moment, remember this one here that said, please... this one needs to be at 3 seconds... because that's where, you know... the unskippable part of the ad is. So that needs to stay there, by default... which is, if I click this and hold 'Option Del' on my Mac... 'Alt Del' on a PC to ripple delete... watch happens to this marker. It gets kind of deleted and moved along... because all these are rippling, you might not want that. So you can say Sequence, sorry... 'Markers', 'Ripple Sequence Markers', turn that off. Now when I delete it, watch what happens at the top here... these guys should stay in place. So you can turn it on and off as you need... there might be times you need one or the other. The other one I'm going to talk about mainly... just real quickly, is you can actually... turn these into stamps for YouTube... to go out into your, you know, you get in some YouTube videos... you can kind of like have the time codes. There's a way of exporting these out. I will include that bit further on in the course... where you're looking at YouTube. So look for YouTube videos ahead of here, there'll be one that has... something to do with, I haven't named it yet... because I haven't made it, but it'll be something, Youtube chapter markers... something like that, is what I'll call it. Sorry, it's the future, I haven't never recorded that one yet, but... I'll explain it better in there, but know that you can. So I'll tie it here with a markers video. All right, let's do another marker video next. 114. Timing your video or photos to music in Premiere Pro using Markers: Hi there, in this video we're going to play some music... and then automatically add some markers... add the different transitions... by hitting a shortcut while we're listening to the music... which is, turns out to be terrible, but you can do it. What's really interesting about this video... is that these markers, any way you want to create them... you can get either footage, or in my case, images... to kind of fill the gaps, and do transitions at every marker... which can be handy... but you must be warned before we get started... there is some terrible dad style dancing that goes on... not this guy, me, it's bad. All right, let's get started. I was going to skip this bit, to say, clear the timeline... but I taught, in the last video... how to clear all the markers, right click any of the markers... and to say, 'Clear All Markers', select the markers... and we'll delete this, and we are going to start again... get right to the beginning, and get ready. First things first, let's add our, let's go to our project... let's bring in our music... we do our B2... and I imagine this is going to be funny... I'm going to turn on the camera, hang on. All right, let's do this. People do this, apparently you can do markers to the beat... I definitely can't. So we're going to give it a go, you ready? All right... you ready? Oh, that is embarrassing. So I've just re-watched that video... I'm embarrassing myself, you're embarrassed, my editors... definitely Jason and Tayla, I'm sorry for that... that's all I had, I'm a dad now, I'm allowed to dance like that... and what did we end up, can you see the markers that are painted at the top? The other thing I should probably comment on... is I haven't had a shave for a while... we're in the middle of Covid... shaving doesn't seem all that necessary anymore. Anyway, so here's my little bits that I hit... I find it's probably easier, I'm going to zoom in on my Timeline... remember, 'Option +', it's probably easier just to hit them on... you know, these kind of waveforms... and just kind of move them around... but sometimes timing works, if you have good timing. So hey. Now we need to add our footage to it... because if we do this, if I grab... actually, I'm going to shrink this one up... let's zoom in. So if I grab a bunch of, all my images, let's grab them all... if I grab them all and dump them in here... they just plonk on their normal size. What I want them to do is adjust to this... so what I can do is have them all selected, and hit this button here... it says 'Automate to Sequence', click on that, and say, not the Order... oh no, Placement, Sequentially, no, 'At Unnumbered Markers'... cool, eh. Yes, let's do that, let's click 'OK'. One thing you'll notice is that they ended up like at the next marker... from where my Playhead was, so you've got to make sure your Playhead... it's right at the beginning before you do that whole thing... I pretend like that was a learning exercise. Oh, the other thing is it hasn't done it for the first one... another learning exercise... you can tell how much I do this... I just match it to the beats, while I try and do my cuts... but I do it to the waveform, rather than bopping around like a dad. So put it in the first one, have them all selected again, let's do it... 'Unnumbered Markers', hooray! What you might find as well is... can you see, they've kind of adjusted out here. I'll show another for instance... so let's say your markers are a lot further apart... so I'm going to do a marker here... and a marker here... and a marker here. What ends up happening is, again, I'll do the same thing... can you see these big gaps here... the big gaps is because my default for an image is... how many seconds, 5 seconds by looks of it, 4 seconds... let's have a look, hover above it, 5 seconds. So that's the default, that is in my preferences, you can go and change that. What we can do though-- so what it does is, it says, all right, 5 seconds, unless there's another marker... it tries to be 5 seconds but it can't fit so it cuts off. These guys, can be their full 5 seconds, and then stop to the next one. So that might be useful for you... but say you do want to butt them up with longer markers, like this... you can either change your default in the preferences... or probably easiest is... I'm going to undo all that, right click... select them all, right click them all... let's go to 'Speed/Duration', and actually, let's say... these guys are all like, make them 20 seconds each... so that they're way past-- is that way past? Yeah, way past. Just longer than the breaks you have. Make it 20 minutes, it won't matter. Let's add them to the beginning... actually no, remember, hit that button... hit that button, and now they should stretch out... to the different markers that I've got. Let's have a look how good we did with the beat... that's what you're wondering... you're like, "How good is this guy?" How good is that bopping? Let's go, ready? Not good at all, I was too busy jiggling around for the camera. There's lot of cuts that you could do, and then, give it a go, have some fun. Another useful thing, especially like-- this works for video clips as well... and it's, if you are doing this for images... and you want to transition between them all... select them all, and 'Command D' on a Mac, 'Ctrl D' on a PC... will put in whatever your default transition is. So let's have a little look. Look at that. So there'll be a default transition between them all... great way to do bulk stuff. Remember, to change your default transition... find your video transition that you want it to be... and just right click, and say, 'Set as Default'... then when you hit 'Ctrl D' on a PC, or 'Command D' on a Mac... it'll be whatever that is... and you'll see little blue square around it. All right, that is it, timing your images to images... or footage to markers... and how to get markers done automatically as you go through. You might want to skip that first bit... and just put in the markers manually... but the rest of it still works. Just remember to use in your Project panel, use this one here... 'Automate to Sequence'. All right, that is it for markers... I will see you in the next video. 115. Difference between Subtitles vs CC vs Transcription in Premiere Pro: Hi everyone, in this video we're going to look at... the differences between transcriptions... subtitles, closed captioning, open captions... just so that we know what we're making... before we go and try and make it in Premiere Pro. We'll start with transcripts, that's the easiest one. So on my website, all my videos are transcribed... and it's basically just all the text written out... and added to the video. Now this is so that people who prefer to read what's going on... can read it, but to be honest... for me it is mainly used for Google search... so that all these great keywords... "No previous video experience is needed"... I can do it, it's all there... that the Google spiders can get in there... and figure out, and lead people to the right page. You might be using it for something a little different... but yeah, video transcripts, just written out, big text form. It's often what I use to start a blog post as well, I prefer making videos... and then giving the videos out to a writer... to write a blog post from... because I'm more comfortable speaking what I think... rather than writing it. So transcript's easy. All right, the ones that have a lot of overlap... are the subtitles and closed captioning. They generally get lumped in together, but separately... subtitling is for people, speakers of other languages... and captioning is for people who... or closed captioning is for people... who are hard of hearing, or are deaf, can't hear. So they need, they need different things... like this is one of my videos here... even though it says closed captioning here... really it's just subtitles, because it's different languages. One of my videos... "Text design tool is where I help..." I can turn English on, or I can turn Hindi on. "As well as streamline..." That's all I've got subtitled for this video... but what you'll notice is, at the beginning here, when I play it, look... nothing's on the screen... whereas I found something else... more, closed captioning... oh yeah, subtitles... that's the only reason we can watch... <i>Life Is Beautiful</i>... but let's watch, I just picked random stuff from YouTube... watch what happens, I turn this on... - "What?" - "Nothing. Oh, God." Watch what happens. "It's just so exciting that you might get this apartment." See, CHEERS. So it's including all the non verbal sounds... so people making... here, we'll find some other, so cheers, screaming... it has lots of extras, it'll say "Music playing"... let's go to the beginning here, this one here... let's turn closed captioning on... can you see, it says "Music is playing". So it gives a lot more information than just subtitles. So subtitles, normally used for speakers of other languages... and closed captioning is to help people that are hard of hearing... with some hearing loss, or deaf people. You've got to make clear what you're actually doing there... when you do, maybe send them off to get done. What a lot of places are doing, like this one here... this one here is actually automatically... watch this, want to turn this on, can you see, it's auto generated... that's getting better and better. So YouTube are doing it on their own... it knows this music, and watch the first bit of dialogue here... shaky camera, that annoys me... "Hey, what's up, MK BHD here... and I've got you an early look..." Thank you, BHD, should have used shake steady thing... maybe they're going for a hand held shot... but you can see it's getting really good automatically in places. So anyway, we've got the idea of transcription, subtitling... other languages, including English. So I use it for English, I put it on top of mine... for the people that are watching in English... have partial understanding, but aren't like fully fluent. So it's still helping them... and closed captioning needs all the additional people... for people that are hard of hearing. So the last one is open captions... that one get confusing as well. Open captioning just means it's burnt in. So this one here is optional, turn it on, turn it off... you've probably seen videos... that are burnt in and they can't be moved... they're kind of like burnt into the footage. That's really handy for like social media, when you're going out... and a lot of people don't have the, like volume up on their device. So you can burn these in, so they don't have to like turn them on and off... they're just burnt in over the top, they can't turn them off, which is annoying... but it also means that they can, you know, you can kind of, it can be compelling, especially if there's not a lot of visual going on... and it's all talking, and that's called open captions... and I'll show you how to do those in Premiere Pro too. All right, let's get started, will show you how to make them... and then in another video, will show you... how to export them with the various parts. 116. How to create automatic captions in Premiere Pro: Hi everyone, yes, you read right... you can automatically make captions... goes from speech in your Timeline down here... through something called transcriptions, which we know about... and then we can click 'Create Captions'... and it's magic, watch, there was no typing... and we've got captions all the way through. It's automatic, it's awesome, it's in 13 languages... let me show you how it works. All right, to get started I've got a bit of dialogue... it's from an earlier project, remember Tourism Island... I'm not using that sequence... I'm just keeping everything clean here. So if you do want to bring it in... under 'Exercise Files', under 'Tourism Island', under 'Audio'... this is the audio file that I'm using... 'Old Irish Blessing', you can see it there, I've put on my Timeline... and I've dumped a couple of videos from under footage in there. It doesn't really matter, it's all about the audio. So first thing we need to do is... let's switch our kind of workspace to 'Captions'... it's a bit boring but it's going to bring up this chunk. If you can't find it, under 'Window', find it under Captions... no, it's called 'Text', there it is there. The way this works, remember... is that you create a transcript first and then make captions... so it's weird that way. So let's transcribe the sequence automatically... this is fancy and new. So 'Create Transcript', and basically which track is it on... you can mix it, so it's going to go through... all of the tracks but that's not good if you've got music playing... and I've got this weird audio that's on this bit of footage... so I don't need that, so I'm just going to say, actually... just use Audio Track 2, see this one here... it's got all the waveform on it, and that's it... this will all be off by default. I'll go through them in a bit more detail... but I bet you, 99% of the time that's all you're going to do... it's going to go off and do things. The one thing that I kind of skipped over there... is that it's actually uploading it to the Cloud... so your data is going off to the internet... and I guess Adobe wants you to know... that it is going to the internet, it is secure on the internet... but you know, with your permission... it's uploading it and processing it in the Cloud... yeah, so there you go, so it is done... let's have a little look at what's created. So remember, a transcript is created at the moment... not a sequence, so let's play it. "Let the road rise up to meet you... may the wind always be at your back." Cool, huh. It's just like match it all up, you don't have to type it out... and like, the voice recognition is amazing... like this is really new, literally came out yesterday... I've updated this video, and so, I don't know... I think for a first version it's doing pretty amazing... with this accent in English... so you have to let me know in the comments... if you're finding it troublesome in other languages. It is, I think it's released with like 14 languages or something, so that's cool. So yeah, we've got a transcript... so what do we do with it? Well, nothing really, we basically create that transcript... so that we can then click this button, 'Create Captions'... and again, just leave everything as the default. We'll run through a little bit more details... but 99% of the time, I bet you, this is going to work... and now we've got our little captions along the top... look at them here, ready? "May the road rise up to meet you, may the wind always be..." It is so good, if you've done this manually... or maybe sent it off to get done, and paying somebody to do it... man, it's pretty good doing it here for ourselves in Premiere Pro. Again, this tool is new... so I haven't really put it through much of its paces... I've been trying to, but yeah... I'm sure I'll find some limitations... but I don't know... "and rains fall soft upon your fields, and until..." It's pretty amazing. Now other things in this... let's have a little look. So let's say that we're going to go back and look at just a bit more details... because this is the advanced class... I'm going to select all the captions along here and delete them... because I don't want the captions at the moment. I'm going to go back to the transcript as well... see, Captions, Transcript... and at the moment there's no, like delete transcript... so you can re-transcribe the sequence and it kind of replaces what's there. So let's do that to have a little bit more detail. So this is one that says Audio Clips Tagged as Dialogue... just do those ones because you might have a lot in here... and you might have different clips and sound effects. You don't want the whole track done... you just want the bits that you've tagged as dialogue. We do that, remember, when we go, you... I've got 'Essential Sound', you're the 'Dialogue'... and now this one will be transcribed... and automatch while we're there. So now when we go 'Read Transcribe'... we can say, actually just do the ones tapped Dialogue... so you can individually pick the ones. Obviously, you can pick a language, there's a bunch in there, let me know... when you're doing your work... obviously, not this particular one, because it'll be very similar... but the work that you're doing... throw something into Premiere Pro right now for me, after this video... and give me a out of 10 score of like how good it got to it. It'd be good to see over time how good these things are, and how better they go. So English, other things... let's look at the most important other feature, is... this Recognize Different Speakers Talking. This seems really good... so I'm going to cancel out of that... at the moment I only have one woman talking... so I'm going to grab another bit of audio. So I'm going to say, from our 'Exercise Files', under 'Sound'... there's one in there called 'Sound 02'. Now it could be one track with different people talking... I had a look through our exercise files and we don't have anything... and I couldn't find anything on my machine... so we're going to fake it by doing this, there you go. We'll pretend that this, my friend, is... just me and this woman having a conversation... so what you can do is you can say 'Re-transcribe'... and you can say... all 'Tagged on Dialogue'... or we could do Audio Track too, wouldn't matter... but this one here, it says, 'I want to opt in'... to kind of know the speakers, who's who. One thing it says is that, you know... there are new laws, there are laws around kind of this biometric privacy... about recognizing people without asking... or face recognition and audio recognition... it's all weaved into here. Basically Adobe wants you to know... like, "Hey, you need to have permission... to be uploading these to our servers"... and be trying to recognize them. They only recognize them as speaker 1 and speaker 2... but you know, it depends on how you feel about this. You've got to at least know you've got to have permission to do it... so I'm going to enable it. You'll notice in there, that says, you can't do it in Illinois... I think it's one of the states in America... that forbid this to happen, as part of their law. I think, Texas do it as well... that might change, that might go away, it might get worse... but let's hit 'Transcribe', and what it's going to try and do... is break out the two different speakers... even when they're in the same track... so that, yeah, you can identify the different people... and separate them out, rather than it kind of blending together. All right, let's speed this up. So it's got it, like, let's have a look. "Be at your back, may the Sun shine warm upon your face..." "All right, so this is..." Great example, Dan. In here you can see it, speakers, and I can say, actually this is... Kathy, and this is... handsome Dan, or just ansome Dan... there you go. Now I can generate captions... and we'll have our two separate speakers. Now while we're in here let's look at some of the more details on creating captions. You can create a blank track... that is when you want to hand type it in... rather than getting it automatically done from the transcript we just made. Everything else in here is useful, I guess... there's Caption Presets, there are... captioning presets for different specific kind of use cases. I'm not really knowledgeable about the different outputs... so you might be, you might go into a special place... and it needs, you know, you might have Teletext... and you can click in here to get the right kind of captioning done. Format and Style kind of seems similar... about Format Again, it's to do with the kinds of preset... in the way that it's displayed on here... and again, with a stream it depends on what you're doing. So if the format changes, you know what you're doing with the format... you can pick the different kinds of streams... I don't, I'm kind of blagging my way through this a bit. In terms of the style, that's something I do know about... is-- we'll do style in another video... that's when you can change the fonts and stuff... pick a default style and update it in here. Other things you can do when you're creating captions... how many characters go into the words that appear on the screen... do you want it to be really long lines or really short lines... you can have a play around with that. There are obviously some industry standard defaults... that are in here but you can play around with them. What is the duration in seconds... how long do they stay on screen, you might feel like I'm speaking too fast... and it needs to be slower or faster... again, the gap between captions... when one disappears and the other one appears... do you want it to be 0, so they just flash up on screen... or do you want a bit of a pause between them? Does your captions display on the text, you know, on the screen... in a single or double line? All these things you can go and adjust... but the default's pretty handy. Other things that you might want to do, advanced stuff is... let's go back to... our 'Captions'... actually, I'm going to delete these captions again... go back to my 'Transcript', you get your transcript looking good first... and then make your captions, it's easier process. So in here I'm going to recreate them... and what you might do is set an in and out point... say you only want captions for this part... so I set my in and out points, which is my I on my keyboard, and O... wherever your Playhead is... then I can re-transcribe and I can say, actually, just do the in and out points... because you might have a very long document... I'm going to turn off the different speakers. The other option in here is that you might merge... with an existing transcription. I couldn't think of a way that this would be useful... so you have a transcription instead of like redoing it again so it's new... you can add new audio... and then smoosh it with the existing one... I don't know when that's useful. You probably can think of it already, I can't, but you can do that. Let's cancel that just because the other options you might look at in here... we've looked at Re-transcribe. Now when you export your transcript it feels like... "Oh great, I'm going to export my transcript because I want some text." If you do this you end up with this really weird format. I'll put it on to my poor old desktop... my desktop's not in here, where are you, desktop? There it is. Let's stick it in and let's see what we get. Now you're going to get this weird file that you don't want, so again... Daniel Scott... Desktop... lost my shortcut... You get this one, pr, you know, prtranscript, it's a weird file... like if you try and open this in something... you get this... I can't work out something that actually... you know, that actually works with. So you might know, you might be like... "Oh great, it's the prtranscript that I've been looking for"... that's how you do it... but what you probably want and what I want... is Export to Text File, then you export Plain Text... and you get this kind of file... not that one, you want 'Export File', and you get-- let's stick it on the desktop again... let's have a look... and that transcript.txt file... and that's probably more what you want... then you can use that, I don't know... for a text transcript for your website... or maybe going out as dialogue to people... but that's another thing you can do once you've got your transcript. Other things out there, pretty self-explanatory... Pauses, you can, instead of just having like... you know, not having a gap... you can actually add the dot dot, '..' to show a pause... and the Disable Auto Scrolling is this. So auto scrolling on means that when I do this, can you see, it moves along... and kind of moves up and down... depending on what's being played... You can turn that off by clicking that button there. Now there's a bit more to transcriptions... but this video is already getting long... so I'll separate them out in other videos... including how to style them, and do them manually. The other thing to note is that this particular feature... the automatic transcript making is a new feature... like literally came out yesterday, so yours might change a little bit... there might be a little bit of jiggling around... or another option in here... or they've changed the words... they've moved this up and this down... so if there is something a little different... check the comments below, I'll update them down there... if they're just teeny tiny ones. I'll re-record the video if there are big things... but you might just find other new features... because you're advanced now, you can look around and go... "Actually, I reckon I can work that out."