Advanced Video Editing with Adobe Premiere Pro

1. Class Introduction: Hi there. I didn't see you. Someone just imported a bunch of clips into Premier, so I thought let's make an edit of that, and it's actually starting to look pretty good. Anyways, my name is Jody, and I've been practically living inside Premier Pro for the past 15 years. No, seriously, that's my job. I teach others about Premier Pro. We have a YouTube channel with more than two million subscribers, were I teach the editing program. I'm a real geek when it comes down to functionality, features, options inside the program. I probably know everything about the program, and that is why I'm so excited about this advanced class for Adobe Premier Pro users, as I can finally show you guys everything around the program. Yes, that does mean that you need to have some a basic knowledge. If you are coming for my beginners class for Adobe Premier Pro, perfect, you are the perfect fit for this class because that means that you know how to do basic edits inside the program, and now it's time to learn more about its multi-camera editing, color correction, how to mix audio, how to work with the various advanced tools, create 2D animations, turn linear keyframes into Beziers, super important, and that list continues. But by the end of the class, you'll know everything about the editing program. There's nothing more to learn. You can go ahead now into the editing world and start creating stuff without needing to worry, is there anything else that I should know about the program? Join me into the most complete and entertaining Premier Pro class for Adobe Premier Pro users. 2. Basic Editing Workflow: Hi there. I'm Jordi. I'm the maintenance guy here inside Adobe Premiere Pro. I've been practically living here for the past 15 years. Anyways, I help editors with their projects, I keep the place tidy and clean till the program bones crash. Anyways, let's get started with this advanced class for Adobe Premiere Pro users. In this first introduction lesson, I'm going to refresh you with the basics. Now, we will work with some basic animations as well. We going to work with some effects and everything. So definitely stick around because there might be some nice tips and tricks that you definitely don't want to miss out at time. Let's get started. What I've got rights here are a couple of folders which holds some media files. Now, by the way guys, you can also download these same media files from the your projects app here on Skillshare and with that, you can follow along with the class. We're going to use this trick the entire class, and you can also make your own video edits. You can even share that to YouTube if you like so as long as you're not using that for commercial purposes. Anyways, organization starts right here, you want to make sure that everything sits nicely within folders, so it's all organized and what I want to do is just select these folders and drag them into the project window, and to have this same hierarchy inside Premiere as well, and If everything goes well, the files should get imported right now. There they are, they are inside Premiere now. What do we have? So we've got an interview of Yannick, we've got some B Roll shots of him painting miniatures. How cool is that? We've got some sound effects and everything. So let's organize this in Premier and keep that safe, super important. For the root folder, I usually keep this on list few, because we don't need any time mill right here. Let's get started by creating a new sequence. When treating a new sequence, we can either go for custom settings or we can select one of the presets, and there are actually a few presets in here which will work perfectly for about 95 percent of the projects that you're probably going to work on. Those are the DNxHD or DNxHR. For now, I'm going to go to the HR folder and I'm going to choose the Ultra HD, 30 frames per seconds right here. Let's just go for the one here on top. Now, we're going to see later in this class exactly what the differences are between these presets and how it can benefit our editing workflow. For now, let's just pick this one. I'm going to give that a name, for example, My First Edit and hit "Okay". Wait, we've got a timeline or a sequence. I'm going to open up the B Roll folder and for this folder, I do want to set my view to the icon view, so we can see the thumbnails. Double-click on "Eclipse" to open it up in the source monitor, find the part that you need, for example, this part. Set an endpoint, by using the I on your keyboards. Go a little forward in time and set an outpoints with the O key on your keyboards. Now, we can bring this clip to our timeline by either dragging that or by using this function right here, Insert or short key comma. Hold down the Alt key and scroll in your timeline to zoom in, without holding Alt you can go left and right. When your mouse stands on the track, and by holding Alt and scrolling, you will enlarge the track heights. Let's bring a few more clips into the timeline. So let's assume that this right here now is a little intro sequence. After this, he's going to start with the actual painting. Let's take this shot here, for example, with the light, as he is already starting on the painting. Insert that as well. In the timeline, I'm going to move my play here right before that clip, I'm going to place a marker by pressing the M key on my keyboards. You can give that marker a name for example, start painting, press "Okay". What follows now are going to be a few more shots of Yannick here painting his miniatures. Now, let's head over to the last clip here, which is Yannick finishing up his miniature. He's putting it down, so endpoints, outpoints, bring that to the timeline, and right before that one, I want to create a new marker, and I'm call that one final. Now working with markers as one way to define the different parts within your edits, but you can also choose to select certain clips, right-click, and then go over to label, and just give them a different color, for example, yellow. This way we also get a very clear view of the different parts within our edits. Now working with labeled colors is usually going to be better because they are tied to the clip and markers are not. If I'm going to take my rolling edit tool here from the toolbox, or press the short key N, I can move the outpoint of clip number 5, and the endpoint of clip number 7. Let's do that., let's bring it to the right side, for example. The left clip right here has become larger in duration and the second clip right here has become shorter in duration, but my marker still sits at this place right here, which does not indicate the new part yet. Keep that in mind, guys, markers are usually used when you have an edit lock, when you are sure that your edit isn't going to change much anymore. What I'm going to do now, is create a specific look to these four clips right here. But you did that, let me just go back first to my root folder and I'm going to create a new folder here called assets. Within there, I'm going to create a new adjustment layer, press "Okay". The adjustments layers are a nothing layer, but we can use them to place them on top of clips. I'm going to set them to the equal length here, and whenever we are going to apply effects to this adjustment layer, it will be applied to everything beneath that. Let's try that. I'm going to go to my effects library and search for black and white. It's right here on your image control. Drag that onto the adjustment layer and you'll see that all my clips right here underneath the adjustment layer have become black and white. I'm also going to search for the effect called crop, and drag that to the adjustment layer as well. With the adjustment layer selected, head over to