... if something does change... I'm totally trying to get out of making updated video for this one. I'm hoping this could be the one forever... please, Adobe, don't change it... but if they do, have a look around, check the comments... and yeah, that is automatic transcript... but really we want the automatic captions. All right, let's jump into the next video. 117. Create your own captioning in Premiere Pro: All right, to get started... let’s bring in a file from a previous course... go to 'Sound', bring in 'Sound 03 - Shotgun'... and just, we'll create a sequence from it. What I want you to do is... switch over to here for captions, if you haven't already... and let's use our backspace, down here, backslash, '\' even... so that it fills the screen. So create a new track, and over here, the format. Now subtitle is your kind of generic subtitle, like we talked about... and closed captioning are all these other ones... and these will use a different kind of formatting... to kind of make them compliant. So we're going to use just regular old subtitles... mainly because I've never done... I've never been on the other side of creating captions, I get mine sent out... I'll show you some of the ones I've got made... but subtitles is a nice generic one to start with, let's click 'OK'. Now basically, yeah, have your 'Timeline' selected... and what you'll, just add a new subtitle. I'm going to listen to this a little bit and type it in... you don't have to watch, I'll speed this up. All right, so my grammar is probably terrible... but you get the idea, you click on it, type it in... and then down here you can-- see this new subtitle track opened up... that's what this CC thing's been grayed out for so long... it's been completely grayed out because we've had no subtitle track. Now you can hide them, you can show all of the tracks... or just the ones that are being used. So over here what I'm going to do is I'm going to move it... so I'm going to go to my 'Move' tool, 'V' tool. Your tools have gone, oh, this layout, it's up there. So 'V' is straight to that Move tool, and you just line it up. How long does it need to be? I need to find out... when I stop saying the word, meaning of color... "With the meaning of color." About there, and then zap it in. Now you've got the option of making a new one... I'm going to do that again in fast forward mode. So you saw me typing there, got lucky with psychology. Oh, what happened to that, where did he go? Notice that just disappeared, that was weird. Did I hit undo by mistake? 'Redo', come back, that text... yeah, it's there, but it's not there... oh, it's weird... there it is back again. I'll leave this in the course in case it happens to you... it hasn't happened to me before, there you go. I copied and pasted it from over here, and then it reappeared, weird. So you can keep adding, obviously, with the different time codes. You can drag it out or you can type it in. One thing you can do though... you can split caption and merge captions. Sometimes you might be just typing it out... a lot more than what you need. So what you can do is you double click it... actually you don't have to double click it... just have it selected, and you can split that caption... and decide that, actually, I'm going to break that bit off there... and this bit here, doesn't need this bit here. You can see, it's kind of break it off into its own caption... and it's to do with the timing, of like when this all appears... I've got a weird return in the top there. The other one is merging captions... you can hold 'Shift' and click a couple of them and squish them back together. Now styling them, let's style this, actually, I'm going to undo it... so I've got three, you can select them all... and style them at once using... the 'Essential Graphics' panel, 'Edit', or just click one of them. I'm going to do one of them because I want to show you another little trick. Let's click on this first one, pick your font... you know, you might be corporate... you know, you might be, your accessibility plan... might include a font. Let's say we're using Roboto Medium for ours... and yeah, then you go and style it. I'm not going to spend a long time... things that are kind of useful... can you see the little zone for linking them. You can position them in different parts... maybe the first one, is that just me... they're always in the middle. Color, Shadow, I'm going to go for, I prefer the background to be black... and I like the background outline to be a bit bigger. The opacity, yeah, opacity is good. So once you've done a bit of planning on this... what you can do - let's change the font size... whoa, too big. What we're going to do is set it as a style. So go up to here, it says 'Track Style', we can 'Create Style'. It's going to use whatever you've got selected over here. So let's call this one, "CCs for Bringyourownlaptop"... I click 'OK', and it means, now I can click on, highlight these ones. You'll see that they're actually, the style actually got attached... because we've only got one style... it's gone through and done it for us automatically... but let's say that we've gone and changed it... or working on another document... we can select on it and say, you, my friend are not None... you are "Bringyourownlaptop CC style." Now the one thing with these is, that's not permanent... that style there won't be in your next project... but alas, but don't worry... you can-- remember in the earlier video... when we're looking at the Essential Graphics panel... when we made styles, where did they end up... you know it, right there, look, my CC Bringyourownlaptop. So I can do a couple of things. I can copy and paste it... so I can go select it, I'm going 'Command C' on a Mac... 'Ctrl C' on a PC, go to 'New Project', 'Untitled'... bad... and I can make, let's add... 'New', 'New Sequence'... and in here I can hit 'Paste'. Can you see, there's my CC Style... and I go to 'New Caption Track'... and I can either do it afterwards, or before I get started... get started with the subtitles... being the right kind of style... look at that, brilliant. With styles though, if you are sharing them with others... you can right click them and go to 'Export Text Styles'... so it's an actual file. I know they have long term plans to get them... into the CC Libraries, that might be true already. So check if you can, like export to CC Libraries on your version. Last couple of things is - let's go back to this first one here. - is you can search... so you're going to have a lot, mine's only very short, obviously... but you can obviously have a lot. So we're looking for everything that has "theory"... you can see, it's highlighted it... you can move forward, back, you can replace it... like say we decide that color is no longer... going to be spelled that way, wrong market... so we're going to go 'Replace with'... "color". 'Replace All', nice. Say you do get to a point now, and you needed this out of here... it's great because you're going to-- we'll export it in a little bit with our CC's kind of part of it... but let's say we just want to get it out for transcription. You know, like we saw at the beginning there... you can go to this, and say, let's 'Export to text file'... so let's do this one, I'll stick mine on my desktop. It's getting messy, actually, click on it. So I'm going to do a "Color Theory", a text file, and I'll do an SRT file. If you've never used an SRT file... it's a very common, like interchangeable subtitling format... that's what-- that's how I get all my formatting done. So if I get like the Hindi one done or the English one done... our subtitler, Larry, he'll send it to us in SRT format... and that allows us to import it into the footage afterwards. So he does this in a separate program... he doesn't use Premiere Pro... he uses a proper, like transcribing software. This is a bit cumbersome if you've used one of those other bits of software. It's fine for short things but for long things... there are better programs to do, and create captions... and you can export the SRT file... and that's something you can share with somebody else... to bring in this closed captioning. Let's just have a look at them... actually, the SRT file is not readable... it's readable by programs that can read subtitles. So let's look at our Desktop... so I've got that one, "Color Theory", easy... look, just dumped out all the text, which is nice. The SRT file, I have no idea where I put it... it's unopenable, anyway. So we can't open it unless we open it with, say like Premiere Pro... or you can upload it to YouTube... but I'll show you a better way of doing that as well... but there you go, that's your whirlwind start... in captioning, inside of Premiere Pro. 118. How to import & style captions subtitles SRT in Premiere Pro: Hi everyone, in this video I'm going to show you... how to import an SRT file... that has been created by your subtitler or your subtitling service... or maybe automatically generated somewhere. I'll show you how to bring them in, we're going to do two versions. We'll do English subtitles as well as Hindi ones... and as a bonus I'll show you how to find different languages... when it does come to foreign closed captioning. All right, let's jump in. All right, we've got some exercise files... in your 'Exercise Files', go to 'Subtitles'... bring in your-- there's one called 'XD Intro.mp4', bring that in... and what we're going to do is... if you haven't already switched to your captioning workspace... we're going to import captions from file. We'll start with this English one here. So when I'm doing work... we get our English subtitles done by Larry... Larry's our subtitler, and he often does a Hindi one as well. So we'll show you how to bring in both of those. The file often used is an SRT... there are other files... that file there is created by subtitling software. So we're going to import it... and everything by the default works great. The only thing you might change is... if you've got a pre-made style, let's click 'OK'... you can see, there's all the captions that get done. The video is a lot longer... and I've left all the captions in there. I've cut down the video just for file size in this course, but let's have a look. Let's start playing and see if they match up. "Hi there, my name is..." Hey, his name is Dan. "Adobe Certified Instructor, now together..." There you go. You can see, instead of creating them manually... well they've been created, mainly by somebody else... and these are all the captions. If you want to import another one... let's say we're doing another language... it's kind of weird, like I couldn't figure it out for a long time... because you can't get back to that Import... it's not in here, it might be in there now though... they're changing this captioning workflow a lot lately. I know there's lots of updates in the future coming... so there might be an easier option here. It says import again, at the moment what I have to do... is kind of import it manually, so bring it down here... so I'll bring in my Hindi ones... and what you can do is, over here... you can right click 'Add Another Track' to the subtitles. I'm going to leave it all normal. You can have two sets of subtitles... and all you need to do is drag it in... and mine kind of match up with the last one. So I'm just going to get them to try and match up. How well does that work? Yeah, worked good. So now I got two, you can only have one on at a time... you see this, if I turn the eyeball off on this one... you see, they kind of toggle each other... because you can only have one set on the moment at a time... That might change as well. The one thing with the second set... especially if it's in another language... and you don't have, like at the moment... it's trying to use Helvetica to display this... and it's the wrong language... you can see, it displayed properly over here. So you need to find a font that works... you might have one on your, you know, your computer already... you just select it from your fonts... if you don't, go to 'Add Adobe Fonts'... it'll open up the website... and along the top here there's 'Languages and Writing Systems'. You might find it in here... well, you will hopefully... hopefully there's a font in the language that you need. Our one is Devanagari... and these are the fonts that's going to give us the right words. Now I need to double check all of this... because I don't speak that language... and I need to have Larry double check things for us. So let's-- you know, I've got this font installed... a really common one for those characters... but yeah, you can click on them and activate them... and they will load into Premiere Pro... I'm just going to give it a second. So this is this one, Devanagari... I'm sure that's not how you pronounce it... but let's do it, let's go Devanagari. Actually, there's a bunch of ones already built into this machine... I'm going to use the Adobe one... and in our case as well we want to do it for each of them... so we're going to create a style... so this first one, we're going to get it how we want; do we want the Bold one? We've only got Bold, size wise... especially if we're going to burn it in for social media... It might have to be bigger, go for the background... and up here where it says Track Style... we're going to go 'Create New Style'... click 'OK'... and by default it normally kind of applies itself, all the way along... for some reason, I don't know why. It's helpful, it's done the whole track style... you don't have to apply it, it's not per subtitle... there you go. So that's two different languages. All right, that's how to import SRTs... we've done two different tracks... I'm going to now show you how to export them in the next video. 119. Exporting and Burning in subtitles open captions in Premiere Pro. : Hi everyone, in this video we are going to export... a video that has the subtitles burnt in. So whether you've created them manually... like in an early video, or imported them... we're going to export them. I'm going to export my Hindi ones. We're going to go to our regular export window, 'File', 'Export'... because I'm sick of saying Command M, Ctrl M on a PC... and you want to go down to 'Captions'. You're going to decide how you're exporting... we're going to do burning in at the moment, so open captions. Open means, always open... closed captions means can be turned on and off. So closed captioning means... you're going to export this Sidecar file. That's going to go along with your video, a separate file... and you'll need to decide on the format... depending on what network you're going to, what they've requested. So you'll have to go through and decide on that, depending on where it's going. What we're going to do is burn it in... open captions, so burn captions into video... and you can see, whichever one had the eyeball on my Timeline open... so my Hindi one... so you just have to toggle that depending on which version you want to export out. So remember, these can't be turned on and off... and that's it, you've burnt on... I'll put mine somewhere where we can find it... for our desktop. That was going to be a little bit too long... because those subtitles cruised on... into the old no man's land of... the thing here. You can see, I've got all this extra stuff, you can just delete them, stick them all... delete them before you export, let's have a look what we got. There's my video, and hopefully... there it is. "Now this UI/UX..." There's my subtitles burnt in, easy. Remember, burning them in is also the same as open subtitles. Open means always open... closed captioning means a separate file... and in our case, instead of importing them and styling them... if they are going out as that sidecar file... I would just actually send the SRT... because it's already a separate file, and I haven't messed with it... but you might have to change some of the formatting... and you might have to get the metadata more accurate. So you could use that Sidecar export. All right, that is it for this video, I'll see you in the next one. 120. How to use Auto Reframe in Premiere Pro: Hey everyone, in this video... we're going to look at Auto Reframe. What is it good for? It's great when you go from... this kind of horizontal format to a vertical format. It's going to do it automatically and track the important information... and keep it in the middle of our vertical, watch this... he goes all over the place here... off to the screen, off to the edges... but over here, my vertical, somehow he stays right in the middle... goes off a little bit there, same with this one... we start with some cars... drifting across screen... but we need it to be vertical, check this out. They stay right in the middle, the whole time... that's Auto Reframe. I'm going to show you how to do it now. All right, first up, in your Exercise Files... there's a folder called Social... and you'll find Auto Reframe 01 and 02, bring those in. Let's make a sequence from Auto Reframe 01... and I'll just kind of scrub through. Can you see, this guy going round and round on a quad... he kind of goes off screen and it comes back in... but we need it to go into that vertical format that we saw before. So you actually do it to the sequence, so not the actual video. So anything that's in here will get adjusted... we're going to get one thing... and you just got to make sure then you go to 'Sequence'... and you go to 'Auto Reframe Sequence'. If you have nothing like the program-- Project panel selected over here, it's going to be gray... so just have your sequence selected before you do it... and then kick back and watch it, reframe it. It get this guy in the middle for... I think, default is square... obviously, you can pick the different aspect ratios you need... we're going to flip ours up, normally it's 16x9... we're going to do 9x16, turn it up on its ear. You will see, depending on how fast your computer is... and how hardcore your sequence is, it might turn along down here... you'll see a little blue bar... mine went very fast, and ready? I'm going to hit 'L' twice on my keyboard to double time it... look at that, he stays in the middle. He kind of goes off for a bit because he does from the original shot... actually leaves the screen, comes back on... and picks him back up again, look at that. To really see what's going on, have it selected... make sure you can see your Effects Controls... and just click on the word 'Auto Reframe'... and you'll see this blue box around it, and then just scrub... can you see the way it's moving it all around, cool, huh... all these little key frames. A couple of things to look at is that you will-- over here this was the original sequence we made... this was my, let's say, 'Horizontal'... it's made a new sequence... but put it in here, see, there he is... using the same original video, there it is there, that's my mp4... but it stuck the sequence inside here, so it gets smart. So you got both of them, just so you know... might be a good time to rename them... it's done a pretty good job. Let's call it '9x16', but you might call it an Instagram story... or a fleet for Twitter, whatever you're doing. The other thing to note is, you do have some control... with it selected you can say, 'Motion Tracking'... how smooth or fast, does it like track it instantly... or does it try and make it a nice smooth transition? Play around with that to see what works. My default seems to work for me every time... let's look at something that's slightly more harder. So 'Auto Reframe 02', let's make a sequence from it... this one's a bit loud so turn it down if you're playing it at home. I'll get the editor to turn it down for us. Sweet bit of BMW drifting. What we want to do now is select it... actually, we don't, we have to have the sequence selected... 'Sequence', 'Auto Reframe Sequence'... we want to keep it 'Vertical'... because that's what we're going out to, social media... and watch the little blue bar down here... flash. This one's going to kind of work. Watch, the black car eventually turns into tires... it's funny... oh, Adobe Sensei lost the black car... and picked up this group of tyres, so that happens... you can fix it. So the original, let's go back to the original, there it is there... the car goes along... and it just stays fixated on this even though the car goes past... so hey, it's a computer, let's help it. So let's scrub back until it lost the connection... I'm just using my left and right arrows on my keyboard... so it kind of gets to, yeah, it's kind of already picked it up... so it knows that's there. So I'm going to get to where it's still clearly in the shot... and I'm going to select the clip... and I'm going to say, this one here... I'm going to adjust position, turn the little timer on... to set a keyframe, there it is there... and I'm going to set it so it's right in the middle... just dragging these over here left and right... and then I'm going to move along... all the way to the end... because it goes around the corner and starts coming back... I've practiced this one before. You're going to have to do a bit of playing around with your particular clip... but I'm kind of going in about this far... and I'm kind of dragging it left and right... so he's in the middle, and at the end, he kind of goes back that way. So if you get to the end of your clip, you can go back one key frame... it's a weird thing in Premiere Pro, right? I'm at the end, nope, you're one frame past it... so you get ahead, backspace, '\'... and then I'm going to make another one... and drag it back this way. Holding 'Shift', remember, will jump to these keyframes, so it's there... then I want them to be kind of there... I don't want to be there... so you can override these position ones... now that you're a master of keyframes... and hopefully... that didn't work very well. So that keyframe then is the master of keyframes... so I'm going to, about here is lost as well, so I'm going to adjust it... there we go, good work, Dan. There's a bit of manual adjusting. Now if I'm truthful, not every video works... the first one I picked for you, took a little while to find one... this one here took a while to find one that works perfectly. I love the idea and I hope it gets better and better... as the kind of, you know... machine learning artificial intelligence... Adobe Sensei gets better, but for the moment... if you do find mixed results, me too. So I'll have a-- I'll show you a couple of versions that didn't work. I don't-- these are not in the Exercise Files... because they didn't work, I just want to show you here. So let's grab these two... these two are like, ah, these would be perfect... and here we go. There's this one, actually let's do it... it's kind of rock climbing... I thought this would be cool... you know, we'll follow the guy up the wall... and get it run the middle, let's see what happens. 'Sequence'... 'Auto Reframe?', yes, please... and it follows a shadow, it's really weird, look... the shadow ends up being kind of tracked. I couldn't play with the settings here, click it... Effects, I couldn't make it work... so I just kind of do it myself, it wasn't a big one... because it wasn't moving much, but hey, didn't work. Let's look at the other one, that didn't quite work... this one here, 'Sequence', 'Auto Reframe'... I don't know, I thought this would be great... and you just end up with this... some took a little bit longer to reframe but it's... it does some weird stuff, it's not bad... like if I click on it, and I hit 'Auto Reframe'... and I kind of scrub back and forth... it tries, and it does a pretty good job... it's just not good enough to me to just go, "Oh, great." I'm going to have to go and do a lot of work to get it centered. The problem with this one, there's a bit of... like, I want to say generation, it's not a word... the camera actually jumps a little bit so it gets lost... and that's what happens... but that's true of lots of footage. So I did try and stabilize this video first... and then run it through auto keyframe, I couldn't get that to work... so just be aware, it works great, when it does work... but you might run into problems... and find that the video you're working on is not working... and saying that it's a newish feature for Premiere Pro. So with every update, I'm sure it's going to get better... that is Auto Reframe for Premiere Pro... let's get into the next video. 121. How to save sequence presets for social media: Imagine in the future, when you open up Premiere Pro... and you're doing social media work... and you enter 'New', 'Sequence'... look, there's social media formats. Why aren't they in there at Premiere Pro? We're going to create our own ones... some vertical ones, some square ones, create them as presets... so we don't have to make them every single time. All right, let's jump in. To get started close down the project you're working on... create a new one, and we're going to start... by creating our sequences. So you could either add this little new item down here in our project window... we haven't been doing it much... but that's another way of doing it, 'Command N'... and what we need to do is... start with something close to social media. I don't know why there's no presets in here for social media... for, I don't know, I guess they update all the time... but there's all sorts of weird stuff in here. Why can't we have some Instagram stories? So we're going to start with Digital SLR... this 1080p 25 frames per second. You always need to go and check... what the different social medias are using... in terms of their height versus width versus frame rate... optimal audio, figure out what those are... but basically, at the moment... everyone's chasing each other around with this... just grabbing HD and flipping it on its side. So once you get to here, to actually save it... you can see, you can delete a preset, but get to here... you've got to go do some changes to it. So in here we are going to change this over... so we're going to make it vertical, so 1080x1920. Other things you might change in here... have a little look through... Tracks here, for me, three tracks for social media stuff never is enough... there's always lots of things piled on top of each other... stickers and images, and logos, and social media stuff. So I'm going to have six video tracks... and actually I'm going to only have two audio tracks. So click on it, hit minus, ' - '. So this is the just the default for the sequence... you can obviously add more later on... but that's going to get me started... for most of my social media projects. Now I'm going to hit 'Save Settings'... and I'm going to call this one "Social Vertical"... because at the moment, recording, I think, TikTok... Instagram stories... YouTube stories, what else? Facebook's fleets and Facebook stories all use the same... kind of horizontal phone format. Let's click 'OK'. I've already got one because I've recorded this video already... and it didn't go well, so we're doing it again, let's click 'OK'. You'll find it eventually down the bottom here... under one called Custom, cool. So I can from now on go 'File', 'New'... and I'll have this one called Horizontal Vertical, let's click 'OK'. there it is, ready to go with all my video tracks... my couple of audio tracks... and we won't do them for all of them... but now you can go through and say, 'New Sequence'... and you can go from here... or you could do the rest of the ones... that you work on, on a regular basis. So you could be doing, like... 1080x1080 is a really common kind of square format, for Instagram. There's all sorts of different aspect ratios... kind of, the 4x5, there's all sorts of weird ones... but go figure out what you need to create... and create all your sequences and just save them... and give them good names... like this one here, might be great to be... "Social Square 1080x1080'... probably writing the measurement in there... is probably good as well, and the frames per second, just so you know. There we go, we got another one. Actually, I'm going to do one more... I want the horizontal one but with my fancy layering... so let's do one more together, let's find under... Digital DSLR, this is just a good generic one here. Here, you, the only thing I'm going to change are the tracks. I'm going to go back to my 6... and I'm going to, you, minus 1, 'Save'. "Social Horizontal". Ready to go. So create these ones because we're going to do some fancy stuff in the next video. So create the vertical one and the horizontal one... don't have to worry about the square one for this course... more of an example. So I've got both of these going, and let's name one... let's call this one... "Fitness Horizontal". Wow, doing badly, and this one here, "Fitness Vertical"... and actually just before we go... it's actually worth mentioning again... that when you, you know... to actually find and make a new sequence... you've got to go to New Sequence... and you can't do it here, got to do it over here... Save Presets, only appear on these two, like tabs along the top here. All right, that is going to be it... I will see you in the next video. 122. Production Video - Making our Social Ad: Hi everyone, in this video we're going to... construct the social media ad, the horizontal. I call it a production video because there are a lot of techniques in here... we've covered before in kind of like separate places. This is a good video where we kind of combine them all... and are able to kind of reconnect and deconstruct... some of that stuff we learned a long, long time ago. There's some really good stuff in here... so yeah, let's jump in and make this ad. Let's close down the vertical sequence... at the moment, just have horizontal... we're going to kind of start horizontal... and then kind of do the work, and then flip it up. So let's bring in a couple of videos... so double click in this no man's land... let's go to your 'Exercise Files', there's one called 'Social'... and bring in 'Fitness 1, 2, and 3'... and bring in 'Logo - Average Dans'. Don't you just love Premiere Pro... like defaulting to frame rate, weird. Click on the word 'Name', and it will be in alpha numeric, kind of how I like it. It does default to all sorts of weird things along the top here. So what we want to do is bring in 'Fitness 01'... and onto our horizontal. It should be the same settings... it shouldn't come up with a warning, saying, "Hey, you need to change them"... if it does, just keep the sequence as is. I'm going to hit my backslash key, '\', so I can see the whole thing. Actually, I'm going to zoom out one more because what I need to do now... is actually make this longer... it's got to be at 15 seconds, it needs to be 15 seconds. So I've got nothing selected down here... I'm going to click in here and type "1500"... 15 seconds and 0 frames... I'm going to hit 'M' for my marker. If you have this selected it ends up adding a marker, potentially to the clip. So I want it to the actual sequence, and that's going to be my... like can't go past this because that's as long as it needs to be. So I need to make this longer... so again we're kind of going through a bunch of those tools... we've done before, in a more practical use... and it was ages ago that you did some of this stuff, so it's a good recap. So I want to stretch this out... the easiest way is the Rate Stretch tool... is the R tool on your keyboard... it's bundled in with this, Ripple Edit, Rolling Edit, Right Stretch... and it's just going to change the timing... and it should snap to this... if not, hold 'Shift' when you're dragging it and it will snap. It gets a bit jumpy, it's slow-mo already, which is cool... but we've made it more slow-mo and it's a bit jittery. Who remembers how I go and change that to be a bit smoother? Imagine if it was a bit more optical flowy... do you remember, you don't, do you? Right click it and go to 'Speed/Duration'... or you could just type it in there... rather than doing this whole marker business... and in here, Frame Sampling, change it to 'Optical Flow'... depending on your clip, you might have to play around with these ones... but I've done this already, it looks good, Optical Flow... even with that up being rendered, you can see, it's red... still looks pretty nice... and I've already rendered it. You can, remember, 'Enter' on your keyboard, it'll render it out... but I don't have time, I'm a busy man... and it already looks pretty good. We're going to add those graphics, like you saw at the beginning there... I'm going to go to my 'Essential Graphics' panel... we're going to go to 'Adobe Stock', go to 'Free'... there's more and more good stuff going in here. I'm going to type at the top here, 'Social', hit 'Enter'... and there's lots of all that sort of stuff, you know all that stuff. I want to find on the second page here... yours might not be, and you could do a different one, it's totally fine... but if you're playing around with this tutorial... find this one called Modern Quotes... you can search for it up here, under 'Free'... and hit the little downloading button... or just click and drag it onto your sequence. If it's downloading, it'll take a little bit of time... to actually get there, let's have a little look. You might not have the right fonts for that at the moment... but look at that, nice little animation, clean. You might have terrible fonts at the moment... but what I want to do is I need to make it 15 seconds... and I'm going to drag it out, and we're going to be amazed... look, it got longer, and the animation's at the end. It's a pop quiz, who remembers what technique made that happen? Whoever made this for Adobe Stock free... use that technique that we learned earlier on... to make this adjustability thing really good... remember what it was, you don't? It was called Responsive Time, you remember... remember, we clicked on these... and you see these little things on the edge here... maybe these were kind of like dragged out and dragged in. So they've already put their keyframes in there... and done some nice easing, but they drag these out. So that means that we can adjust it... if they don't, and you find one in Essential Graphics that doesn't... you know, adjust, you can just drag them out yourself... it's not hard but it's nice when somebody's considered all of that... and we know that we can do it. In terms of fonts, if you don't have this one, I think it's Open Sans... it's a really common font these days... we haven't covered it much in this course because we did it in Essentials... but if you go to 'Text' and go to 'Add Adobe Fonts'... if you've got a paid license... or maybe click the little icon at the end here... it'll load up this site... and, not free, you're paying for them, part of your subscription... but there's a bunch of fonts in here you can go and do. So in here you can type in "Open Sans", and it's one of the ones here... and you just hit 'Activate' or go into it... this one here has a couple... All Active Fonts, I'll turn it off. There is Open Sans and Open Sans Condensed... and if-- you've got to make sure that... your Creative Cloud app is open on your computer... otherwise the fonts won't load... but they'll magically just load on your computer... there they are, look, activating. I often close down the Creative Cloud app... I'm scared it's chewing up horsepower out of my computer... so I have to open it up when I'm doing fonts... but anyway there's piles of great fonts here, a little side note there... so back to Premiere Pro... because I turned them off, they've gone to some other font... I want my Open Sans, extra bold, that was nice. Saving project, active, they're all active now, there it is... let's come back nice. All right, in this we're going to change a bit of the text... we're going to change that, "I don't sweat..." I sparkle"... how good is that? I sweat, I sweat like a maniac... there's nothing sparkly about me... I sweat and I stink, but she looks like she might sparkle. All right, in here they've got another set of text down the bottom here... I'm just going to turn that off... I might leave it on there in case I need it for something else... and I want to deconstruct this as well... because we've done these things ourselves before... but it's nice to see somebody else doing it... is that, with it selected, you can see, over here... my Essential Graphics, got to be on 'Edit'... you can see that there's this animation that goes on... and the animation is happening on one part of it. If I have my Effects Controls open... and I have this selected, you will see in here... there's a bunch of stuff going on... you can see, there's like little dots here... that means that, on the shape background... if I twirl that down, under something... here they are, the little key frames. So somebody's animated that box up but there's nothing on all the other text. Do you remember what technique we could use to animate one thing... and then get these guys just to follow along? It's called Pinning, so it meant that... this guy here, background, is doing the animation... but this thing here is, what is it, it's Pin To... "I don't sweat. I sparkle." So this one is following wherever this goes... and this thing is pinned to background one... so that goes wherever the background goes. This is kind of like this interconnected web... so if you are trying to deconstruct it later on, and you want to stop it... so let's say that, "I don't sweat. I sparkle"... you don't want to animate... you want to do something differently, you want to do it with the background... so you've got to click on this and say... pin to video frame, is kind of like nothingness... and now the background I animate, but this won't... and maybe you can do something different... maybe fade that in or do something with it. I liked it how it was, I'm going to hit 'undo'. That was a good kind of... we threw a bunch of different stuff in here that we've covered before... but I think it's important, especially when we're learning... to kind of reiterate them... and it's going to help us set up for the coming videos... where we start doing, I don't know, resizing in social media stuff. All right, I'll see you in next video. 123. Resizing the sequence from horizontal to vertical: Hi there, in this video we're going to go... from horizontal to vertical; oh, look at that. It's not going to be instant... I wish there was just a quick easy push button... there are lots of things to help you, and we are getting there... with this whole embracing social media... and all these different weird aspect ratios... let me show you what's easy... and what needs a little bit of manipulation. All right, there's three ways to getting this vertical... they all, well, most of them end up at the same place... we can just go to, remember, we made one that's vertical earlier in the course. So I'm going to copy this stuff from the horizontal, go into vertical... open it up and just paste it in. I'm going to go back one, you can see, let's have a little look... there you go, our little animations come through, parts of it have resized. It's not perfect, it never is... well, it's not at the moment, at least. So that's one way of doing it... there's no real better way than another. The other way is, let's say that we don't do it that way... we've got the horizontal, all we want to do is duplicate it and flip it. So over here, in horizontal... we can just go, right click 'Duplicate'... we're going to make this one 'Vert2'... open it up... and go and change the 'Sequence', 'Sequence Settings'... and just kind of flip it over here, and it does a same job... let's click 'OK'... let's click 'OK'. We end up in the same spot... so it's up to you how you want to work. The third way that I promised, it doesn't really work, it's the Auto Reframe. I add this here, because Auto Reframe... is bound to get better, and give you more control. So let's close this down, we're back at our horizontal again... we have no verticals, what we can do is, say 'Sequence'... and go 'Auto Reframe Sequence'... because obviously our-- we know that our kind of talent is this woman here... not really this guy, but you can't tell Auto Reframe that. So we're going to flip it... it's going to be called 'Fitness Horizontal'... we have to change that name... but we're going to make the aspect ratio 'Vertical'... and let's click 'Create'. It's done a similar job, except, that guy's our focus, look... it's not what we want, eventually catches on... goes, "Oh, do you mean..." haven't even heard of you... you're like, "Yep". So it's, that's-- yeah, it'll get better, try it with your version... you're in the future, your version might be working really good. We're going to go and change that name because it's still called horizontal. So we'll call this one, remember, it goes into these groups, 'Vertical'... actually, I'm going to bin the ones that aren't going to use... so it doesn't really matter how you get to this point. I'm going to use that one, I'm going to use just one of them... and the thing to notice is that... like I'm ready for Premiere Pro to be this magical... just make it horizontal, and it's done parts of it but not others... and I feel like they are working on this sort of responsive stuff... in all their programs... XD, you're doing an amazing job of it at the moment... so I'm hoping that sort of spills over into Premiere Pro. Now what has adjusted? Can you see, the background rectangle has adjusted... because in this original one, with the thing that we've downloaded... or that we've made, what they've done is... with it selected they've gone to 'Background', and they've said 'Pin To'... see these edges here? So it's going to resize, that's not on by default... if you click on the middle one, it's going to try... and join the edges or stick to the edges. So if I turn that off and try and copy this over, 'Copy'... go to here, go to a different part of my sequence and 'Paste' it... can you see, it actually just pasted down the bottom... whereas this one, with the pinning on, ends up being in the center. It goes to the edges, it's all very nice... so that part works, the font works... it's just proportionately quite small, so we have to change that. So if you are doing this yourself and creating it... just make sure, like we looked at earlier on... that we do things, like the Responsive Design... 'Responsive Design - Position', and 'Pin To'... and just make sure that pinning's on the edges, if that works for you. You'll have to experiment with your situation. Videos at the moment aren't doing this responsive stuff, wish it did. You could just click on this, and go 'Pin To' 'Edges'... but that doesn't work at the moment... unless you've seen it somewhere, I can't find it. So we're just going to do it manually, and just go, zoop. Don't tell anyone, because we're kind of... increasing the size by 180%... that's not good, at social media, what are they going to know? So I'm going to do a manual Auto Reframe... I'm going to go to the beginning here, where the woman's offscreen... and I'm going to grab the 'Position'... I'm going to say, you, my friend, are in the middle... set a keyframe, move towards the end... hold 'Shift', snap to the end, go back one keyframe using your back arrow... and then... go this way, get her in the middle there. There's a problem with this... because there's a bar in the middle, let's fix that. Again, just to reiterate some of the stuff we've already learned... so what I want to do is, I know I need to be 15 seconds, right... but I don't want that big bar... like whatever part of the gym that's crossing across. So I know about there, it's still looking sweet. So I'm going to click on this clip, and when you've got a marker... remember, you can hit 'M' key, if you've got the clip selected... the marker ends up on the clip, not the Timeline... and what I want to do is, then use my Rate Stretch tool... which is over here, the 'R' key, and just go, zoop... and just keep dragging it along until that point has... kind of passed that, somewhere past there... and I already have Optical Flow on, so let's have a little look. It's not looking good... we might have stretched it too much, let's have a look. Optical Flow, Frame Blending... actually, probably what I need to do is render it. A weird thing happens in Premiere Pro... I've only noticed that during this course, is that... that this should be red, watch this, if I drag this back... oh, that's working fine... it will do better when I go to 'Sequence', and I go to "Render In to Out'. So don't really, like don't think... "All right, Optical Flow's not working"... until you've done a proper render... and see what it actually, like once it's done it's processing... what it looks like, I'll speed this up. I take it back, Optical Flow looks great now. I was about to go and change a different one, but no, look, looks sweet. So other shortcuts that we've learned... remember, I'm going to go to 15 seconds 00 frames... and I'm going, I've got that selected... my favorite keys, can't remember what's your super favorite one, I don't know... 'W', it will trim it off to the end... or you could use 'Command K' on a Mac, or 'Ctrl K' on a PC... just to kind of do a cut there, and delete this... or you could grab your Razor tool, which is the 'C' key... however you want to do it, we're getting there. Last thing I want to do is wreck my lovely render... and go and play around with this. So I'm going to probably just do the scale on the whole thing. You could scale these individual parts depending on what you want to do... but for me, I can scale the whole thing and just go, you're just a bit bigger... here we go. Yep. I know, not that like promised land of like, make vertical... but that's what it is, and it will get better. I love this Responsive Time, Responsive Design... Responsive Position, Pinning, all of that sort of stuff... is going to make life easier when you are in the trenches... making a zillion different social media formats. All right, let's jump into the next video. 