the effects controls, from which we'll find the effects applied to it, which is the black and white filter, and as well the crop filter. With the crop selected, we can visually cut into or crop into the video, and because we're working on an adjustment layer, it will be applied to everything below. But we can also change to percentage values in here. So for the top, let's crop off 15 percent and for the bottom as well, create that cinema scope. There's great benefit as well of having this crop effect on the adjustment layer is that we can still move around the clips underneath. With clip 1 here selected in my timeline, I see now that there isn't enough head space in this clip, because we've cropped off the top. So what I want to do now is with it selected, head over to the effects controls and from the motion property, I'm going to push that clip down in its position, and we can perfectly do that without altering the actual crop. So we can set that for each clip individual. Now, all of my clips are aligned perfectly, just the way that I want to. Now, to finalize all of this right here, let's go to the ends, select your adjustment layer, and I'm going to animate that crop value which we can do by enabling the animation. Click this stop right right here, for the top, and also for the bottom, which will create two keyframes. Move forward in time or to the end of that clip, and here set the top and the bottom to zero. In-between these two keyframes, that crop is animated as we can see. Let's have a look at this animation. The interest sequence has stopped, so it opens up to the color sequence. That is in a nutshell, a basic editing workflow. The next lesson, we're going to dive a little bit more deeper into the settings of the sequence. Thanks for watching. 3. Sequence Settings: Sequences or timelines like many people prefer, but actually sequences, but they do reveal a timeline. That's where the name comes from. Anyway, so in this lesson, I'd like to talk a little bit more about those sequences and the settings behind them because they're quite important to understand. Here is that sequence that we created in a previous lesson and we can see some more information about that such as the frame rate, we've got the resolution, some audio info, and we can also create a new sequence from this new item button here on the bottom, then go to Sequence and then from here we can again choose those settings. But what's the deal with all of these codecs right here? Because that is what these presets represents. For instance, opening up the DNxHR, scroll all the way at the bottom here, under the ultra HD 30 frames per seconds presets, we can find five different kinds of presets. They're all exactly the same except for the codec behind them. You might think, "Aren't codecs important for when you are going to export your video? What does a timeline have to do with that?" Well, let me show you. If you head over to the Settings, you can actually preview or change to settings from that preset. You can also go here on top and then select Custom if you would like to create something yourself. You can always save that as a preset if you like so, but that's really for very specific reasons. Apart from the video settings and the audio settings, we've got Video Previews here on the bottom, and here you can see that we do talk about a codec. This is going to be to the codec that pre-rendered video files are going to be saved at. To show you what exactly is going on in here, let me just cancel this pop-up box. You can see right in here that we've got a clip which has a red line on top and that indicates that it has some heavy effect applied to it. What I've done is just applied a simple lightening effect, which makes totally no sense at all. But it does allow me to render this clip because I've got problems playing this back. We all know how to do that. We just press the return key and that will start rendering. What Premier Pro is doing right now is actually just saving this individual clip on your computer with the codec that we've set within the sequence settings. If we go back to the sequence settings here, create a new one, then go to settings here in the bottom, we understand that a codec is something important to understand. When pre-rendering clips in your timeline to a very heavy codec, they will still not be able to playback smoothly. It's important that you pick out a lightweight codec such as the Avid DNxHR, you also have Apple ProRes, and there are a bunch of letters. You also don't want to have a low resolution preview because after rendering, you want to see clearly what your image looks like. That is what that option does. I've got a whole separate lesson at the end of this class somewhere. I'm going to talk more in-depth about how you can actually utilize these video previews for your final exports. Now going back to the presets, the DNxHD and the DNxHR are going to be the presets that you're going to work with the most. Don't worry too much about the codec. Just pick out the resolution and frame rates that you want to work in. These video settings are going to be the settings that your final export has to be. Now you might be working with clips that have a resolution of 8K, but your final export or your final delivery is going to be ultra HD. Well, then don't create an 8K sequence, create one of ultra HD because that is going to be your final delivery. Keep that in minds. I'm going to cancel this window right here. Let's have a look at the clips that I have in my timeline. I'm going to select clip number 9 right here, head over to the motion property. You'll notice that the scaling, even though it's set to 100, is actually bigger than the ultra HD resolution from the sequence. That is because these clips were shot at 5k resolution and that gives me the benefit that I can actually scale down or maybe reposition that clip. Shooting at higher resolutions always have a great benefit. Now when I'm going to decide to group a few clips together in a nested sequence, which I can do by selecting them, right-clicking, and then say Nest. Give that a name. For example, grouped clips and press Okay. A new sequence have been created with the same settings as my original sequence. That means now since I'm working on this nested sequence, I no longer have that larger resolution even though the clips in site are. What I'm going to have to do right now is right-click on my Grouped Clips sequence, go to Sequence Settings and from there, change the resolution. I cannot do that because I'm working in a preset so I'm going to go up here, select Custom and from there, set the actual resolution of what my clips are, which is in this case, 4,800 to 2,700 and press OK. It's going to give you a warning that the preview files will be deleted. I don't care. Press OK. Now this nested sequence is larger, as you can see in here, than my main sequence. That means I can now select this nested sequence and move my clips around, scale up, down, and enjoy that 5k resolution. Now how do I know that my clips are 4,800 by 2,700? Well, if I go to my B Roll folder and have a look at my clips, I can see here in the columns, what's the resolution of those clips are. You can also always right-click on them and then go to Properties from which you can also read that same value. We can create multiple sequences, place one sequence into another, create nested sequences, but always remember that once you're going to create your main sequence, that it has the same settings that you would like to export to for final delivery. When you're going to nest clips together, make sure that you check the resolution as well from that nested sequence so that you could enjoy the full 5k or whatever resolution that you're working with. Thank you for watching and I'll see you in the next lesson where we're going to talk about short keys. 4. Advanced Shortcuts: You see these things right here? You don't click on those. You use short keys for that. That's right. If you want to save time while editing, it's very important that you're going to work with short keys. So in this lesson, I want to go over several short keys. I'm going to show you how to change them as well, and I'm going to give you a few tips that are really going to speed up your workflow while editing. Let's get started. First of all, where can we find the short keys? Well, that's all up here in the Menu, Edit, and then go to Keyboard Shortcuts. From there, we can see all of the available short keys. We can also search for something specific, such as the track select, and now we can set a custom shortcuts for that as well here, or we can just pick and see what the shortcut for that tool is. Starting off, I want to take a look at the ripple trim next edit to playhead and previous edit to playhead. These two are probably the ones that we're going to use the most. Definitely, we are going to work a lot with interviews, or when you just have a tone of B roll, these shortcuts are going to help you tremendously. So we've got the W and we've got to the Q. Let's see what they do. The ripple trim delete are three actions within one. The first action is going to be a simple cut. Let's take clip nine here as an example. To create a cut, we can use the razor blade tool right here or press the C key. Click to "Add a cut", then I'm going to delete this part right here. Press "Delete", and then I'm going to delete the gap in between like so. These three steps can be done with the ripple trim delete. Let me just undo my actions with Ctrl+ Z and place my playhead to wear I want my cut to happen and then press the Q key. There we go. That part has been cut off and we've closed the gap. We can also do that on the end of the clip by extending right here, and say this part has to go, then press the W. We're going to ripple trim delete everything next to the playhead or previous from the playhead. Now talking about adding a cut using the razor blade tool we can just press the C button and then click somewhere on the clip to add a cut, but that are again too many actions. Let me just undo that. What we can also do is press "Ctrl+ K" to instantly add the cut where my playhead is at. Hence, what I actually like to do is change the add edit because that is what we are doing. The Ctrl+ K, I just like to change that to the C, which is the razor blade tool. Press "Okay", and now we can just use the C button on my keyboard to cut instead of using the razor blade tool which I never use. I'm sorry, but you're just not useful at all. All right. Onto the next one. For that, I'm going to need some music or sounds. Let me just take anything right here and place that in the audio track. I'd like to expand the height of this track, and one way to do that is by holding down your Alt key and then scrolling into track to enlarge it. But there's also a short key and that is Alt and then plus on your keyboard and that will actually expand. Let me just double-click right here on my timeline to maximize that panel for a moment. Because as you can see it will actually enlarge all of the audio tracks. We can also press the minus key to decrease that size. The same thing can also be done for the video tracks with Ctrl+ plus or Ctrl+ minus. Very useful. Definitely when you're working with many tracks, then you can just expand them all at once. Next up is audio gain, something that we also use a lot. But instead of right-clicking on your audio clip and going over to audio gain, what we're going to do is just select the clip and press the G key on the keyboard. It's that simple to bring up that panel, cancel. Remember that G from gain. For video clips, speed and duration is something that we use often. For that we're going to use Ctrl+ R to bring up the clip speed and duration panel. From here, we could also reverse this speech or change the interpolation. If you really want to be specific of how long that you're going to stretch out your clip then use the rate stretch tool. It's rights here in our toolbar and it should be somewhere right here, rate stretch tool, but we're working with short keys. So press the R on your keyboard in order to stretch out clips like that. That brings me to the last shortcut that it's really important, and that is full screen. Unfortunately, on my keyboard layout, which is a Belgian layout, it's AZERTY. It's not QWERTY. I know for many people that is very weird, for me it's not. It doesn't work, so I actually had to change that. I'm going to go to my keyboard shortcuts, I'm going to look for full screen. It's right there. You see that little line right there? Yeah, that's something that I can't do. So I'm just going to change that to Ctrl+ F, which is also more universal. Whenever you're in a media player and press Ctrl+ F, you go full screen. By doing that, I actually get a warning and say hey, Ctrl+ F is already mapped. It is mapped to the find command, and that's something that I never use, maybe for your workflow or for very large projects you might use find, but I don't use it. I'm going to press "Okay", because whenever I have to search for something, I just use the search bar right here to locate something within my project. Hit Ctrl+ F, and there you go, full screen video. How nice is that. Definitely when you're working on a laptop or on a single screen, it's definitely nice to sometimes just swap back between full screen view and back to your normal interface. So those were the short keys that you should definitely remember, definitely that ripple trim delete is super important. In the next lesson, we're just going to be super short. I'm going to show you how to create your own short key maps and also share them with your friends or to another computer. Thanks for watching. 5. Shortcut Layouts: Sometimes you might be editing and multiple systems, you have a desktop PC at home, but also laptop and your friend? Well, he has a beautiful Macintosh where you also sometimes to edit on. But what about your short keys. Can you transfer them with you if you have mapped a custom short key layouts? Well, yes you can. For starters, let's check out the short keys menu right here. Keyboard short keys, and on top we can find the keyboard layout presets. But default, you'll have a few in here. If you're coming over from Final Cut, you can choose that option so that your short keys are the same as with Final Cut. But of course, we can also create something by ourselves. That's for example, here, change that to U. I don't care what I'm doing now. This is going to be J and over here, P. Well, let's put that on O. I don't know. Right away, we can now see that we've got a custom layouts, and we can save that and give that a name. For example, Cool Layout and press "Okay". Now, here's a problem with Premiere, there's no way to import a layout. That means whenever you're traveling to your friend to edit on his beautiful new Mac, well, you can't really import your layout in there. Well, not through Premiere, but we can through the Finder or the Explorer. Let me show you where that file is actually saved. I'm in my Explorer right here, just in my root folder of my username, and I'm going to open up the "Documents" folder. From here you'll find something called "Adobe", double-click on that, and then right here will finds Premiere Pro. In that's folder you might see several versions, just pick out the last one, which is the most updated version that you're working in or maybe you're working in previous version. Well, then you know that you can choose that one as well. I'll just pick out the last one, the one that I'm working