124. Replacing footage quickly : Hi everyone, this video we're going to... duplicate our vertical to a second one and a third one... using different demographics, different videos. I'm going to show you how to quickly update those... whilst retaining any sort of effects or adjustments... you've done to that original video. A little bit of efficiency when we are doing these multiple... similar but different videos. First up, let's adjust the footage... just to make this example a little bit more exciting... so let's have 'Fitness 01' selected... I'm in 'Fitness Vertical', go to 'Creative'... let's go to 'Look' and let's... I'm going to play around with these bottom ones, these Noir. So it just makes it black and white, I'm going to use this '1965'... apply some faded film to it as well at the beginning here... just to kind of make it look... like that, for no reason. So now I want to duplicate my sequences... because now I'm getting into the business part of like-- I need different demographics, so we're going to do... this one here, is not Fitness Vertical, this is Fitness Vertical - and let's go - this is Female 01... and we're going to do another Female 01. When you come to duplicate sequences, there's two ways of doing it... we've kind of touched on these earlier on, but it's a good example... I can right click it and say, 'Duplicate'... and I'll get a fresh copy, as in... it's a new, not connected to the original one. So I can call this my Female 02... and I can start testing this woman against a different woman... in terms of click rates and all the fun stuff you do... with targeted social media. So that's one way of doing it. If I go into this, 'Female 02'... I've got a separate, you know, they're just different, I can work on them differently. The reason I do this is, I'm really in the habit of... let's say I need a Female 03... I'm in the habit of dragging it down here... if you drag a sequence down here on top of it... it will give you a new version, but a very different one... can you see, it's given me Female 03... but it's nested Female 02 inside of it. So if I make changes to Female 02 now... let's say I just delete the text for... just for an example, now I'll go into Fitness 03... can you see, the text has gone from this one as well. So just make sure, when you are duplicating it... you're doing it on purpose, if there's bits you want to keep... nest them, bring them over, sure, great... means you update one, they update all of them... but do it kind of knowingly. I guess I'm going to undo to go back... so Female 01 and Female 02. So in Female 02 here, to update this graphic... I'm going to do it with Fitness 02... and the easiest way is, have it selected, start dragging it over... hold down the 'Option' key on a Mac, 'Alt' on a PC... I like that way, and just drag it over the top. The cool thing about it is... it's brought through the Noir, any sort of faded film... it's actually brought through the short-- the keyframes as well... which is not what I want in this case. To get rid of the keyframes just turn off the clock... so with it selected turn off the little stopwatch... you will delete keyframes, I'm okay with that. You can see it's not in the right position either... it's just kind of wherever it was on that keyframe. You can hit 'Reset', see this Reset Parameter... back to kind of like how it would be... if you just inserted it, so perfect. The other way of doing it is... let's say we've got a male version now... so copy paste is kind of another way... it's the same way as doing duplicate, there's going to be Male 01. Let's go inside of Male 01, not a nested sequence... but I can update it by going-- another way is, with it selected you can go, Fitness 03... so have these both selected, right click this one and say... 'Replace With', what I've got selected in my 'bin'... or if you've got it open in your Source Monitor... you can say right click, 'Replace with Clip'... with what's in my 'Source Monitor', please... and again it brings it through same same... but it brings through all the kind of adjustments... that I might have done to it in any key frames... and it's, I don't know, a great process... when you are doing these bulk creations... of things that are the same but slightly different. There might be marketing messages that change... colors, call to actions, the sale prices... that you might be comparing with videos... anyway, you get the idea. One thing, actually, before we go as well... is because this... this goes up a lot faster than it does in horizontal... the horizontal was timed for this kind of like initial format... but because it's having to travel a lot further now... it's actually going quite fast. So before we split this into lots of different versions... what you could do is, with the actual graphics selected... over here in your Effects Controls... we're going to use the fancy thing we learned earlier... 'Show Only Keyframed Properties' to kind of tidy this up... and what you might do is... actually, just extend it because they just... it's rocket again, going too fast. So you might go, actually, you, just a little bit further... and I'm going to have to make sure that the responsiveness is there as well... in case I adjust it. Remember, the responsive time... Responsive Design Time, they call it... might be even a bit further out... just get your timing how you want for this vertical one. Nice. Just make sure that is overlaying that... and when it disappears, let's have a look. I'm okay with it going fast at the end... and for some reason I need to make it a little bit further this way. Actually one little thing before we go... a bonus way of doing it, of replacing this footage... instead-- with it selected you can-- this is probably the best way... it's just the way, I don't do it, maybe because it's new... and I'm, it's like of all ways of doing stuff. I'm going to replace this 01 with 03... instead of dragging it kind of over here... and holding down my shortcut key... which is 'Option' on a Mac, 'Alt' key on a PC... you don't have to hold anything down... just drag it over here, and you can see, you get all these options. This one, here's Replace, so I'm going to go bloop, does the same thing. Three ways of doing the exact same thing, you're welcome. So that is it... let's get on to the next video. 125. Snapping to program monitor in Premiere Pro: Hi there, in this video we're going to bring in this, logo, Average Dance... and I'm going to show you how to get it... to kind of snap and jump all around... connect everything on the sides... line up with the center of the sequence... basically it's 'View', 'Snap to Program Monitor'... but I've turned it into a five minute video... because there's some other juicy stuff I want to cover as well. All right, first up let's bring in the logo... so there's a couple of ways of adding that logo that you saw at the beginning. You can just bring it into your Project panel... and this is how you've done it traditionally... just drag it on, and you animate it and start working with it. It's not a bad way, but it is a bad way... it doesn't have some features. So another way to do it is to use your 'Essential Graphics'... go to 'Edit', go to 'New', and go to 'From File'... and you can bring it in this way... and it just gives you more control... in terms of some of the responsive stuff. So it's in there, similar... but you've got all this extra stuff like Responsive Time... click on this, you can start animating from over here... centering it across the sequence... just gives you a little bit more control... it's a little bit more complicated, I know as well. The last way is actually just combining it... so this one here, it's amazing what you can actually keep... keep cramming into one Essentials Graphics... lots of separate animations, so let's do it that way. I've got this selected, I'm on 'Fitness 01'... oh, some reason I've replaced my woman... there we go, she's back. So 'Graphic' selected, I'm going to go, 'New'... I'm going to go 'From File'... I'm going to bring in that Adobe Illustrator file... and now we can turn on... like at the moment it kind of moves around, and it's fine. Actually, let's shrink it down... you don't have to hold Shift down in this program... if you're from other Adobe programs... just grab the corner, drag it down... and we want to kind of line things up. Now I've left mine on, whoops. So yours probably won't be on... so you need to go to 'View'... and go to 'Snap to Program Monitor'. If yours is grayed out and you can't... can't select it, just make sure you've got the... see the blue outline around your Program Monitor... just click anywhere in here... and then go to 'View', and 'Snap to Program Monitor'... and now when you move it around... it'll start snapping to things, which is super handy when you're doing this more... I don't know, I find I'm doing a lot more graphic design... in these social media, especially ads... there's a lot of layers, a lot of things going on... you're trying to communicate a lot... snapping on the Program Monitor, steps to the edge... it starts lining up with things. In my case I want it kind of... down the bottom, in the middle... so let's go to the middle of my little animation here... I want it kind of about there. You'll see that little red line... tries to highlight the center of my sequence... so that's it, that's the snapping to the monitor... I've turned it into a whole video... but I guess I wanted to add all that extra stuff about adding the logo... because there's different ways of doing it. The perk is that I can get it to... with it selected I can say, you, are pinning to that background... so it animates with everything as well. Now that brings up a really good point... it doesn't animate with everything, unless you say, 'Pin to Background'. Where to? I'm going to get to pin to the top, let's go... there it goes. You can still animate it separately... you might decide that, actually from about there... it's invisible. so I'm going to say, you are-- I'll turn the keyframe on for opacity... I'm going to say, start, 0 there, and then about there... there's no reason for this to be pinning to it, there. So I've got two keyframes, so it kind of comes up... and just fades in the last part... anyway, you get the idea. You can pin them, connect them, keep them all in this graphic... but also animate them separately... and really what we came for is... 'View', 'Snap to Program Monitor'... and you can't turn it on or off, unless you have... the program on to actually select it. All right, next video. 126. Using guides & rulers in Premiere Pro : Hi there. We're going to look at guides and rulers. We're going to split this vertical into three separate parts using guides. I'll also show you how to set templates. You might have MyCredit Guide template with safe areas allowing you to get consistent across lots of different jobs, everything lining up in the right spot. Let's jump in. There's two ways of making guides. Click on your Program Monitor, and go to View, and go to Add Guide. You got to go to Show Guides first. Nothing happens. But you can go to View and you can add guides now. You can just type them and you might decide you want one, let's say you've got some corporate guidelines. The logo needs to be exactly 50 pixels from the bottom, whether it's going to be horizontal or vertical. That's your safe zone for whatever social media. You can see it snaps to that guide. It'll only do that if you're on the View and Snap on as well. You need both these things on for the guides to actually appear and be snapable. Adding guides that way is one way. You can turn on your rulers and drag them out from this. Let's go to View, let's go to Show Rulers. The rulers allow you to just physically click anywhere in here and just drag them out. You might decide that you've got some safe zones from the edges here. Can you see where my cursor is? There is their numbers. Those are the pixels. It says 50 in from the side as well. I can't get it in there. If you have to be perfect like that, it's probably better to go to View and Add Guide. If you do want to drag it and get a little bit more precise, you have to be zoomed in a lot more. This is just a weird format that I had. Now that I can see more, can you see I can get down to some nitty-gritty. I can almost get to 50-ish. That'll do. If any of this is grayed out, it's because you don't have your Program Monitor selected. Just click anywhere in here to make it active. You could drag ones from the top, the bottom. Once you do have it, say you've got a style that you're hitting for a lot of repetitive work, might be how-to videos, social media videos, and you've got your guides all set up, you can save them. You can go to View, and you can go to Guide Templates, Save Guides as Template. You can call this one Social Branding, Vertical. Now if I either adjust them or clear them, you can clear your guides by going to View and go to Clear Guides. I can now go back and have my guide templates, branding social, there it is, and I'll come back. Let's do another use case, it is a nice thing I like to do with guides. Let's clear our current guides. I'm going to create a duplicate of this. I'm going to go to this one, Command C, Command V, or Control C, Control V on a PC. This one's going to be vertical, and this one's going to be my multi. I'm going to have lots of different videos going. I open that one up, close down this just to be tidy. What I want to do is I want guides to split this into threes. What I can do is I'm going to View, and it's grayed out. Click in your Program Monitor, pretend like I was doing that on purpose. Let's go to New Guide. A handy thing in lots of Adobe programs is, let's say is position of this one. I want to start from the top. I want to break this into thirds. I know that the height is 920, but I can divide it by, which is just my forward slash on your keyboard, and then three. If I just click out, can you see it actually does the math for me? Which I am incapable of doing in my head. It means I've got a guide there. Nice. I can add another guide. I can say this one is the same, was 640, but from the bottom. Right now I've broken them into thirds. That's exactly what I've done. Because now what I want to do is grab this one. I'm going to shrink it down, scale. Why don't I drag it on the Program Monitor? Because there's everything in the top in the way and it's painful. Lets fix it by locking it. Did I lock the right one? I did. Now I can double-click it. Actually I don't want to move it because there is keyframe stand. Don't be moving it with these keyframes. You can see I had keyframes going. I started moving it halfway through, so now I'm going to have some pretty crazy-looking animations. I'm going to turn the stopwatch off to get rid of them all, reset it. It's back in the middle, and now I can double-click it, and say actually you're this top part. Because I've got my snap on, View, Snap, and because I've got my show guides, I'm getting into the right zone. Let's add a couple more. Fitness 3 is going to go on with fitness 2. Reset by, not frame rate, by names. Let's drag this one on, I'm going to overlay. I'll probably get it. Actually I've locked that layer there. I'm probably going to put this right at the top of my six layers, and I'm going to put this one here. Lock it again. This one here, I'm going to re-size. Snap in there. It's my math right? Did I read that right? You're probably like "He didn't do that." 640 times 3. You know I got it right. Let's dump in the last one. You're doing the same. You get the idea, what I'm trying to do. Let me get that down to 60 percent as well, and get into the right spot using my sweet snapping and my sweet guides. I'm going to go to View and I'm going to click in here, and then I'm going to go to View and I'm going to go to Show Guides, I'm going to turn that off. Look how good that is. Some rate stretching is going to need to be done to make sure they all match out the same time zone, but that's okay. Let's do it super quick. R key, rate stretch. Can you do both of these at the same time? Probably not. You totally can. You got download something today. That is guides. Let's turn off our rulers, and get on to the next videos. Click on there first, and finish our rulers. Professionals. Next video. 127. Pancake or Stacked Timeline tricks in Premiere Pro: Hey there, this video we are going to stack our Timelines... or pancake them... so that we can rob parts from one to a new sequence... or to a completely different project. Just a handy way, when you are stealing reusable pieces... that you've done before... to build out a slightly new version, let me show you how to do it. So stacked or pancaked Timelines is handy... when you're just robbing one... you know, lots of graphics from an existing project. So let's say that-- we're going to start with... I'm going to close that one down... I'm going to start with my Multi 01... and it's got a lot of stuff going on in here... and I want to steal it for a new project or a new sequence. So 'New Sequence', this one's going to be my 'Social Vertical'... going to call it 'May 2022'. So it's our new project... I'm going to open both of them up... and all you do is grab one of them and hold the name... until you get these, like little purple options appearing... and you want this kind of bottom one here... and you've stacked them. You might need to give yourself a little bit more room... but now I can say, actually, I need this part... I'm going to adjust that down here. I need maybe this part for my project... I'm going to keep existing settings. What else do I need? Want to unlock that... I need that, I'm pretending here... but we're grabbing bits from one and the other... rather than having to kind of-- normally you'd end up toggling between this one... and doing, copy, and then over here, and paste... copy and paste works... but it is really nice just to kind of pancake these up... to go from one, from the other. Now let me close this down... don't be afraid to do it across projects. So I'm going to open a brand new project... this is going to be 'Social', 'May 2022'. I'm going to put it on my 'Desktop'... messy Dan, messy. Can't find my desktop, where is it, 'Desktop', there it is... and you can have two projects open... and what's nice about it, when you're doing this kind of pancake... is let's stretch it out so I can see both of them... is I can make my new sequence... in this new project, 'Vertical'... here it is, here, it's called 'Sequence 01'. I can toggle between these two projects... and I can also do the whole pancaking thing again... so that this is completely separate project from this one... and let's-- can you see, this new project has nothing in it... but a sequence... but if I bring this across... if I go, you, you're in here, please... keep existing settings, you come along... actually, that doesn't want to, copy and paste... I'm not sure why, just seems to be that... graphic seems to not drag but needs to be copied and pasted. You can see all the bits that are related will come across, and nothing else. One last little trick is, let's get rid of the pancaking... is if you've got lots open... I mean, they've got a million things open... and you're working on this one, and it's a bit confusing... you can actually reorder these to go, actually... that one's the kind of... just click, hold, and drag it, and move them around... you can say, actually, that's my original one... so I want you to be at the beginning, and you to be there... just to get yourself in a bit of order. You can also say, actually, right click this... and say close the other Timeline panels, please... just this one keep open, please, nice... especially when you've got like 100 of them... which I often do for my courses... like this video course here, there's like 100 and... I don't know how many it's going to be now, but there's more than 100... you end up having all the sequences open... so just right click and say, close the other ones, please... close other Timeline panels. All right, so that's stacked or pancaked Timelines... plus some other Timeline tricks thrown in for bonus... let's get on to the next video. 128. How to use Quick Export in Premiere Pro: Hi everyone, in this new section about exporting and rendering... we're going to start with the Quick Export... in my opinion, the best new feature... in Premiere Pro for a long time. It's just this little button up here. To make it work make sure you've got... a sequence selected down here in your Timeline, click on this button. You can pick the place it's going to go, and the name, let's do that. I'm sticking mine on my 'Desktop'... it's using my sequence name... and then use one of the presets. I'm going to use the first one and hit 'Export'... and what you'll see when you get close to the end here... watch out for the little pop-up down here... successful, hooray. In here, on my Desktop is my little mp4... so just a shortcut from going the... selecting here, either 'Command M' on a Mac, 'Ctrl M' on a PC... to get to this window, with a lot of details when you... you know, you're going out to social media... there's not so many restrictions... or YouTube, or it's a draft, let's dig in a tiny bit deeper. So let's have a look again, let's click on the sequence... let's go to this 'Quick Export'... Name and Location, we don't need to talk about presets here... there's only a few of them, just so you know. I imagine, I know the plan is to have more... and I know the plan is to have your own... at the moment you can't have your own custom one in here yet... but that'll come soon, it might be already there, check yours... it's probably there already. My one here, the big differences here... are Match Source and these high quality ones... so these are just good generic... like this one here, 4K, if I click on it, it hovers above it... look, hovers above it... if I hover above it, it tells me it's going to be in h.264... and it is going to be that, resolution, this frame rate... that's going to be the Megabytes per second. A quick little aside here... I say Megabytes per second all the time, can't stop it... it's meant to be Megabits, more of a transfer speed... not Megabytes per second... which is more like a download or a size of a file. So whenever I say Megabytes per second, in your head go Megabits per second... anyway, let's carry on. That long, and it's going to be about 150 Megabytes... it's always way off though, anyway. If you want it to be HD, straight from here you've got a 4K... you just want to send it out as an HD, because it's going for draft... and you don't want to send somebody, like a Gigabyte sized file... just go down, just down sample it to HD for the moment... you can see all the options in here. You can see it's going to be 20 Megabytes per second. The reason I can't use this in this case is because... watch, if I click on this one, can you see, it's the... the ratio is 16x9, I need it the other way around, 9x16. So this is horizontal, so I'm going to get this weird horizontal export... which is most of the videos we do... but if you're doing lots of social media pick Match Source... and it's going to match the source of your sequence... and then use these adaptive rates here. We'll talk about adaptive bitrates... when we get to it in this course, in the next couple of videos... they are awesome, and new, and great... but the short is, adaptive is actually going to change its Megabytes per second... depending on your actual source sequence, which is cool... or you can pick medium... you can see it there, it's just kind of lowering the Megabytes per second... I can hover above it, it says it's a variable bitrate... one pass, targeting that 9.9... and it's going to be about that sort of size, so cool and quick. Other ways of using it... you can actually just do sections of your sequence, say that you are... you're doing reviews and somebody needs to see just this first part... you might have a really longer documentary... and it's just like one section, or let's say it's the intro... I'm going to set my out point... so I've got this, set my in and out points here... you don't have to set an in point, if I undo that... you can just hit the out point and it assumes the end points at the beginning... and with that, like that, I can say, 'Quick Export'... and it will actually just export... the in and out points, so let's double check that actually works. I'm going to get a low bit rate just to speed stuff up... let's have a look, there's my Multi one... you can see there, just my in and out point gets rendered out, handy. You can actually, you know, you can export sequences... they don't have to be loaded. So I can have all these closed or some of them open... I can just go over here, and if I have that selected... let's say my F2, my Female 2... even though that one's open, Female 1... if you want two selected over here... it will export that particular one, can you see, Fitness Vertical F2... oh, Quick Export, you're so quick. It gives you all the stuff that you need... instead of fishing around with... people, like there's going to be lots of different levels watching this course... but, like this is always daunting, even for me... I'm like, I've been in here a million times... and you're like, "Why is there so much detail?"