in. Click "Profile-Cinecom", and then right here will find a folder called Win. You're on a Mac it works exactly the same. You also have the exact same path. You start with your username, go to "Documents", "Adobe", "Premiere", your version profile, your name again, and then right here you'll find a folder called Mac, obviously. Double-click on that, and it's right here you can find your cool layout. The one that we have just created. We can also just delete everything in here if you like so. Let me go back to here. Let me just close that window. Go back to "Keyboard Shortcuts", you'll now see that our cool layout is gone. But what I also have here on my desktop. Let me just take a new window, and go over to my desktop. I actually have a layout called Jordy. What I can do is just simply copy that, "Control C" or "Command C" for the Mac users, and then press "Control V" to paste that in there. When I now go back to Premiere, just close that window because we have to refresh that. Right now, you'll see from the drop-down menu that I have an option called Jordy. When I select that, you'll see that a bunch of short keys are gone because that's basically what I did in that layout. Thank you so much for watching. In the next lesson, we're going to take a look at the difference between scale to frame and fit to frame. 6. Fit to Frame Size VS Scale to Frame Size: When you're working with higher resolution source files, such as 5K, we can bring them into an ultra HD sequence and scale them down. But in premier, we've got two options for that. We've got scale to frame size and fit to frame size. But what is the difference? Well, let's first of all look at this clip right here. It would it select it hat over 2D effects control, select emotion, and you can see that this clip is larger than the sequence size. So we can either like scale it down like so that it fits to the frame size, or we can also right-click on that clip and choose scale to or set to frame size. When choosing set to frame size, premiere will actually do that action that I've just done, just set it to 80 percent scale. But when choosing the other option scale to frame size, you'll see that they will do the exact same thing here and you program monitor, but it will retain the scale at 100 percent. The difference between these two is that with set to frame size, it will actually just decreased the scale of that clip while retaining its full resolution, 5K in this case. However, we're going to set it to scale to frame size, it will actually resample, that's clip making the 5K actually 4K, and that is why it will retain that scale of 100 percent. Now, this could be very useful when you're working with 8K source file on an old laptop. When choosing scale to frame size, it will re-sampled that and to play back in premiere will actually go smoother. Now, let's talk about workflow because we are working here with 5K resolution source glimpse in an ultra HD sequence, and it's going to take a little time if we have to right-click every clip and scale or set it to the frame size. Well, for starters, we can go to the menu here, edits, go to keyboard shortcuts. Let's just search for frame size. Here are those two options. So we could ultimately set a short key for that if we like so. However, there are some better ways to do it. First of all, we can select all the clips in here, go over to the menu here clip, then go to video options, and from there select scale to frame size. On this source clips, we only have the option to scale it to the frame size and not set it to the frame size. So when we do that, all these clips are now scaled to frame size. So when we're going to drag any of these files here to the timeline, select that clip, head over to the motion of property. You'll notice that the scale is set to 100. However, the clip is scaled or better set resamples to the correct frame size. But what if I want to actually scale down each clip to 80 percent to retain that quality? Well, no worries, I can help you out. So let me just delete that clip right here, right over to the menu, select "Edit," "Preferences," and then choose "Media." From here you can see that we have an option called default media scaling, and you want to set that to set to frame size. This could be like very confusing. Scale to frame size should actually be like actually scaling it to 80 percent instead of the set to frame size, it takes some time. But remember, in the Adobe universe, nothing makes sense. Let's just press okay and whenever we're going to add any of these clips here to the timeline, let's take clip 12, you'll notice that it has automatically now been scaled to 80 percent, and from there we can upscale that if you like so to 90 or whatever we want. There we go. That's a difference between set to, and scale to frame size. Well, that actually should be the other way around. Anyways, I hope that you've learned something new and also how it can benefit your workflow. Thank you for watching, and in the next lesson, we're going to eat some pancakes. 7. Pancake Editing Workflow: All right. I was lying. We're not going to eat pancakes. We're going to pancake edit, which is more of a workflow technique inside Adobe Premier Pro. It's a very efficient workflow when you're editing on larger projects that usually have multiple stages within the edits. Let me just show you how that works. What I've got right here is a sequence called Selection, and within that sequence, I just have all of my clips from the B-roll folder. But what I've done is actually, I went through all the shots. I took out the best shots that I wanted to work with, and I've already set in and out points to every single one of these. This is the first stage within an edit. For the second stage, I'm going to create a new sequence, and I'm going to call this sequence Final Edits, and then press "Okay". What I want to do now is actually use my Selection sequence to bring clips from here into my final edits. But in order to do that more efficient, we're going to stack them on top of each other, and that's where the name pancake editing comes from. Just grab this panel and drag it below, like so. Now we've got the Selection on top, and we got the Final Edits on the bottom. Now we can just scrub through all of this. Let me just see where I can find a nice clip here. [inaudible] is preparing his paint, and just dragged it over into my Final Edits. As you can see, we will take a copy of that. Usually, and that is my personal work flow, I tend to push the clip that I already used to track number two, which I can do by holding down the Alt key and then Arrow Up like so. Or a different way, let me just undo that action, is to give that a label color. From the new version of Premier Pro 2020, we can actually set a short key for that. From the Menu here, go to Keyboard Shortcuts, and let's just search for Yellow, label color Yellow, I'm going to set the short key for that, for example, One, press "Okay". So now we can just select that, press the "One" on my keyboard, and I can instantly see which clip that I already used. From here we can continue. We can select more files like that, also give that a label color. This one as well, maybe, give it a label color, and this one as well. That is what's pancake editing is all about. What this is also useful for is, if you have multiple versions of your edits, for example, you have made a commercial, or a corporate video for a client, and you've sent it over to your clients. But then that person comes back with a ton of feedback. What you'd never want to do is just throw away your first edit to start over. No. Just create a second sequence to start over, but retain your first one. I would also then just lay my first version on top, and just drag out the clips that I need to add it to number two. What you can also do is take a copy of your first version, and start working on a copy. In that way, you can always look back to how your first draft look like. Well, yeah, that's, it's pancake editing. Something very short, but so useful if you haven't heard about it before. In the next video, we're going to take a look at how we can do some multi-camera editing. 8. Multicamera Editing: Hi, you're back. Yeah, premiere just crashed. Someone imported an entire interview into the program,with three cameras. Who does that? Doing an interview with three cameras. Anyways, I think that I've got everything under control. I hope so anyways, so let's see how we can edit this interview. Right here in a folder interview we got three camera angles A, B, and C. This is just Genic talking about his miniatures and how he paints them and what he loves about this miniatures. There's a fast way to edit that inside Premiere Pro and that is through a technique called multi-camera editing. But before we start with that, we first need to synchronize to three tracks. As you can see in each single one of these camera angles, we have Genic clapping his hands, and it's right here. That is our synchronization points, so we go to that point where Genic claps in his hands and we're going to set an endpoint is pressed the I key on your keyboard. Then go to the next clip, camera B. Also here find that spot where Genic claps hands endpoint, then camera C right here, clapping his hands set endpoints. As now we can go ahead, select all these three clips, right-click and say create multi-camera source sequence. These three clips will be added to a special sequence called a multi-camera sequence. For starters, we can give that multi-camera source a name. For example, let's go to custom and just call that Multicam interview. Then select how we would like to synchronize these three tracks. Of course, we're going to select endpoints because that is what we've just sets right here. You can also synchronize it from a time coat if your camera's support that. Or you can also automatically synchronize it through the audio track. But I'm not a huge fan of automations. You never know what could go wrong and after all, we're just working with three clips here, so it's not a big problem to just set three endpoints. Then every year we can choose which kind of sequence that needs to be created. Most of the time you're just going to say automatic, which means just take the same sequence settings as your source. We got some more organization options and finally the naming of the different cameras. The first one just means camera 1, 2, and 3, which is usually fine, hit okay. As you'll see, a new sequence or multi-camera sequence has been created and the three clips that are in there are now in a folder called processed clips. What we can do now is just create a new normal sequence from here, call that interview press okay. Within that sequence, we can drag in that multi-camera interviews sequence. So there it is, we can just handle that as a normal clip as we would with any other clip in Premiere. Now here comes the very cool part about its multi-camera editing, because after all, it's a specific workflow type of editing. From the program monitor, what you want to do here is click on the tool icon and from there, set the view to multi-camera. I'm going to drag this panel now a little bit more open like so. On the left side we have our three camera angles, and on the right side we have the camera angle, that is live. So if i cut to a different angle, you'll see that we get a different live points. Now here comes the cool stuff. Whenever I'm going to play this clip in my timeline, I can actually now just click between these different camera angles and you'll see that the edge around it becomes now reds. That indicates now that I'm live cutting this interview. A Premiere does have some trouble playing his back because after all, we are working with street different tracks. What I'm going to do here is change my resolution playback to one eighth or something. Anyways, you could already see now in our timeline that does multi-camera clip has been automatically cut. From when playing this back, you'll also notice that Premiere will automatically cuts through those angles that I've said before,so It has been live recording my actions. Now one thing to pay attention to is your audio track and then even sure from which camera angle this comes from. Either way, I'm going to delete that because the audio was recorded on camera A. We had this wireless mic on Genic and that is connected to camera A. The endpoint is still the same, it has been set. So from here I can now just drag only the audio into my timeline. That way I'm sure that I'm working with the correct audio because after all, only the video track needs to be cut live. This clicking is final, but there are also some short keys that we can sets. For menu edit, short keys, I'm going to search for camera, and it should be somewhere down here, cut to camera. It's certainly sets to control 1, 2, 3 and so on. What I'm actually going to do is just set this to my Num pad and have 1, 2, 3, 4, etc. Press okay. So what I can do now is just say cut to Camera number 1, then cut to Camera number 3 again. Right now we're going to cut to camera angle number 2, etc. Much more fluent to edit that way. Now if there are parts here in your edit that you went you like cut away from, for example, right here we've got a big pause, so you can see that in the audio as well. You're probably asking Genic a new question. Simply what I can do here is add a cut control K, go a bit forward in time and ripple trim, delete this part away by pressing the Q on your keyboard or whichever short key that you set, the Q is by default, by the way. So that an essence how multi-camera editing works. Now, say that you are recording a long dance show or a theater plate. To recording that would a bunch of DSLR cameras. Now, what are the limitations of such cameras is that they can only record up to 30 minutes every time. You're going to have to stop the camera and start it again. For every camera angle, you're going to have multiple clips. We can't just say you're in Premiere to select all of the clips, because that is going to just make more tracks of those camera angles. Here's what we're going to do, I'm going to start over by creating a new sequence and I'm going to call this interview sources and then press okay. It's right in here I'm going to put in all of my clips. Camera A is going to come in here to say keep existing settings, Camera B can come in there and camera C. I'm going to utilize every track in here which represents one camera angles. If I want now I can start cutting in here, so for example, this one and just move that over to the right side because maybe this is the part where I had to stop and then start that camera back. So that means I need a little gap in here because the audio needs to be synchronized or to video. You can also do that with audio clip like this one, for example, we get over and you can continue doing that. You can just keep on editing just as long as you're paying attention to the fact that we are utilizing every track for one camera angle. You can have multiple clips in there. Once you're done with that, what we're going to do now is simply select one entire track, right-click and say nest, we're going to call that camera 1. Press okay, the next one, right-click nest. Where is it? There it is. Camera 2. Then this one over here, select nest Camera 3. In our project panel, we can now find these three nested sequences in here. Select them all right-click and from there choose creates multi-camera source sequence. Let's call this. I don't know, I'll just dance, show whatever hit okay. The