... whereas Quick Export is just what you need, nothing else. All right, that is it, that is the Quick Export in Premiere Pro... next video, please. 129. What is Adaptive Bitrate in Premiere Pro export : Hi everyone, in this video we're going to look at exporting... using the newish Adaptive High Bitrate... or Adaptive Medium, or Adaptive Low. It's pretty cool, let's jump in and figure out what it does. So have a sequence selected... I'm going to hit 'Command M', or 'Ctrl M' on a PC... and at the top here... you've probably all been using Match Source High Bitrate... this is, when you're exporting the h.264 codec wrapped in a mp4. So when you are using these, yeah, we use these quite a lot... because it's the default, defaults are good... but how do I get the best out of my footage... without having to think too much... or at least, maybe you're newish to this export game... and bitrates, and Megabytes per second, and variable bitrates... are all kind of newish and a little bit confusing. So that is fine, like if I use high bitrate, yeah, great... it's going to be high quality, and it's going to... you can kind of see it down the bottom here... under 'Video' tab, you can see here, it's using the bitrate of 10... and that's basically... yeah, basically the quality that's going to come out of it... how good is it going to be? It's also connected to the file size... so at the moment, using that standard one, I'm going to have 19 Megabytes... if I make it massive it's going to be 94... and the quality is going to be better, how much better? It will depend on my original footage. If I am shooting, you know, that's stock live... every footage I've messed with it a lot... it's not going to be, you know, what's that... like four times the size, five times, I can't count... but it's not going to be five times better. It's going to be hard to decide the difference between 10 and at 50. It's going to be heaps bigger though, and that's for 15 seconds. It balloons when it gets to a documentary. So how do I know what is good for this... because 10 can't be good for every single thing, surely it's not... that's where Adaptive is really good, so format is h.264 Where's this preset? Have a look at Adaptive High, Low, and Medium. We're going to start with High... and what it does is it actually looks at your current sequence... the height, the width, what Frame Rate you're using... and decides on the target... you can see, the target here, is instead of 10 it's 15. I'm going to show you the kind of like the summary up here... instead of scrolling all the way down here somewhere. So it's decided that it's going to use 15.2... it's decided that based on what you've got... is the best Adaptive High Bitrate. The file size is going to be bigger... it's not up to the 90 like it was... when we cranked all the way up... but now I can hit 'Export' or 'Queue'... knowing that Premiere Pro is going to help me out... and especially when you are newest to this stuff... you can start kind of seeing... like. okay, whenever you're doing HD stuff... at a Frame Rate of 25 frames/second it's around the 15... so that later on you can not be reliant on whatever this says... and you can actually start typing yourself, and go... all right, a bit rate of 15 is pretty good... for HD at 25 frames/second... you start getting your own kind of... remembered known, worked for you in the past quality settings... let's have a look. So that was 15.2... if I go and change the Frame Rate for this one... so let's say this one here, this one's at 23.97... let's change it from that to... so with it selected over here, let's go to 'Sequence', 'Settings'... let's change it to 25 frames/second... let's see what it does to that Adaptive. So it was at 15.2, let's have a look at it now... go to 'Adaptive High', and it says it's 15.9, not a big change. So Frame Rate, we only change from a couple of frames to another. Let's go up to something like 60 frames/second. Let's have a look, 'Sequence Settings', let's go to '60'... at the moment the highest that Premiere Pro can export... strange but true... and here now, let's go to 'Adaptive High'... you can see, it's a lot higher. So you can get a sense for increase the Frame Rate... and it's more than doubled the suggested target Megabytes per second... to kind of retain some of that quality... that you've got baked into your sequence. I find this super useful, I use it all the time. Again, let's do something else... let's say this one here now is... the sequence is going to be like a square one... 10... we'll change the Frame Rate back to what it was originally. So I've got my square video... same thing, 'Command M', 'Ctrl M' on PC... let's go to 'Adaptive High Bitrate'... you can see, 8, you're like... "Okay, doesn't all have to be 16, or 32, or 50?" I can get a sense of what's going on with this Adaptive High Bitrate... it's going to do the same with medium and low... depends on what your kind of final output is. It drafts, is it a final output... is it going to social, where is it going? Same with something like 4K, that can be confusing... like what should it be... because these-- file sizes can balloon when it comes to 4K... I've got this one we did earlier... it's our, remember him, way back in the course, so long ago... "I would rise up to meet you." Running really slowly... I should turn my proxies on, I'm not going to... I'm going to export it, and I'm going to say... what do you end up looking like, has a high bitrate... and it's going to end up at 60... and I'd say, there's bang on for 4K at 23.976 frames/second... that's about perfect. Premiere Pro agrees... the trouble is it's going to be reasonably big... but it's a reasonably good file, so it needs to be big. You can go to 'Low', carving down that size there... oh, down to 83. Again, the quality is going to be pretty poor here... but going to be faster render, faster watch... easy to email, it sucks when you send somebody... to review like a 7 Gigabyte file... to load through Dropbox, or whatever way you're sharing things... but if you use the old school way... well, not the old school, just the, give me high bit rate... it just guesses, at 10 Megabytes per second... and yeah, I think you're doing a disservice... to your, the quality of your video... if you end up at 10 Megabytes per second, really small file. Seems high but not high enough... I guess. I also should note that h.264 is not a great codec... for your final high quality, anyway. You want to be using, I don't know... everyone has their preferences... for me, I prefer, on a Mac, QuickTime... and using either the ProRes422... or using the GoPro CineForm, probably this one, YUV. It depends on where you're going... and if they've asked for a specific codec... so you can fall in line with what they're doing... but for social, most of the things at the moment, h.264... in my humble opinion is a great codec for export, anyway. You'll notice that Quicktime doesn't have the Adaptive in here... it's very regimented. All right, h.264... Adaptive, it's awesome, I love it... can help educate you about what should be good... and just leave it to the computer. Also, remember, Adaptive was way back here... when we did Quick Export... that's why it's kind of in here... it's new for Adobe, it's better than the kind of fixed high bitrate... but going, let us do the job for you... but I bet you they'll all appear in here in some stage. All right, Adaptive Bitrate, let's get on to the next video. 130. Export Bitrate Rules of Thumb: Hi everyone, in this video we're going to talk a little bit more... about Megabits per second, there I did it, okay... and it is basically the quality of the final export. Think dpi if you come from print land... or ppi if you're from the new print land. Let me give you some rules of thumb, before I explain my rules of thumb... just remember where my experience comes from... I don't have a lot of experience in broadcast... or in kind of like cinematic film production. So if you do have that and you have like... I don't know, stuff you want to add or contradict my video... that's totally fine, do it in the comments. If you are watching this video, have a look in the comments... there might be some really good stuff in here... that either elaborates on what I am, or shoots down some of this stuff. I am not precious about being shot down... and I am looking to learn as well... but I guess that caveat over, let me give you my rules of thumb... for different file sizes, Frame Rates, and kind of equivalent bit rates. So when it comes to exporting, let's export this thing... we were talking about bit rates... we are talking about, down here we're using h.264 up the top... and we are deciding what this little slider should be... what should this variable bit rate... we're going to do it once, what should the target be... and here are my rules of thumb... for Full HD, or HD, most people just call it. The normal stuff, the 920x1080p, and anything around here... doesn't have to be exact... you might be doing 23, 24, 30, something around there... about 10 Megabytes per second, Megabits per second is perfect. The quality is going to look great, if you crank it up to 50... you're going to not set diminishing returns... what's the word, I think that's it... you can crank it up more, the file size will get bigger... but your quality is not going to get more... this is the great quality file size, manageable in my humble opinion. What happens is if you increase the Frame Rate... so you need to export as 60 frames per second... it's kind of double, it's doublish. You don't have to double the Megabytes per second... the rule of thumb is, another half again... so we were at 10, even though we doubled the Frame Rate we just went half again.. in terms of the Megabits per second. When you get up to UHD or 4K, same sort of thing... we've got 25 frames, and then kind of the larger frames per second. We start at 50-ish and get up to 75-ish again. Remember, we've kind of almost doubled... well, we're more than double the Frame Rate... but we've just gone half again to the Megabytes per second. This is kind of me gleaned from my own work... from other instructors, other professionals. Again, if you've got advice you want to throw in here... or you feel like there's something misrepresented... throw it in the comments, be good to get your opinion... from your industry or your background... but again, just a rule of thumb to get started... and one thing, these aren't hard and fast rules... if you do 11, nobody's going to know... it is flexible. The Frame Rate can be slightly different... your Megabits per second can be slightly different. If this is 60 and somebody told you it needs to be 60... there's no like-- it's not going to not work, if you know what I mean. The quality is going to be slightly different... and it's going to be very hard to tell the difference... but people have-- people that peep at pixels... oh, look at that, is that Alliteration? I can't remember... but people that peep at pixels will notice the difference... and those are the people to trust... Dan, the generalist, who likes to do things good but not pixel perfect... these are great general rules if you're new to this kind of stuff... or at least get a little bit confused. Let's talk about social media... I want to throw social media in here separately... because I want to describe two things. So if I am going out to social media, there are a bunch of presets in here... I'm showing you this because there are some presets... let's say I want to go out to Facebook... okay, Full HD, and it's saying that... oh look, it's 12 Megabytes per second, not 10, Dan, what are you saying? It doesn't really matter, it's close enough... but that's what they've set is suggested target. The thing is, I wouldn't rely too much on Premiere Pro... they are way better than they used to be... these presets never used to get updated, if you, I don't know... they, up until recently there was like iPhone 5S... or something you could pick as an output... and like, it was just really outdated, so the one thing is, verify first. So if you're like, "Okay that seems good?"... is 12 good? What should be the Megabit per second? It's just to do a Google search, just go out and have a look. I just typed in, up the top here... not sure why you can't see it... anyway, I typed in the words there, it says... Megabytes per second, Megabits per second for Facebook video... and you have a look around, and you try and find it. The one thing, when you are searching for what it should be... for your particular output... is, especially with social, and some of the new streaming services... you want to be careful not to get confused with streaming. They're saying that 4000 Kilobytes per second, Kilobits per second... is what we should be using for Facebook... but only when it's streaming because they can't keep up... that is only 4 Megabits per second. So 4 Megabits per second is not good for our output, it's too low... but for streaming it's good because streaming is really hard to do. So you end up kind of looking through and just verifying... and that's where I ended up at. Don't want streaming, social media, spec sheets... what's this one, Wistia, Sprout Social, these guys are great... you can kind of find through, and this is for YouTube... you can see, they're 1080p. What they're saying is, their standard Frame Rate should be about 8... their high Frame Rate should be about 12. Can you see, half again, look at that, the rule applies. So let's have a look at what they say here in Premiere Pro... they say, YouTube, Full HD, there it is, there... says it's going to be 16, you're like, "Who's right?" I don't know... you'd have to go and ask YouTube, but the thing is... with YouTube they're not going to give you exact rules... mainly because they do lots of stuff... they process the heck out of their videos... so that it loads on different devices... at different speeds in different countries. There's a lot that goes on, so if this was me I'd err on the side of... I'll just go 10 Megabits per seconds because that's my rule... but look there, you could argue that it should be 16... and somebody else can argue that it's 8, so don't trust these presets... go out, check, make an informed decision... and that is the black hole of Megabits per second. I hope that added something to your knowledge bank... let's wrap this one up and get into the next video. 131. Why should I use VBR 2 variable bit rate: Hi everyone, welcome to the VBR1 pass versus VBR2 pass battle... sorry, CBR, you're not included... all right, ding ding, let's get started. First thing is, probably most of the time VBR1 is exactly what you need... we talked about the target bitrate when Premiere Pro is processing it... it's going to try and be this Megabytes per second... this kind of quality, 10. It's a target, it's not going to do that for every single frame... that's what this is, Constant Bitrate... it will force it to be 10 all the way along, whereas VBR, a Variable Bitrate... it's going to be around 10, it's going to try and hit that target... that works great most of the time. Where it doesn't work sometimes, is, for a couple of reasons... and you need the second pass. So it does the first pass, here's my target again... but then you say, once you've finished, Premiere Pro... have another go at it and see if you can identify any areas... that need a little bit of extra. How much extra? Up to you... but 12 in this case is great. So most of it is 10, if you need to go up to 12... and when will it need to, it'll need to, in like high action shots... or when you've got a big change of contrast, color, or exposure... anything kind of like moving fast is a good idea for a second pass. Where I find it really good as well... is when you're trying to get something really, really small... like you need it to be teeny tiny, like for this course... all the files that you get as part of the exercise files... I've had to go into here and set up the variable pass. So I'll go in down here and say it has to be 4, but 6. Why? Because I want it to be low, but if it needs to, it needs to go up... because otherwise some of those files can come out really bad... and I'll show you one before we go, so that's the difference... let's have a little look. I'm going to export both of these, I'm going to go back to my 10 and 12. I'll export both of these in a sec, wait there. The second one is going out, is VBR2... and you can see here, it's going to do its first pass. Basically it goes through and does the normal kind of VBR1 pass... and it makes notes on which part of the footage... after it's kind of processed it... they could go back and use a little bit more quality... and it will go back and do it a second time and readjust those ones. How many? It depends on your footage, this one... because there's not much going on... I doubt it's going to actually go up to 12 at any stage, so you can... you're kind of giving it the option. If you've got lots of action it might be at 12 the whole time... you might end up with a really big file, let's have a look. We've got VBR1 and 2... they've ended up being basically the same size. This one's a little bit smaller... because it was able to process it a second time. So why would I use Variable Bitrate 2... why don't just use it all the time? The reason is it takes forever to render, now my one took... I don't know, I'm guessing 60% longer additional render time... on this really short one. If you're rendering out a documentary, you're like... I have to render out hundreds of videos for this course... it is going to take days longer and that is no fun... so Variable Bitrate 2 pass... you've got to be really conscious of what you're doing. Short stuff, sure, make it Variable Bitrate 2... you're probably not going to notice any difference in something like this... but if you're doing action shots, or I found trouble with... I couldn't find any files of it, but I've had trouble in the past... where I've had gradients, like big kind of... like grady color gradients on it, and it just didn't render quite well... it was banding and stuff, Variable Bitrate fixed that up nicely. I gave it when it needed to, a bit more quality. I'm going to show you something that I was working on for my YouTube channel... so I exported this little bit for you guys... remember, you might have seen it throughout the course... I exported this little chunk and I need to get it really small... and I'm going to show you exporting. So I've set my in and out points, I'm going to export it... I've got some offline graphics in there... not in the bit that I'm exporting though. So I'm going to do two for you... one with Variable Bitrate one pass, and two pass... and we'll compare the two. I'm going to go low, I want to get this really small... so on pass one, I'm down at 3, let's have a look at what 3 does... time taking, yeah, not long, I'll time it for you... because you can't trust that, you know. The longest one second of your life... but that took a minute, it's not long at all... and it's only a small little section, it's only a few seconds. Let's export it again... same thing, Variable Bitrate 2 pass... and I'm going to go, try and be 3... unless you need it go up to 6. Let's export it, actually, let's name it. All right, pass 1, look... already, doesn't even give you an estimated number. I'm going to speed this up, you can watch the clock up there... go. So it was just under two minutes, so it basically... not quite took twice as long for this short little bit... it feels painfully slow when you, after doing a Variable Bitrate 1. So let's look at what we actually ended up with. So I've got these two files, Bitrate 1 and 2... I'm going to open them up and put them side by side. It's going to be hard for you to do this... because you're going to be watching on a video yourself... watching videos on the video, it's a little bit tough... hopefully, you can start to see the contrast between these two... can you see, this one, all this, like there's a lot of information. Even though it's one color on my desk here... there's a lot of kind of information needed to separate all the variants. So let's have a look at this one... can you see this one... "Better wing, better wing'... bits of it are good, can you see, this one here... this is the low quality one, so it gets into here... and it's actually really nice... but way back here, can you see... way too low, whereas it, all the way through here... it's kept a consistent nice quality, and it's the same file size. So this is a kind of an edge use case... when I'm making files really small for you, for the exercise files... so that it doesn't kill everybody's downloadable broadband limits. It's also really useful for when you are doing high action shots... lots of contrast changes, lots of action going on... and in my case, lots of gradients... even if it's just non, you know, digital stuff that you've made... you'll find that the lower the variable bitrate... will end up with this kind of murkiness, and banding, and striping... and oh, it's gross. So use Variable Bitrate 1, most of the time... because Variable Bitrate 2 is only needed for some instances... and it takes a really, really long time to render, there you go. That's my two cents on the variable bitrates... let's jump into the next video. 132. How to burn in a Timer or Timecode on video in Premiere Pro : Hi everyone I'm going to add this little timestamp to our video... so it gets burnt in when it's exporting. There's a couple of ways of doing it, and why would you do it? You might prefer this way when you're dealing... with other stakeholders of your video, other editors, clients... so when they have memes they know exactly... to say, "Hey, at 04 seconds 14 frames, there's this thing I want changed." It's also really useful when you're working with clients... and you want to get paid... so you can send them, instead of a low res version of your video... you send them a time stamped one. It's kind of like watermarking without being watermarky... and as part of your brief early on... you explain that as part of the process... once final payment has been made... you will deliver the unwatermarked version. Make it clear at the beginning, so they can't go... and use it without paying their final invoice. Either way, let me show you how to add a time code. All right, to add our timecode, let's do it by export first... so let's go-- make sure you've got a sequence selected... 'Command M', 'Ctrl M', you're sick of that shortcut, aren't you? In here, switch over to 'Effects', and scroll down... until you find the one that says Timecode, that's it pretty much. You can move it around... there's a bunch of presets of where you want it. I'm going to go back to 'Bottom Center', 'Size'... Opacity does the background color, watch this... you can't really change the font or the background color using this method. You can offset the frames... maybe you want it to start at a certain time, watch this... you want to start at say 01 second, you can say, 25 frames... that's where it starts. So it starts at 01 second, or set that back to 0... you can, down here you can start a time code at a certain time... you might decide that it is starting at... 02 seconds... and works from there... because it might be part of like a larger project. This is just a section of it, I don't want that at all... I want mine to start at 0, I hit 'Export', and it's burnt in, good to go. One other way of doing it is, you can actually... it's an effect in here, in the 'Effects' panel, type in "time code"... now it's in the obsolete, I'm not going to cover it much... but know that, you know, it might disappear... but it's a way of kind of effect... you know, applying it not during export... but actually in the process of this. So you can add it here, and you've got your controls over this side... but again, I'm not sure why but I probably... decided that's obsolete and it's going to maybe... disappear in the future, but have a play around with it... if you prefer this method. Either way you're going to have a time code burnt in... smooshed into that export video... to make it a little easier with working... with the stakeholders of your video... and to make sure that you get paid. All right, that's it, let's get into the next video. 