process clips are now in a folder, but these are actually the sequences. We've got a new multi-camera sequence cold dance show. So what I could actually do now is just delete all of these sequences in here for my interview sources and drag in the dance show in there. This works exactly the same now. I can go where that's played his back and cut in real-time to different camera angle. But also whenever that I find an error or just something that needs to be edited specifically on that clip. I can always go back to my processed clips right here, which are just a sequences, open up one of those camera angles, for example, camera 1, and just work in a timeline right here. I can actually move these down once the are in that nested sequence, it doesn't matter anymore where they are at, so I can go ahead in here and maybe add an adjustment layer twist, hit okay, dragged it over the entire thing. As maybe I want to use that to add a specific effect to. Let's go back for black and white. When I now go back to my interview sources, you'll see that that clip here appears in black and white and not the others. Yeah, if you have multiple clips for maybe a reason to edit more on one specific camera angle, then this is your solution. Thank you so much for watching. In the next lesson, we're going to dive a little bit deeper in 2D options of a timeline. 9. Timeline Customization: I dropped my pen. Anyways, let's have a look at the timeline inside Premiere Pro because there are ton of [inaudible] that we can do and also a few problem-solving techniques. So let's get straight into it.. What I have right here is a simple edit of Yannick, is talking about his hobby. We have some B-roll shots over there, and the first thing that I want to mention is organization. Previously, we've seen how we can create markers, also how we can change the color of specific clips, the "Label," I'll set that the "Blue," But for the tracks, we can also change the name of that. So right here we've got "Video 1," if we right-click and say "Rename," we can change that to, for example, "Interview." Then over here, "Video 2" is going to be the "B Roll." The same thing goes for the all your tracks. We can also give that a name. So this one would be "Audio Interview," then maybe here we can add "Music," etc. Definitely, when you're working on larger projects, these small steps will help you in the long run. Let's have a look here at these buttons here on the top. The first one is pretty important. "Insert an override sequences as nests or as individual clips." What I have right here is a sequence, and in that sequence, I have a bunch of bureau clips as well. So what I can do in my main edit, I can just drag that sequence into it like so, and that will now be inserted as a nested sequence or as a sequence insight and that our sequence. We can treat this now as an entire group. But let's say that you wanted to have the individual clips out of that sequence. Well, then just disable that option and now we're going to drag in that sequence, you'll see that it will look at the individual clips, and that really depends on what your needs are. The "Snap in Timeline" option, we all know what that does, your clips are going to snap to out of the clips, or to markers, or to your play hats, or when we disabled that, it won't. Next up is "Linked Selection." There are some clips are linked together definitely with audio and video sometimes as you can see right here, but we can also disable that, which allows us to select one individual clip or part of that clip. Now, where could that be useful? For example, you notice that your audio is not perfectly in sync with your video. What we can then do is select your audio and by holding down the ÄLT key and using your arrow to the left or to the right, so we can nudge that audio track or audio clip to the left and to the right, we can offset that by a frame. You can also see an indicator to hear how we've offset that sync. Sometimes you notice that you just can't get it in sync by nudging your audio one frame to the left or one frame to the right. In order to nudge by those audio samples, we also have to enable something in our timeline. That can be done from the menu here on top, click on it, and say, "Show Audio Time Units." Before I'm going to do that, let me just first zoom in into my timeline and there will be a point where it can no longer zoom and that is this points, it does nothing anymore. But what I'm going to enable that option now, "Show Audio Time Units," I will be able to zoom further. The more I zoom, you'll suddenly see the actual waveform of the audio, which is going to be very interesting right there. With the audio selected right now, we can nudge that by audio samples, you can make very tiny steps. Next, this little tool icon right here, clicking on that gives you some more options. From here, we can show or not "Show Video Thumbnails," which we can see right here. We can also "Show Video Keyframes," "Video Names," etc. I think that these settings speak for themselves, but there's one thing in here that I would like to show you guys, and that is managed or safe presets. Lets say that we are currently working on the video. So that means that audio is not important, I'm going to you like collapse them a little bit, move the intersection between video and audio down, and maybe increase the height of the video tracks like this. What I can do now is just go to that tool like menu right here and say, "Save Presets" Give that a name, for example, "Video Editing," and we can nab that even to a specific shortcuts. We've got 10 preset slots, let's start with the first one and press "OK." Now, let's make a second layout as well. For the audio, I'm going to collapse all of the video tracks, move this one up, and now expand all of the audio tracks. Go back to that menu and say, "Save Preset," call this "Audio Editing" and save that under the slot number 2, press "OK." Now, to see which short key that was, we can always go to the menu "Edit" "Keyboard Shortcuts," and from here look for "Track Height" and it should be somewhere right in here, track height number 1. But default, I see that there is no preset sets for that, so let's just take one, for example the one on my num paths and a two for the other one, press "OK" and now a pressing these two keys, you can see that we can easily swap between these two presets and change my editing workspace. That brings me to one of the last things that I want to show you, which also has something to do with problem-solving. Here on the left side of the timeline, we've got some labels called V1, V2, etc, and we can select them or deselect them as you can see. That a first column here under right sides define sweater or nuts, the clips within that track should be targeted. So for example, I'm going to deselect V2, but do have V1 selected. When I'm going to scrub through my timeline, you'll see that automatically the clip will be selected under which one that I have my play head to. Moving forward in time will not select the clips here in track number 2, but it will select the next one, which is in track number 1. Now, what I'm going to select V1, you'll notice now that these clips will be selected as I scrub through it. Now, the column here on the left side will enable or disable the track whenever we're going to import new clips in there. For example, what I'm going to select the track number 2, and also for the audio, now to move, I play a little bit forward in time here, and what I have right here is a part of interview from Yannick, and I'm just going to import that now into my timeline with this button right here. As I do so, you'll notice that it will utilize the track number 2 for both the video and the audio, because that has been selected for the inputs. But now look what happens, I'm going to delete these two and I'm going to disable one of the audio input tracks. When I'm going to insert this clip into my timeline now, only the video will be inserted because no audio tracks have been selected. The same thing will also happen whenever I'm going to drag in that clip from the project panel directly into the timeline. There is no way that I'm able to get the audio into my timeline because none of the input tracks have been enabled. That is a very common mistake that I see happening a lot where people are stuck with that and they're wondering, why isn't my audio coming with my clip? That is probably the number one reason. It's very had litter problem-solving technique. I hope that you've learned something new. Edit this lesson, in the next one, we're going to take a look at some more project settings. 