133. Tips & Tricks for Adobe Media Encoder : All right, we're back, we're fresh, we're ready to go... let's get into the tips and tricks for why Media Encoder is good. We'll look at the big ones first... and then we'll get into some of the more less known tips and tricks... to help you with your workflow. So the four big ones for Media Encoder is... I can grab a bunch of different sequences... and export them all at the same time, right click... 'Export Media' or use our shortcut 'Command M'... decide on your preferred output... let's queue them up. Media Encoder has got them all, ready to go... that brings us to reason number two, why it's so awesome. I can hit 'Play' and it will run through all of these, in order. I can go to bed, I can have hundreds of them in here... and I can go to sleep finally... and it'll plot its way through them all, excellent. Reason number three is, the sequence here, I can export to Media Encoder... and I can say, queue it up, and I can actually run not just one version... I'm going to use my Adaptive High but I can actually output... another couple of versions... one high, one low... maybe some other format... hit 'Play', and look... they'll run concurrently, fancy. I bet you, you're like, "Huh, you can do that?" "You've been duplicating them, right?" Copy paste, different versions, and that works... but oh, imagine if they could run concurrently... rather than at separate little steps, it's heaps faster... and a lot of time that's what we're doing, high, low res versions. All right, reason number four, and four is... while this thing is running I can be working still in Premiere Pro... it still works, I can be doing stuff in Premiere Pro... while Media Encoder does its busy work in the background. All right, so those are the four main reasons... let's jump into some of the more kind of useful tips for Media Encoder... that you may or may not know. The first tip is, I'm going to send lots of things to the Media Encoder... right click 'Export Media'... send them all over... you can actually change them all in bulk while you're in Media Encoder... let's jump over there, here it comes. I do this most often with the output name... so drag a box around them all... we'll hit 'Command A' on a Mac, 'Ctrl A' on a PC... you can say, actually, I want you all to be, just click on one of them... and you can say, actually, I want to put them all in the Desktop... I'm going to go into my 'Socials' folder, click 'Choose'... and they all change. Same with this, if you want to go through and say... actually, they all need to be something else... you know, all selected and all changed at once. With all these versions selected... we can do that thing again where we say add output... rather than add a new source or duplicating it, which is this one here... we want to say, add a new source, and they all get this other source... and I can say, you, you... I'm holding down the 'Command' key on my Mac, 'Ctrl' key on a PC... just to select the second ones here... and actually, I want to click on one of them. Actually, let's do the drop down here and say... I want one of them to be the low bitrate... so they're all going to have a medium and a low. Next tip is, do you know you can reorder them? You can say, actually, I want this one first... because that's the one I need to send to the client this morning... and oh, I dragged it down, this one, the multi one is the one... that's got, you know, needs to go to the client first. So you can drag them around, drag the order... you can do it while it's playing, look, it's busy throwing this... you’re like, actually no, this one needs to go next. Tip number, next one's, maybe three... you can pause them, you can say... actually, pause that because my machine's about to mount through the ground... and I need to do something in After Effects or Photoshop... and I can come back to it in a second, hit 'Play' again. Tip four, it might be working, you might be like... actually, can we just skip that high-res ones... I'm not sure why you would, but you can skip them, there you go... skip these guys, please, I don't know why, but you can-- let's pause it again. You can send Media Encoder, just bits... let's say you only need this intro here, in point.. which is my I key on my keyboard, set my out point... it might be a really big intro, something a bit fancier than this... but if I hit my 'Command M', 'Ctrl M' on a PC... it will set just the in and out point, I can render just this... you can overwrite it in here to say... actually, just do the entire sequence, please... likewise you can do it the opposite way, you've got no in and out points... you've got this big project you're exporting... clear the in and outs... I'm going to send it over, and actually, in here you can say... I just want... this section here that needs reviewing with a logo reveal. I can cue this one... and in here I can say... actually, let's duplicate it, different from the adding... a different kind of output, because in this one... I want to go in and actually do a different part. I want to maybe break it into sections... so I'm going to export just that part. Other weird thing you might have seen in there, Custom... so entire Sequence In/Out makes sense... what the hell's Work Area? Does anybody-- if you're old school you'll be like, I know Work Areas... remember that? Tiny bit of digression... but if you do want it back, it used to be along the top here forever... you can turn it back on, on your Timeline by going to here, Work Area. If you have no idea what the Work Area is for... it was a way that you could say... actually just, it's like an in and out point but it was just... it was back when computers were really, really slow dealing with video... and you could render just this little part here. Anyway, nobody uses anymore, you might love it but that's where it went. Last little tip is that when you are encoding-- let me get a few of these going... there's a ridiculous cue... but watch what happens, I'm going to make this smaller... they're smaller, so you can see it. Did you know that if I start rendering... and in Premiere Pro I start playing, watch it, actually... it's queuing up, oh... it's going pretty fast, slow, down. If I hit play over here, watch what happens over on this side. So I'm trying to play Premiere Pro... - "May the road rise to..." - You see what happened? Did you know that happened? I undo it, it starts going again... - Play again, it pauses. - "May the wind always be at your back." I'm going to pause that... pause, please. Why does that happen? It's so that it kind of gives Premiere Pro some resources... Media Encoder wants all of your system resources... to do the encoding as fast as it can, that's its job. Premiere Pro wants all the resources to try and play back the video... so what it does by default is that it actually pauses your render... while you're playing back, which is not a big deal... unless it is a big deal for you... if it is, you can go and turn it off... it's in 'Media Encoder', I'm going to go to, remember, on a Mac it's under, sorry... remember, on a PC it's under 'Edit'... and your 'Preferences' will be down there... on a Mac it's under 'Media Encoder', 'Preferences' and it's in here somewhere... somewhere here. It's not in here at all, it's in Premiere Pro... 'Premiere Pro', 'Preferences', 'Playback'... I want to say playback, there it is there, pause Media Encoder during cueing up... the Media Encoder queue, during playback... you can turn that off if you want... but Premiere Pro will struggle to play, up to you. All right, so those are the kind of like... light and breezy tips and tricks for Media Encoder... I'm going to separate the kind of bigger ones into separate videos now... but hopefully there was something useful in those little fly through... but the one thing you might know or notice during this course... is that Media Encoder looks a lot like Premiere Pro... so especially in this kind of like export settings. So a lot of the features that we're going to cover in a second... are kind of, you could get to via Premiere Pro... without ever opening or installing Media Encoder... actually, probably need it installed... but you don't have to send it to Media Encoder to get the benefits... it's just, I've put them in the Media Encoder section... because they make more sense when you're doing... a lot of this repetitive stuff... which is what Media Encoder is really good for. All right, let's get on to those videos. 134. Duplicates vs Outputs aka Parallel vs queued Encoding in Media Encoder: Hi there, in this video we're going to look at this, Parallel Rendering. They're going to race together, they're faster than duplicating it... we kind of looked at it in the last video quickly. I'm going to cover a little bit more detail here... show you how to combine it with some presets... for maximum rendering goodness. All right, let's jump in. To do it, send something to a Media Encoder... and in here you've got the two options, have it selected... you either duplicate it, and that is fine. You'd probably do that if you wanted to go to different places... you probably don't want to do that though. So I'm going to delete that, and you probably want to select it and say... give me an output, a different output. In here you can do nice things, like in terms of this one, it was 4K... so let's say that I need everything the same... I'm going to go for my Adaptive High... but this particular one needs to be my... kind of like Standard or Full HD. Obviously, you can keep going through this one... you might want a Super Low version as well... and it's actually going to be... maybe Standard definition, 720. Nice small version that I can send out, and it's going to use the preset of Low... oh, change that, can you see, it's gone and changed my height... you know what you're doing. It is significantly faster... doing this kind of like multi processing or parallel processing... or I call it the concurrent processing, than it is duplicating it. I'm going to select all mine and put them in somewhere more-- actually, it can go there, perfect. You can kind of see down here, trying to do the different versions... it's a race, what size, what format goes first... obviously the 4K one is going to take the longest... but definitely faster than duplicating them and doing them all separately. The reason you do them separately is when you've got actually different files... so I might have these kind of, yeah. These guys here, you can actually drag it straight to Media Encoder... I'm a big fan of dragging things to where they should, or might go. So you drag these, I'm going to... on my Mac I can hold 'Command Tab'... I think it's 'Shift-Tab-Ctrl', maybe the Windows button tab on a PC... you can just drag it straight to Media Encoder, or like me... I've got a separate monitor that I normally use when I'm not recording... so I'll just drag them straight into here, and get them rendering out... but because of separate videos they need to be separate... they can't run parallel because they're not the same thing. The parallel exporting gets better as well... let's clear all of this out... minus, ' - ', yes. I'm going to duplicate this one, clear that one up just so it looks tidy... and actually, I don't want these two, because that took a while, right? We had to go in and say, "I want HD, and I want a low version... and I want this other version." What you can do is-- we'll cover presets in a video coming up... but they're not hard to create, see this kind of folder here... I've got some presets, this is what I do for my, say podcasts... I need a wave version... and I need a couple of different sizes for the videos. You can drag the whole folder onto, not this bit but that bit... and you will get all our parallel exporting. Don't need that version... don't show it again. So it's a lot quicker, dump one in, have some presets, ready to go... either you've made, or in my case I've just collected them... from these preset folders, put them into a group that I use. We can benefit from that parallel processing again. All right, that is the difference between... duplicating and creating an output in Media Encoder... so that we can do parallel versus cued rendering, or encoding. All right, on to the next video. 135. Creating your own encoding preset in Media Encoder : Hi there, in this video we're going to look at... this preset browser down the bottom... figure out what it all means down here, and we'll create our own preset. This little preset browser down here... basically, it's just a bunch of preset ones that Adobe have made for us. We actually-- it's kind of funny, they look kind of separate... they look very distinctive because they've got little icons. It's the first group of little presets ever, they get their own little icons. The difference is we're actually looking at these presets, in a different way. So if I am looking for H.264 Adaptive... I know that I go to 'H.264'... and I go into here, and there it is there... down here, it's tucked under, you can never find it... so you type in the Search here, and go "Adaptive"... and there it is there, it's under 'Broadcast', and there's my 'High Bitrate'. There's no difference, if you want to find it under 'Broadcast, under 'H.264'... and then find it there, and drag it on... you can do it that way. So it's just a kind of a different way of sorting all of this... because this doesn't make a whole lot of sense... you're like, "What does these do?" You know, like, when am I ever going to use a Wraptor DCP... that goes out to the cinemas... but you don't know that until you find it over here, let's have a look. Where is it, Cinema... and there's my Wraptor DCP... so it's just a different way of figuring these kind of presets out. Now applying these presets, I showed you Search, that's really handy... you can search for things, if somebody's asked you for a file format... and you're like, "Hmm, sure I can give you the EXR format"... and just send them all of these, so Search is useful. Applying them up here is interesting, so let's say that you do decide... that under 'Broadcast' we are using this 'DNX HD'... a great kind of like in between editing format... somebody wants that from you, like, "Great, I can do that." So I'm going to go to my 1080p and I'm going to go to-- I've been asked for this, so here it is, so I want this plus this. So if I drag it on top of the words, right on top of the words... it replaces it... undo works, great... If I want it to, as well as just drag it on top of the actual name of the file... rather than the name of the preset... can you kind of see the icon changing there, that side to side... somehow means we'll switch a Rooney. This one up here is going to add to it... so depending on what you want to do. Now we're not going to cover all of these... because I don't know what all they do. One thing to note is, most of the things like broadcast and cinema... and like Blu-Ray DVD, those are really strict... you know, rules that they have to follow in these presets... so those you can trust because somebody's-- It's very important for the industry, and those are great. Some of the more kind of like social ones, they can get out of date... they seem to be doing better at keeping up with them... and why you would bother using... like why would I export the Facebook 720p... and also the the Twitter 720p... yeah, for a couple of reasons. One is, they'll be different, you can see here... that they've asked for the different target rates... and it might be the difference between, most of them all upload now... for things like this, for social media. The difference might be, is processing... have you ever uploaded something to YouTube... and it's like, spends ages trying to re-encode it. Basically, they always try and re-encode it... but if it's, you know, if it's exactly what they want... often it can kind of pass through a lot faster. The other reason is that the processing... that they're probably going to do anyway, they're re-encoding... you're going to send them something... and they're going to redo it anyway, to make it good for them... is that if it's far off what they need... you can end up with like some bad quality issues... as in the format that you send them might be... might just combine badly with the way that... they're going to re-encode it for their platform... that's why you might do these separately. I don't-- I use a generic one and just send them to all of them... because in honesty I don't see the difference... and I'm not in the quality game. A lot of the stuff I do is going up to social media... that kind of throw away stuff, it's not high-end movie trailers... and that might be your game. So you might be exporting these all separately... just to get the best out of all of it. If you spend millions of dollars on visual effects... rolling the dice with the encoder on the platforms is not what you want to do. So do check in here, make sure they update... we talked about it kind of earlier. A lot of these ones, like these broadcast ones are super helpful for me... because I don't have a lot of experience here. So when they do ask for settings, I can either ask for them... and the helpful people can export me their version... if they're using Premiere Pro, or I can get their spec sheet... and I can find, often, what I need in here. The difference between Mac and PC is interesting... you will see other, on Mac it's all ProRes stuff because it's all Apple. If you're on a PC, depending on when you are in the future... or what version of Premiere Pro, they do change these often, rearrange them... but you'll find some specific ones that might be important to you. You'll find like, the Windows format, that's, you know... that weird, not weird but it's an older format... that only plays on Windows... you might be needing that, it might be optimal for your workflow... you will find that in other, or again, just type it at the top here... it should dig it out for you. The last thing is setting up groups, so let's make a group... let's do this for my, say podcasts. So I record podcasts both in video and audio... and I edit them in Premiere Pro, even though it's like-- we've seen it's quite powerful for audio, so do it in this... and then what you can do is you can... I export both the video version because we did talking head stuff... and the audio versions at the same time. So let's go in and let's type in "wave"... so I've got, there it is there, under Audio Only... I'm going to do my wave, I'm going to stick it in to my podcasts... I'm going to turn that off. What else do I want in there? I want my Adaptive... whatever you're using, I'm going to do a high res version and a low version... and also, often you-- like one other kind of preset in here I get... you asked for all the time is... let's say, you know, I'm dealing with somebody... who only wants movs, I'm like, "Why?" They're like, because we only want movs... because they're hoping for, like Prores 422 or something else... their uploader won't accept anything, but 422. I know that I need it to be mp4... but I can re-wrap it by doing something like... where is it? Let's have a look, mov... oh, can't just type in mov, I think it's in brackets, mov... no... rewrap... there it is. There it is, it's under Broadcast, QuickTime... and I can rewrap and it's just basically, it's not changing the codec... I'm just going to re-wrap it with the .mp4... then close down my little searchy thing, and now I've got this one... I can say, "Great, I've got this"... let's drag it on top of the name here... and I've got all these ready to go. This is a bit of a bloated example... you might just have two, and it's worth creating a little preset group... so you can just dump it on there every time... rather than having a fish round in here, or go into this... and go and change it all. To create your own preset, it's similar to what we did earlier on... when we're creating proxy presets, but let's cover again quickly here... 'Create New Preset', 'Encoding' is what you want. These two here, we'll cover this again... I think we need to cover these again a little bit in an upcoming video... but let's just look at encoding. It's funny, the word export, encoding, rendering, transcoding... mostly, when mostly people are using it, they all mean the same thing... creating a file out of Premiere Pro. They have slight differences but basically they're all interchangeable... when most people use them. Rendering and coding are pretty close, transcoding kind of means... when we're shifting it from one codec to another... like we did with our proxies, we go from like an h.264 to say a ProRes... so that we can edit it faster... we're kind of like transcoding, exporting... they're, yeah, they're all interchangeable-ish. So my new preset is going to be H.264... I need some sort of-- I'm going to do, I need something that's kind of in between high and medium... I'm going to start with medium, kind of get everything kind of going... then here I'm going to say... actually, I'm going to do a 'Variable Bitrate 2'... and let's say that I need something like 4 and 6. Give it a name... give it a name... click 'OK', and you'll see, mine's kind of ended up, where is it? End up in the wrong place, so I'm going to drag it out into my user presets... and close those groups down. So that's creating your own preset... and that is about all the value I can add from the preset browser. All right, let's get on to the next video. 136. Straight to Media Encoder basic editing & joining footage: Hi there, in this video we're going to look at going... straight to Media Encoder, going around Premiere Pro... not even having it open. I'll show you how to just kind of do small edits using Media Encoder... and I'll show you how to join footage using Media Encoder. All right, let's get started. Now for basic edits you can actually just use Media Encoder... straight without Premiere Pro... rather than like dumping them into a sequence... and then bringing them into here, just to do simple trims or re-encoding. So I do this very often, like especially for my exercise files here... let's say I want to grab all of these and I need to add a watermark... or make them really small... I can drag them straight into Media Encoder. You can do basic edits, remember, you can do it with the in point... and over here you can either drag them... or you can click on this. Your I and your O works in here for in and out points as well. It might be that you need to just remove the audio... there's a lot of things you can just drag straight in here. You don't have to use-- I do a lot of dragging and drop... from my Finder or the Windows... you can use your media browser, it's the same... look, media browser, oh, I've got Premiere Pro closed... so I can't show you, but remember, we did the media browser earlier in the course... it's the same thing up here, they're not connected... like the favorites don't come along, but over here... remember, with the media browser you often end up in here... and you're like the wasteland of the back end of your operating system. If you go to the top here and say, Local Drives... actually, that's the default, go to 'Home Directory'... and you end up at a nicer spot... and in my case, I do a lot of my work in Dropbox... and I can say, actually, I want to add this episode here... right click it to 'My Favorites', because I need to do a lot of work in here. Then under my, that logo, I can switch to 'List View'... and I can start looking at my raw files... and I can actually start maybe re-encoding these... making changes, dumping them into here. Not much different from what I was doing, dragging this way... except you get all the benefits of being able to... kind of do that previewing stuff... so we can actually see things using this... especially if there are maybe file formats... that your finder can't process very well. Same benefits of using the media browser in Premiere Pro. Another feature of Media Encoder allows you to join footage... so I'm going to get rid of this, let's say that you want to grab these ones... and watch this, when I drag them over... you get the option, down here, if you just drag them normally... you'll end up with Add Separate Sources, like we just did. Can you see this option over here, says Stitch Them Together... so this will actually make them one big long video... so we can go, you see, those are the sources... you can reorder them if you want to make sure that one's first and this one... it might be a bunch of B-roll that you need... to kind of send out as one format for somebody to watch... and what you might do is add that time code. So remember, under 'Effects', scroll down to find 'Time Code Overlay'... and at least now that they can go through and say, yes, no... at this many minutes, this is the one we want to use. I don't use it very often, it's a feature... you might find a really good use for it. If you do let us know in the comments... because it seems cool when I discovered it... but I haven't found a really good use case for it... but let me know what you're doing, and how it might help. There is a longer way if you're not into that... whole dragging and dropping thing. You can actually do it via, either right clicking them here... and 'Stitch Them Together'... but if you're not using the media browser... you can, when you add sources you can hit '+'... you can grab a bunch of these things... let's say we're going to join all these up for some reason... where it says Options, you can say 'Stitch Them Together'... does the same thing. All right, that is going straight to Media Encoder... I go straight to it all the time to do simple edits... to make smaller sizes, to add watermarks. We'll do watermarks in a video coming up... heck, let's do it next because I've mentioned it... amazing for bulk edits, combining it with your presets... you can be a media encoder superstar. All right, on to the next video. 137. Adding WaterMarks Bulk Effects LUTS Audio in Media Encoder: Hi everyone, this video we are going to look at... applying lots of things at once in bulk to many videos. We're going to look at this watermark here, in the middle... in the bottom right, down here... you can see, we can do the same sort of watermark with text. We'll also apply LUTs or Looks for maybe color grading, all at once... or maybe Color Correction for specific, maybe raw or log format you're using. We'll also look at bulk audio application, all right let's jump in. We're going to do this to a bulk of images... because otherwise you could just use Premiere Pro and not Media Encoder. This is one of the perks of Media Encoder... you've got lots of files that you need to add a watermark to... you can select them all and click on 'Match Source'. Even if you're just doing one, just click on 'Match Source'... and you want to go to 'Effects', and down here... somewhere, 'Image Overlay'. It depends on what kind of watermark you want to do... Image Overlay, you can put like a brand on there. So where it says Applied, you can click 'Choose'... you can basically throw in any file here... it might be something subtle... I'm going to throw in my whole logo here, it's an Adobe Illustrator file. You can't do anything like color in here... so it'll come through whatever color the original format is... and you can obviously play with the sizing. You can play with the offset, with any of these scrubbers, like... the other things we've learned in Premiere Pro... if you hold Shift while you drag these scrubbers... you can kind of move it in faster bits... because it can take a lot of scrubbing to get it where you want. Might wash it out, here we go, that is how to do a watermark. You might be not needing an image, you just do with text... so 'Name Overlay', you might decide that instead of the file name... which might be useful, you might actually do it with... if you do prefix and suffix, what you can do is... just type in your own things. So you might use this for... you might be doing like 10 versions of the same output... say, remember our Tourism one... there might be one that is for the Middle East... so that you know that you've got-- because there might be slight changes in them all to kind of... for the different localization... so one for the Middle East... you might have one for Asia Pacific, North America... and they all are kind of the same... except little tweaks for the different markets. Can you see it up there, yeah, you got to kind of like click out... and they all appear. Same thing, you can move it around... you know how to move it around. So it depends on what kind of watermark you want. Remember, earlier on in the course, sometimes the watermark... you might need is just the time code. You can add all of these at once, just stick them all on... but you might just have the time code... depending on what you need the watermark for. Holding Shift will make it move fast... and because we had lots of them selected it will do them all in one go. You can create your own preset... move it down here, and create your own watermarking preset. So it's an encoding preset... and you can turn it on in here, so 'Image Overlay'... find it, and it will always be in here... for you to be able to drag on to these afterwards. The next bulk thing we're going to do here in Media Encoder... is add a Look or a LUT. So I'm going to select them all, and let's say... I'm going to click on the word here, click 'OK', and under 'Effects', it's this top one, 'Lumetri Look/LUT'. You'll notice, these are similar to the ones inside of Premiere Pro... now these ones are here for style points... you might be, you know, bulk adding a Look to them to go out... and a LUT... you can add at the top here. So where it says Select, and this is probably... more a good use case in this for bulk editing. So, like when I shoot my camera in like an S-log or a raw format... it comes out looking, you know, looking like a raw or a log format video... and there's a lot of potential in it... but it's hard to communicate that to say the Director... or whoever's reviewing the footage to decide... which one they're going to be using. It's hard to say, "Hey, see this milky image, it's going to be good later on." So what you do is you can apply a LUT... either from the manufacturer, which is this one... or you might be applying it from a celebrity or some other thing... where it gets your footage looking a certain way... or in my case, gets it from looking milky... to something a little bit more like what it's going to look like at the end... and I can bulk do this, send them a kind of a low res version... for them to kind of sort through, and say... "Yes, we're going to use this, we're going to use this, we're going to use this"... and I know that I can go back to that... you know, slog3 format... where I've got a bit more control over the color grading... but I don't want to color grade everyone, I want to bulk apply a LUT. The other thing you can do is do bulk audio as well... so there's an audio tab, you can decide on the Format... you might be playing around with the Sample Rate... maybe it all needs to be Mono for some reason. You've got all of these selected, you can do it now, all of this stuff... just so, you know, you probably already know... is available in Premiere Pro. If I'm in here, and I go 'Export', all of these bits are in here... where it's really nice is when it's a Media Encoder... because you can do it to a bunch of them... either dragging them directly in like we did in the last video... or sending them from Premiere Pro one at a time... and then kind of selecting them all, and making the change. Adding a watermark, adding a LUT, changing the audio... one of the real big perks of Media Encoder, doing lots at once. All right, let's get on to the next video. 138. What are Watch folders in Adobe Media Encoder: Hi everyone, in this video we're going to look at what a Watch folder is. It's this thing here, in Media Encoder. Why it's handy, the short version... is if I add stuff to this folder, that's been watched by Media Encoder... watch what happens... look at that, Media Encoder... jumps into gear and goes, "Hey, there's something in the folder... I'm going to start producing all these things that you asked me to do... and put them in the folders that you asked me to put them." It's pretty handy, let me show you how to get it set up, and its use cases... First up, let's open our Watch folder, go to 'Window'... and go to 'Watch Folders'. We need to create the folder first, so hit the little '+' button... I'm going to put mine on my 'Desktop' for this exercise... I'm going to call this one 'Social Media... - Watch folder', so that I don't mistake it for something else. Now I'm going to use social media here as an example... because it's a good use case for this, just, whatever your industry you're in... think, "I could use this for making... you know, bulk 4K versus HD, maybe Low Res, High Res"... all these different kind of presets in here would apply. So we'll just do a real basic one to start with. So I've got a folder, I'm going to say that... when something goes into that folder, it makes it to h.264... and let's say that we make it, I don't know, 'High Quality HD'... I just need to turn it from 4K to HD, that's all this folder is going to do. Let's have a look in the folder, let's have a look, where is it, there it is there. That's the folder that I made, my Watch folder... it automatically created this Output folder for me. What I need to do now is, I need to find a file... I've recorded this 4K or rendered out of Premiere Pro, this 4K version... it's too big, it's 4K, if I drag it in here now, you can either-- I'm going to copy it into here... you could just drag it in there and leave it in there... watch what'll happen to Media Encoder in the background... it'll go, "Hey, there's something in my folder"... what am I going to do? I'm going to apply High Quality HD to it... and what is it going to do when it's finished? It's going to do a couple of things... it is going to output that file, that HD file into here... its lower file size as well as physical size... where did the source file go? It puts it in here and goes, I'm just tucking it away in here... because I'm done with it, and that's where they end up. Now Media Encoder needs to be open for this whole process to work... don't be dragging anything into the Watch folder... and hoping Media Encoder will start up, just needs to be on all the time. Now let's take it a bit further, because yeah, that's... is that helpful? Kind of is, where it gets more helpful is... if you've got more options in here. So let's say that in this Watch folder, I do need a high quality version? I also need a low quality version, so maybe it's going to stay 4K... so 'Match Source', and go 'Adaptive Low'... but I also, remember, another output. I also need to go to social media, and I need to go... I'm going to HD for all of these, actually let's do 'Full HD'... for Facebook... but let's get this specific one for Twitter. Let's give them all what they want. Who else is in here, YouTube... you can create your other ones... for the different social medias that are excluded in here... and now if I go back into this, and I say... actually, I'm going to drag it out of my Source folder... put it back into the kind of Root again, it's going to say... "Hey, there's another thing in that folder, what do I do?" It's going to run through all of these, and look... parallel encoding. Let's zoom this along... oh, good point, how do I stop it? I'm just practicing, I don't know, I just quit encoder, that stops it... there's no like pause, stop looking. Even if you drag the file out it's still, I don't know... I don't feel like there's an official way, I just cut it, and you say... it says, "Hey, I'm rendering," you say, "Yep, that's okay"... and it just kind of dies halfway through. There's probably a better way, I can't find it. So what happens now, in that same Output folder... look, we've got all these other versions. My only trouble is, in here I can't work a way of adding an extension... to the outputs of these, so you can't say... like, set up a preset that outputs a prefix or a suffix... suffix, on the end here, that gives it the kind of name. There might be a way, let me know in the comments, if you do know. The way to kind of do it, though is - I'm going to bin all of these. - is to actually... when you are setting up your Watch folder... because you can have more than one, social media one... you might have one for broadcast... you might have some sort of editing workflow... when you're going to all the stakeholders... to create a bunch of different versions... or maybe your website needs a bunch of different speeds and formats... depending on what you're doing. So what you can do here is, you can actually output them... not just the output folder... you might keep the Output folder... but you might say, within this Output folder, you've got a YouTube... I can't remember what the first one was. I'm going to get rid of this one, this is my Low Bitrate, ah, we'll keep him... this is my low res version... and work your way through, you get the idea. Output, I'll do one more with you, then we'll speed it up. I can't remember what it is, Facebook, maybe. Success. So now at least, when I do drag this in, so that guy there... I'm going to drag him back to the kind of Watched folder... and now these guys are going to go through it, and they should... end up in their folders, let's have a little look as they appear... there they are, starting to do their thing. So we're getting better, Watch folders... going into separate folders, that's pretty cool. All right, the kind of next step in... where I feel the most value will come from Watch folders... is when you are using more than one computer. Now it's going to be a little bit of hand waving... and you have to use your imagination... because I don't have this setup at home... but let's say that this drive here... is shared on two computers, for instance. It's on a network and it can be seen by multiple computers... maybe multiple editors, but let's say, for this instance... it's just me in my office, I've got two computers... my other one, that is kind of maybe set up for, I don't know... it's not my daily one, it's just another computer that I have... maybe an older one, maybe it's the new one... because it's going to do all the rendering... regardless, I have two computers, my daily driver... which I'm using right now... and this other thing set up in the corner. What I can do is, on my daily driver here... I can add things to this Watch folder... and on my other computer have Media Encoder running... have a Watch folder like this going... and as soon as I add stuff to it from my daily driver... it springs into action and starts doing all this rendering. We're doing these small social media things... and they're not that long, but if you're doing documentaries, TV shows... maybe long format "How To's", you can see... how you can just drag stuff from your computer into this network drive... that's shared by both computers... and the other computer goes, "Hey, there's something in my folder." It doesn't have to be a local network either... you could be doing it via Dropbox or Adobe's Creative Cloud... or all the different file sharing ones... you just have to make sure that you get it set up where... if I add one file to my Dropbox folder here on my computer... it gets synced to another computer... and you just make sure that gets synced into a Watch folder... and that Watch folder goes, "Hey, there's something in it"... and the computer can fire into life... and either, it's like a reject old computer, that you're happy... that it just, the fans are running, and it's noisy... and it runs downstairs, and it chugs away... or it might be a dedicated machine you buy, like a Mac, Mini... which is, they're really powerful, really cheap in comparison to say... like my Macbook Pro here, and it's purely a render folder. You can take this further... and you could have the whole team using a machine. So we all are on a network, we all add our files to this folder... and we all share a render machine, did that make sense? I hope so. Now let's forget networkiness now... and just go back to the Watch folder, because let's say that... because we talk about rendering it to this machine... and then it's splitting it off, you don't have to render it to it... it'll actually accept Premiere Pro file... so I've got, where is it? Let me find it... that's the file we made earlier in this course. You can actually add project files now to it... rather than just, like finished clips or mp4s, or movs... you can actually do this. I'm going to copy it... and I'm going to go to my Shared folder... which is on my Desktop, it's this one here. Closing my Output, I can paste this in here... and watch what happens in the background here. It will actually look inside my project... you could have a clean and tidy project for this to work... it will start trying to find all the different sequences in my project... hmm, mine's not working... let me figure out why, all right, I worked it out. I did a lot of opening and closing, and restarting, that didn't work. I thought I found it in Premiere Pro... because I had like a missing link, that didn't fix it... turns out it will not. We're trying to dump this Premiere Pro file in it... and it's going to dig in and try and find any sequences we have... this particular one only has one. The problem is it's hiding in a folder or a bin within here... it needs to be in the Root, can you see, I-- this is like, Dan, with his bad file management... these should all be in there, it's my footage, my sequence, there it is there. That's the one I want rendered... can't be inside this bin, so to drag it out... just drag it to the left, here we go... and now if I save it and I close it, so it'll... it'll do multiple sequences, which is really cool. So that's a bonus, you can do lots of them... they just need to be in the kind of root of that Project panel. So now let's give it a whirl, this one here... I'm going to make a copy of it... just because it ends up moving it out of my file structure, I don't want that... but now, hopefully, Media Encoder... oh look, in the background it's firing away, here we go. So you can do that with After Effects raw files as well... or the kind of, like a-e, is that a-e-p? Set the file extension for After Effects, anyway... you can dump them in and it will render out the different comps. So remember, Media Encoder is shared... by a couple of different programs, and yeah... so I could be dumping my Premiere Pro file in there... because I'm working on a network drive... and it could, instead of like having to render it out first... it will go through and you can create in here. you might have your, like Adaptive High 4K... you might have your Adaptive High HD... all the different social media ones... and they potentially could be running on another computer... either on a local network in your office... or if you're doing it via the world wide web... you could be using something like Dropbox... or another more complicated file sharing service. All right, that's going to be it for Watch folders... they are not used by everybody... you might have a great project now that might work for it... or one in the future, and now you know what they do, Watch folders. All right, let's get on to the next video. 139. How to export small animated Gif in premiere pro: Welcome everybody, to this Black Friday sale extravaganza... communicated to you via a jumpy animated GIF... let me show you how to make it in Premiere Pro. All right, so this is what we're going to export... it's going to go out to an emailer, and you've got to be prepared... that it's going to look nothing like that... or at least not as good quality. GIFs are a format that died and came back, and they have quite limitations... so let's explore them. If you want to follow along with this particular exercise... you will find, in your 'Social' folder... in your 'Exercise Files', one called 'Fireworks'... drag that on, and in your 'Essential Graphics', go to 'Browse'. I typed in 'free sale', grab that one, change the color of the font... waited for the fonts to load, you can do anything you like. So now we want to export it... so with our sequence selected, 'Command M', 'Ctrl M' on a PC... and at the top here where it says Format... pick 'Animated GIF', not that hard. There's no presets, that's the default one. We're going to get it to go to a certain place... I've got, on my Desktop, which I've totally made really messy... I mean, I feel bad about this... I'm going to-- I've made a folder called Fireworks, I'm going to clean that up... as soon as this course is finished. It's messy, with my Feng Shui, let's hit 'Save'. So what you want to do is, you've only got to play around with video... and you've got these kind of few settings here for a GIF. The things that are most important are the size here and the frame rate... they'll determine what size it is, but also the file size. File size is super important for GIFs, especially this one... it's going out via an emailer, and lots of emails have restrictions... on how big the total size can be, like 10 Megabytes is pretty common... so we need to get it under there. So what we're going to do first up is, I'm going to change the size... my particular emailer is going to go out at about 500 pixels... 540 is pretty common for an emailer... that's going to present nicely on lots of different email systems... like Gmail and Outlook, anyway, already we're seeing the quality... kind of come down, it's unfit, so let's go to 100%. So we're not looking at it too badly, ah, so bad. GIF format, the reason it looks bad is, because GIFs are only allowed to... you know, they only have 256 colors to play around with... whereas this had millions to start with... it's now trying to do the same thing with 256. So if you really want the quality to be better... what you really need to do is not pick fireworks in the background... that has lots, that's using all the colors, all the sparkles in the background... so pick something really plain. The nicest animated GIFs are often ones that I... just have a couple of simple bold colors, not fireworks... but hey, we want a sale, and nothing says sale... like fireworks, for some reason, anyway. So we've got our size down to what we need for our emailer... now the Frame Rate is the next part... so 25 frames/second is too much for a GIF... it ends up making the file sizes really big... and we need this to slip under the radar for an emailer. Let's start at 25, and we're going to start queuing it up. In Media Encoder... these are one of the joys of using Media Encoder... we can start, because everyone's is going to be different... there's no like, you have to use 10 frames/second, or this size. What you need to do for your particular case is, go 'Duplicate'... I'm going to have three duplicates of that same one. So I'm going to say, this first one's at 25... this one, I'm going to click 'Custom', and I'm going to say... what does it look like, at 10. Click 'OK', 10 is my default, I use 10 all the time. If you need, if you need the long story cut short, just use 10... but it's not an absolute rule, but let's see what it looks like at 5. So I've got these three different options, I'm going to hit 'Play'... get them all going. All right, it's going to chug through those... let's have a little look at what appears on this other one. There's my folder, so the first one, 25 frames/second, 9.4 Megabytes... just squeezing in the 10 Megabytes. This one here, about 10 frames, and this one here at 5... you can see, quite a substantial file size change, let's have a look. Look at that, basically, like video, except poor colors, looks all right. Looks way better than it did inside of Media Encoder... don't use Media Encoder's preview as a really good gauge... of what things are going to look like... remember, in here if we go to Custom... this thing over here is not a great visual. So if you're dragging the quality up and down... it's not changing over here, don't use this, actually, get it done... and get it exported to see what it actually renders like... so, great. That's, can you see, do you get the feeling? This feels more animated GIFfy... that's kind of part of the, part of the charm of an animated GIF... is it's like stunted jitteriness. Can you live with 5 frames/second... you might have to, you might need... like 10 of these little animated GIFs in your emailer. Now quality, you can mess around with, the same thing... duplicate it a few times, and let's say that... actually-- I'm going to, remember, 10 was my favorite... or 10 is my favorite now... and you can then say this one plus another couple... and play around with the quality slider, and it will do nothing. I don't know why the quality slider is in there... it's only got 256 colors. I'm not sure what this does, really, my animated GIF knowledge is... not an expert animated GIFfer... but I make a lot of them, I should know more... but you can play around with the quality, and you'll notice... I'm kind of just picking three different sizes, let's go, and let's have a look. You shouldn't be able to tell the difference in... maybe it's a bug with my one, come on, Media Encoder, you can do it; stuck. There you go, it's back working again, that was weird. So you can see, they're all the same file size... doesn't matter how quality it is, and they all look the same. Yours might be different, mine never, there you go. If you need the file size to be a teeny tiny bit smaller... you can play around with the size... and, so the physical size... 500. Nobody's going to notice the difference in 40 pixels... obviously, depending on where this is going, but an email, they won't. Quality, 100, because it makes no difference... and over here, the frame rate, you might go, oh, there we go... maybe just a teeny tiny, maybe 10... and eke out some of the file sizes, let's have a look. This last one... is a teeny tiny bit smaller... and probably nobody's going to notice much, in this particular use case... that it is 40 pixels smaller. All right, happy animated GIFfing... remember, if you want it to look even better... is to make sure that you use as limited color palette as possible... because remember, we've only got 256 of them... you don't want to waste them on frivolous fireworks. All right, that is going to be it, and in a strange coincidence... it's actually Black Friday, it's not Black Friday... it's just Friday, it's Friday afternoon... I'm finished videoing for the week, going to take the weekend off... I will see you probably in a video in about, I don't know, five seconds... but for me it's going to be a whole Saturday and Sunday off... and I will see you on Monday, or in five seconds, it's the same thing. 