10. Project Settings: A short lesson, but I do have some very important information for you, so definitely stick around. First of all, let's have a look at some project settings. We can go up here File and head over to Project Settings General. I want to start here with this second step called scratch disks. It's important to know that whenever you're going to render something in your timeline the video previews and the audio previews are saved somewhere. By default it's always the same as the project which is in this case this patch right here, but you can also change that to a difference path, and the previews of all of your projects on one of the same location and that could be very useful when your hard drive is running out of space, then you know that all of your preview sit at that same spot so you can delete everything at once. Now we've talked about rendering a little bit before when we talked about the sequence settings, but let me go a little bit deeper into that subjects. In my effects library right here, I'm going to search for a specific effect in my video effects right here, then right here under obsolete which are a bunch of effects that aren't used anymore they will probably be the lead at some point in the future. Here it is, auto color. The auto color here at the right side, you don't see any of these icons that we do see here with these effects. We can also find them back here on top and when hoovering down, we get a little tool tip with some more information. These are accelerated effects and that means that these effects with that icon actually work on your graphical card, which is a lot more powerful than your processor. When clicking on that, we're going to filter all of the effects that are accelerated by the GPU. Let me just uncheck that again. So whenever we're going to apply one of these effects to a clip, you'll see here on top that the line stays yellow hence that we should be able to play back that clip in real time. Let me just also change a little bit the value of here, and I'll set that to 50. We can still play this back in real time without any problem. But I'm going to delete that and I'm going to apply the auto color right now to my clip and now you'll see that this line right here turns red. So that means that we are not able to play this back in real time. It's still going pretty okay smooth and that's probably because my processor is so fast. Maybe let's set the preview here to full because I do want to show you guys that. There you can already tell that it has a ton more problem. So what we're going to have to do is render this clip and that can be done by hitting the return key, and it will now be rendered and that file is actually an export that is happening in the same location as your project, something that we've seen within the project settings. Let's go to where my project is saved and right here we can find Adobe Premier Pro video previews. We're currently working in this project number ten, project settings right here is that rendered clip, and we can delete that without any problem from here, but also from the program on top, sequence, select deletes render files. Yes, I would like to do that and now your render files will be deleted, as you can see. Apart from this clip right here, the rest of my timeline is the yellow, which means smooth playback. These clips are being handled by the graphical card or at least a part of that. When going back to the Menu, File, Project Settings General, we can find an option called Video Rendering and Playback. We can set that render here, which is currently set to Mercury Engine GPU Acceleration to software only. When selecting this option right here and then press "Okay". Everything in my timeline is being handled by the processor. My graphical card is not being used, which also means that playback won't go as smooth as you can see right here. Premier Pro has a lot more trouble playing these clips back. There are sometimes when you are working in that Mercury Engine with the GPU, let me set that back, press "Okay". There could appear some problems where your screen might turn black or any other issue, then you can always set it back to software only and that should fix the problem. It's a common issue with Premier Pro and that is a little work around for it. That brings me to the last important project setting and that is with the labeling of your eclipse. Totally it's turned off. So that means whenever I'm going to label this clip right here to something else, let's take mango. Only that's clip will be colored mango. Let me just undo that action. Now, go to File, Project Settings General and I'm going to hit at the bottom, check display the project item name and label color for all of the instances. Check that press "Okay", and whenever I'm going to right-click on this now, say label mango, you'll see that all of these three clips will be labeled and that is because these three clips are coming from the exact same source clip. This is the same interview. We can also see here in the name, camera A, camera A, camera A and through my project settings whenever I'm going to change that clip here, camera A. Lets change that to Awesome Yannick. You'll also see here that all of these clips are updated to that name. If you don't want that, go to File, Project Settings General and disable that option, hit OK. Those were some project settings that are important and also some new troubleshooting techniques. [inaudible] 11. Multi Language Closed Captions: Hi. You're back. Sorry. I didn't see you there. I was just making a video with my old fashioned video camera. Look at that. That reminds me, let's create some subtitles in Premiere. Not that subtitles are old fashion, but the way Premiere handles it, it is. What we have right here is a short interview of Janick and we can either create subtitles by using the type tools here that just go ahead and type whatever he's saying. But that of course limits us. We cannot change the style of all of the subtitles once we're done. We also have the subtitles baked into the video. That's right. We can actually export that as a different file. All old, this is not really an ideal workflow. I'm going to delete this and we're going to take a look at captions. A caption can be created from the project window here on the bottom and then choose captions. For starters we have to choose which standards that the captions are and there are two big differences here. We got closed captions, which are these two here on top and then at the bottom, we've got open captions. Closed captions are nuts baked into the video. That means that you can give the end user the ability to enable or disable those subtitles. They can also change languages maybe, etc. You're asked what's open captions. Those are baked into the video. They're just there. You can't change the style or can't turn them on and off. However, in Premiere, we actually do have an option to nots