140. How to export directly to Youtube Facebook Twitter from Premiere Pro: Hi there, in this video we are going to look at making Media Encoder... to upload our videos to various social media platforms... as well as file sharing, as soon as it's finished, rendering the file. It's going to make the file and then automatically upload it. Great for when you're doing a long render... maybe during the night, like I do, and you wake up in the morning... and not only has it made your lovely mp4... but it's also uploaded it to the various YouTube channels... or file sharing, or video sharing... however-- there's a few different options. All right, let me show you how. To get it going, it doesn't matter whether you start... from Premiere Pro or from Media Encoder... you end up with this window, right? So in Media Encoder, this is just the 'File', 'Export' window... and you go to 'Publish', and here they all are... we'll run through them quickly. From Media Encoder, you have to have something to encode... and then you just click on this option here... and you'll get to that same window, it doesn't matter. So we're going to go to this one, 'Publish'... I'm going to twirl these down... will look at the big ones, Facebook. The only trouble, like it's really easy to get going... you click on 'Sign In', and the hardest bit is trying to remember... what the hang your password is. Who remembers it? So long ago. The biggest problem though is that it only does pages at the moment. I can only kind of post to my pages... and it's not really, my function... I use Facebook a lot more for the group. If you're not part of it, it's on the screen here... join the bringyourownlaptop Facebook group. Say you can't do that at the moment, but check... because it used to be, you can only do to your own personal page... now you can go to pages which might be perfect for you. For me, I'm looking forward to groups getting added here. Add your Title Description, so what's going to happen is... this thing's going to render, it's going to create your... you know, create the Render that you want... and then automatically start uploading it to Facebook. I don't really like using the Facebook one much... because it kind of just plops it into Facebook. What I like to do is use it for something like YouTube... log in to YouTube, pick your channel, pick the playlist, it's going to go into-- Title and Description, sure, you can totally do that, add your Tags. What I do is I just make it 'Unlisted'... so what happens is, when this thing is rendering... and it's going to take three hours or eight hours, whatever it is... while I'm sleeping, as soon as it finishes... it's going to start uploading to YouTube as well... and that's a big problem, like it renders all night, great... then I wake up in the morning, and then I've got to slowly upload to YouTube... so it's a handy little extra for this. Add your tags, tags have to have, oh look, it even says it, comma separated. Let's actually do one of these, I've added some... my tags in here, like keywords... let's add a thumbnail, so thumbnail... you can either do from the source... so you can drag it along here and decide that... I'm going to use this bit and say... choose thumbnail, 'Frame from Source Video'... choose 'Current Frame', because I've dragged that along... or you can type in the time code, it'll use that... or if you've got a file that you've made... you made a sweet thumbnail in Photoshop, you can edit there. You can delete the file afterwards, which is kind of nice... you kind of create the file, it uploads to YouTube... and then it's gone again, you don't need it... we'll get these going in a second. The other ones that might be useful for you... obviously, any of these might be useful. What I find really useful for... because like, there's no Instagram or TikTok... or there might be some new platform in the future, the new hot one... it might not be here, and Instagram is never going to be here... because they don't allow, like computer access. You have to go via your phone, it stops us pesky marketers... trying to do it that way... well, we just got to go around, like the way that I get around it... because I have to upload to TikTok, find my phone... is I publish to Creative Cloud, and you can create a folder... and let's say it's TikTok... and I've got the Creative Cloud app on my phone... so when I publish this, it uploads it to my Creative Cloud documents... awesome, it syncs it with my phone automatically. So then I can go into TikTok and say, 'Load Video'... and it's there in my Creative Cloud file, on my phone or on my iPad... that's a nice way of getting around it. Obviously, if you do Adobe Stock, you could use this, Behance... other useful ones, so FTP, I don't use FTP anymore, we used to use it loads. File Transfer Protocol, it's a little old school, I'm sure it gets used loads. I use kind of file sharing now, like Dropbox or OneDrive... or they've all got different names, but a similar service. What's really good for me is Vimeo... all on my website, at bringyourownlaptop.com... I use Vimeo to host. So I render out like, like this course here... it's going to be 100 and, I don't know, 50 videos... I haven't finished yet, but it means that I can render them all out... and they all slowly chug up to Vimeo as well at the same time... so that's pretty cool. Other things before I upload it is, you might-- this is a really good time to kind of go... if it's going to socials, and often, say social media is on mute by default... you can go into your Effects, not Effects, 'Captions'... and if you've got captions, like we did earlier in the course... you can turn these on and have them burnt in, it'll be a setting in there. I don't have them on this particular one... let's click 'OK'. Now when I render this one, it's going to render it out... and then start uploading, give it a sec. The cool thing about YouTube is, because it's unpublished... it just means it's waiting for me in the morning... that I can add my magic YouTube portion... or Jason or Tayla can actually, and it's already uploaded... yep, little ticks, before we go and check out those... you can see how, if you've got 'Watch' folders... instead of doing, like we did for this particular one, and they... there's one file, went to all of them, whereas this one here... because we've got quite specific, we've got Full HD... for Facebook, and Twitter, and YouTube... in their own specific kind of wants... I can go into them and say, actually... just YouTube has the Publish YouTube ticked on... and then this one here, same thing... I can go into it and say, you are the Twitter one... and you are the Facebook one. So as soon as they're rendered they'll go up... the right format, to the right place, all in that 'Watch' folder. Can you feel the productivity, if you can make this work... I don't use it very often myself... just doesn't fit in with my current workflow... but if it did I'd feel very good... I feel like, dumped my Premiere Pro file in, would jump on all the sequences... I'd dump my Premiere Pro file into my 'Watch' folder... that 'Watch' folder would split it out to these different places... render them all specifically, and then start uploading them... all to my different social media accounts, oh, it would be beautiful. All right, let's go see what happened on social media. So I'm in the back end of my YouTube studio... if you haven't checked out our YouTube channel, bringyourownlaptop... no, it is youtube.com/bringyourownlaptop... there it is there, waiting for me, it's unlisted... so I can now go into it and start adding all the details. There's that thumbnail that I picked... and when I'm ready I can go to Publish... whereas the Facebook one, let's have a look. All right, here's my lonely Facebook page, there he is, hello. "May the road rise up to meet..." but if you do come join me on Facebook... don't go to my page, we don't use the page... we use the bringyourownlaptop online group... ah, such a busy group... helpful happy individuals, you might already be part of it... I feel like that's something that needs to get blocked... but anyway, great stuff on there. We're going off on a bit of a tangent... but let's jump back into Media Encoder... and that is it, that is uploading to social media... not particularly hard, but hopefully... one or more of those options will work for you. All right, let's jump into the next video. 141. Premiere Pro Markers to chapters markers for Youtube : Hi everyone. We are going to make chapter markers in Premiere Pro. You can see on this video, I can jump along to these different parts in the tutorial. In this particular one, you can see the names, we got different time codes. We're going to show you how to export that at a Premiere Pro. First of all, what are they? What they are is notations in the description. They are pretty basic. You can see here, Intro, Brief, Name picking, and you can click on these time codes and it will jump along in this particular video here. Now, what actually makes them? Basically, let's have a look at the description. That's it. You can type these out. You're going to use this format. Intro, and then you have to use a colon, then you have to use the minutes and seconds. If you got hours, you can hit those too as well, but that's it. You could type these in. I'm going to show you how to export them out of Premiere Pro. We use markers. Let me go show you how to do that. You can just type them in to YouTube, but they are handy here in Premier Pro because you can use them from Markers. Markers are easy to find because often, there's big cuts, and you might have sectioned them up nice and easily already. The first thing to remember is, you need a marker for your sequence. We're not doing markers down here on the clips. Remember, if you click on this clip here and say, M, see that marker down there? That's not what we want. We can't export those clip markers, or at least, not all of them together. You can export them separately. It's not what I want. We want sequence markers. To add sequence markers, have nothing selected down here, just click a no man's land, and then type the M key, and they are parallel at the top here. You can drag and move along. If you need one at the beginning, so no clip selected, M key. I got my Markers panel open. You can double-click on them. The thing that gets exported though is not the name, it's the comments. We're going to put in Intro or Beginning. You need something at the beginning for this to work. I got my Markers panel open up here, so Window Markers, and you can see I've typed them all in. I got a bunch of markers along here. To export them, again, don't have the clip selected, have nothing selected, go up to "File" and go to "Export" and "Markers". If this is grayed out, it means you don't have your timeline selected. Remember that blue bar on the outside. I have that selected, "Markers", pick a file type. Text is probably easiest to format. If you are a wiz at something like Excel or Mac Numbers, you can use CSV, doesn't matter, but Text File, we're going to do in this one. I'm going to give it a name. I'll only use the output name. That's fine. I'll just go to my "Desktop". This is the text document. I wish you could just copy and paste it straight into YouTube, but there's a tiny bit of formatting you need to do. This is where you might decide, actually, it's easy just typing it in for these four. But hey, I'll show you the formatting, and you can decide for yourself whether this works for your process. I find it's good to have just copy out one into another document. On a Mac, I'm using TextEdit. This works for Word. If you're on a PC, you could just use Notepad or Word. It doesn't matter. There's only two parts I want from this; the time code and chapter names. The thing we don't want from Premier Pro is that it gives us the frames. This is the frame rate. We've got hours, minutes, seconds, and frame rate. YouTube doesn't like frame rate, doesn't know what to do with it, so we can't use this last column here. What we need to do is select all of this first chunk. Now, you'll notice that if you try and drag it around, it does that kind of selection. That's not what we want. An interesting universal shortcut is, on a Mac, hold down the Option key. On a PC, hold down the Alt key. You can do a weird vertical selection. It's cool. That's a tip for everything, not just Premier Pro. I just want this chunk, excluding the frames, copy it, paste it over here, grab this chunk, holding on that same shortcut. It's Alt on PC, Option on a Mac. Copy it, and after this, paste it in. You do need spaces in there. How much easier is this? You decide. Copy and you just paste it into YouTube description, anywhere, right the bottom, it doesn't matter. You'll notice here that the intro is before the time code, and there's a colon there. That formatting doesn't matter, as long as we're on the same line and the time codes need the colon's in it, that'll work. Of course, with that as well, you can, if you're doing the fancy exploits to YouTube directly, remember we can publish this. I'm exporting. We can go down to our "Publish" option. We can go down to our YouTube. Remember, we are able to put in the description already. I'm going to tick this on. Under "Description", we can paste it in there, and it will go automatically. That is how to tune markers into time codes, or check the markers in YouTube. On to the next video. 142. Premiere Pro Course Updates New Features 2022: Next software is Adobe Premiere Pro. Let's jump into the new features. The first new feature for Premiere Pro is taking a messy, old sequence like this. Things are locked, these muted, these empty tracks. Everything's scattered a little bit, 3D, 3D1, tidiness, it's called simplify sequence, let me show you how to do it. Just as an aside, this is a little video from my YouTube channel. This one here is where I go through how to design a logo, me drawing, showing my process of designing a logo from start to finish, and yes, that happens at some stage. Anyway, let's go to the feature. I got a sequence down here, it's a regular old sequence, nothing too hardcore. But there is tracks where, get away from me, this is up here. The only thing holding this track open is this one, and see down here, often I will have music tracks where I'm trying to pick the music, and I don't want that one, so it's muted, there's an empty track there, there's also the junk going on these markers here that I don't need anymore. Simplify sequence is, have your sequence selected, go to sequence, and then simplify sequence. You can do in a bunch of stuff on, basically what it's going to do it's going to create a new sequence, that's important, called hyphens simplified. You can decide, do I want to close the vertical gaps, which is basically these tracks here, do I want to get rid of empty tracks, why not? Let's turn off clips that are disabled, anything that's offline, any labels. Any particular labels here that you've given it and don't want that, move sequence markers, that's my little guys there. There's a bunch of different options, so you can work out what works for you, but let's click ''Okay'', look at that, before, after. It's just a way of tidying it up for yourself, but often it's great. When you're sending it to someone else to work on, and you like, ''Here's my super professional sequence that I want you to work on.'' You can see here, here's my project file, nothing's in bins, don't tell anyone. But at least I can quickly and easily simplify my sequence, tidy it up, get ready for sharing with other collaborators. You can get to it as well is you can just right-click, and the sequence that you want, right-click and go to simplify sequence is in here somewhere or is it there? You just got to remember it's not turning of the original, it's still here, it's created this other one called simplified. I've got two because I've already practiced this video and forgot to delete the other one. Anyway, and I still upgrade for Premiere Pro. The next upgrade is more of a back-end improvements type upgrade, but the actual tool itself, the speech to text came out in an update recently and it just flew under the radar of most people. I bet you don't even know this exists and it's worth showing because A it's got better in this version, but B, it is a fantastic upgrade to Premium Pro. It is transcribing and captioning. Basically, I've got this, but it looks great speech here. Creating your very first logo can be pre-K. I don't want it transcribed, so I'm going to select on this and hit the ''X key'' just to sit some in and out points, because I don't want to do the whole thing. You can do the entire thing, it's a little bit long. I'm going to say, with it selected, I'm going to actually go to my window workspaces and I'm going to switch the captioning workspace. First of all, you can transcribe it. It's going to turn it into text which is a lot fantastic on its own. I can say transcribe in and out points only just so it doesn't do the entire thing. You can mess with different settings, but let's have a little look. It is done and let's have a little look. Creating your very first logo can be pretty overwhelming, I remember it well when I got started, the vastness of the Internet. It is good when I used that a little bit last few months, but it is good, especially I am not American, which can be initially some of these things are designed for the American market first. I've got lots of ums and ahs in my accent, is easy enough to follow, but it's not perfect. It is good every time I try it. If you've ever experienced auto-generated captioning, transcribing before, it can be really bad, but this is being really good, as you can see. I didn't pick this in particular, it just works. Let's pick one randomly, and that took probably less than a minute. I split it up in this video but I actually transcribed this whole 29-minute clip and it took about 12 minutes for it to process, which is pretty sweet. It gets better, you can get this automatic transcribing done, which you can export, do what you want with, but I want to use it to generate captions. You can just click on the ''Generate Captions''. I'm not going to go through it all here, but you can just click it, see what it does. It's created a captioning track for me. Let's have a little look. I haven't changed anything, let's have a look. Now, creating your very first logo can be pretty overwhelming, I remember it well when I got started. Captioning, automatically done really good, you can add subtitles, all of the other good. If you're thinking, can it do that? It probably can, it does everything that I need to do. Anyway, that's been upgraded in the 2022 feature, the back-end, it just become better, the back-end stuff. But if you haven't seen the front-end stuff, that is a pretty cool feature that came out a few months ago. Thank you Premiere Pro. Another small but tasty upgrade is, this is the old version of Premiere Pro. If you are using scopes, this vectorscope in particular, to do calibrating or like in this case, you can see my little color code here, it is a little small and white. What they've done is they've done this, they've made it colorful, look at that, you can see the hints of the colors that are being shown, especially when I've got my color code up, where is it? You can see it moving around, and also you can double-click it. Look at that and it zooms in real close, which you couldn't do in the last version. So if you've got all those scopes up like I have, you can zoom in on that. That's the key area right there, the skin line and all those colored dots. YUV Vectorscope has got a couple of little upgrades in Premiere Pro. My friends, that is it for the 2022 updates for Premiere Pro, onto the next video. 143. What next after Premiere Pro Advanced: Hooray, you did it you made it to the end, I made it to the end. This is a long course, you should be proud, I'm proud, we've both made it. What do you do next? I feel like we've got to know each other... there's no more videos, what are you going to do now? Good question, and luckily I got other courses... so you might want to check out. Probably, the next step from here is, probably After Effects... go check out that one, there's a couple of courses... you can view on that one, plus there's lots of other courses. I've got courses on Photoshop, Illustrator, InDesign... XD, Dreamweaver, Visual Studio Code... there's a lot to go check out from... yeah, other courses that I've done. Next thing is to check out the bringyourlaptop show... it is a YouTube series that I do, check it out here on my channel... yeah, look for the playlist, bringyourownlaptop show... and it's less of a, like less of this kind of like tutorial that we've been doing... and more like a, bit more entertaining kind of ride along... showing you how I do things as a designer, so check out that. Also social medias, you've seen them throughout the course... if you haven't, you know, followed me on any of them here... here they all are, it's how I kind of announce what I'm working on... get your opinions on things, so make sure you follow me on these. Also, don't forget about the bringyourownlaptop podcast... called the Insiders podcast... you'll see a link for that up in the top Nav... also design challenges... in particular, there's a video challenge. Okay, if you're looking to practice your skills... there is a video design challenge... check it out under the Challenges section of the website... and if you enjoyed the course, and you can think of a way... to recommend to others, or a shout out... I would really appreciate that as well. All right, it's the emotional goodbye part... it is a long course, there's a lot of work that goes in it for me... but it makes it all worth it when you're here. It is not easy for you to get here... there's a lot of work and learning, and videos to do... so I appreciate the time and effort you've put into, to getting here as well. Makes it all worth my time and effort... so let me know that you've made it, on social media... let me know, just let me know, finished Premiere Pro Advanced... and appropriate emojis... so I know at least, you made it to the end... and yeah, I hope to see you at another course real soon. It's the end, all right, fade to black, ready? Fade to black. Bye.