bake in the open captions. I'm just going to pick that. Hit Okay and we've got an open captions file which I can now just drag over to via track number 2. Make that as long as my entire edit. Select that one and now we're going to have to go to the captions window. If you can't find that one, go to the menu here on top window and make sure that captions is enabled. Within the track, we can see where the subtitle appears. We can also drag this shorter and longer in time depending on what Janick here is saying. Let's have a listen. My hobby is Lord of the Rings strategy battle game. My hobby is Lord of the Rings strategy battle game. With that clip selected, let's change the text of the first subtitle. There we go. It stops right here. I'm also going to drag this text a little bit shorter to this point. Now we can go ahead and create a new subtitle by pressing the plus key here on the bottom and let's have a listen to the next sentence. It's a board game where you have miniatures. It's a board game where you have miniatures. Drag that longer. What I usually like to do is have like a small gap in-between two new sentences. Because that way you'll see that the text will flicker a little bit and it'll draw attention to the bottom notifying the idea, insert a new title has appeared. It's something subtle, but I found out that it works pretty well. Ring strategy battle game and it says battle game. There we go. Now let's continue with the rest. There we go. All of my subtitles have been set to my video. But a pretty cool thing about the open captions is that we can style this text as well. With that selected here, we can right-click into the captions window and say, Select all and from there, we can go ahead and just style it. For example, maybe the size has to be a little bit bigger. Set that to 85. The background, I'm just going to set the capacity to zero and maybe change the text color itself to something yellow. Accidentally, I also changed the position, which we can do right here. We can set it in the middle. We can set it here on the corner right or, of course, on the bottom in the middle bottom, which is the most used. Let's add one more thing to it, a little edge. Increase the capacity of that and change the color to black. There we go. Looking good. Very clear. Looks nice. Let's go ahead now and export this. Let's go to File, Export, Media. Right here we can find next to the video, audio tap and everything, the caption step. Click on that and from here we have the option to either burn in the captions into the video and when we select that, we also get a preview of how that looks, or we can choose to export it to a site car or a separate file. There are two types of formats, and I would always go for subscript because that is the most standard used. Definitely when you're going to upload your video to YouTube, you can actually upload your subtitle file to YouTube as well. With that selected, I'm going to give that a name here. This is going to be Janick's interview. On the desktop, press Safe and then Exports. Let's have a look on the desktop. It's right there, Janick's interview, but also a CRT file. Let me just open that up, which is basically a text file. It's going to define the first, the second, the third subtitle, and so on, the time coat in between where to subtitle has to appear and, of course, the actual subtitle text. We could go ahead and also create our subtitles in here, but this is not so user-friendly. Adobe or some dedicated subtitling program is, of course, a lot better. Let's open up the video file right now. I'm going to do that with a program called VLC. It's a free media player program. You can go ahead and download that if you don't have it and automatically, it will show the subtitles that I've created. But because it's reading that from a flat text file, it will not take over the style that I have to read. It's that yellow text. It's going to define its own style to it. But programs like VLC, the end user can choose the styling. But sometimes, like a DVD player will have a built-in style where the end-user can not change the styling of the subtitles. But we can, however, if we right-click subtitle, subtract, and disable those subtitles. That is what makes closed captions or having your subtitles in a separate file so interesting. Also, we can start working now with multiple languages and there are a couple of ways to do that. First of all, because we have this file right now here, we can go ahead and just like rename this to English. Then just copy and paste that file and call the other one Dutch. Opening up the Dutch file, I can just go ahead and change the text in here to a different language. Let's do that quickly. There we go. Close this file and let's open up the video again. Now VLC will not play those subtitles by default and that is because the subtitle file does not have the exact same name as the video file. However, we can import some. Let's right-click, go to Subtitle, Add subtitle file and we can actually select both of them here, Dutch and English, and press Open. It's now added and it should play one of those subtitle tracks. It's currently set to English, but I can also right-click again. Go to Subtitle, Sub Track, and select the other one, track 1, which is probably going to be the Dutch version. There we go. I think this is one of the best workflows if you need to have closed captions in multiple languages. You start with one language in Premier, export it out and create your additional languages by duplicating the text file. Let me just close this because there's something that I wish to show you guys. Let's go back to Premiere Pro. The way subtitles are being handled is through streams. Let's go back to create a new captions file. You can see here that we cannot change the stream of the open captions. That is because there is only one stream available. Let me show you guys what happens. We would all think that we can just go ahead and copy this. So this is English and let's Copy and Paste that to Dutch. We can just go ahead and delete this clip. I have one. For example, English on track 1 and Dutch on track 2. Since we're going to create Dutch right now, I'm going to disable the output of the English track. Go to Captions, and I'm just quickly going to type something in here. Let's assume that this here is all Dutch. We can see that the clip is being updated here. However, we can not see an update in the program monitor. It's still pointing towards this English file right here and that is because there is a collision right now. We are feeding two languages to one stream and that's not how it's supposed to work. With open captions, we can only create one language. That's it. If you want to create multiple streams or multiple languages, we actually have to go back to the project here. You can just delete Dutch because that doesn't work. Creating new captions file and this time, select one of the closed captions formats, which is the CEA. Now the 608 is from the old days when we still had standard definition. So let's pick out to the 708, which is high definition and from here, we can now see that you can select a couple of streams. We've got service 1-6, so we can go up to six languages. That's it. Anyways, let's select service 1, press Okay. I'm going to drag that into my timeline. When it's selected, head over to captions. Let's type in here, service 1. But we don't see anything. We don't see anything in our program monitor and that is because we have to do some stuff. Here's where Premiere is really old fashions working with these stupid streams. Anyways, we have to click on this little Settings button right here of the program monitor, go to Close Captions Display and click on Enable. We still can't see anything and that is because we again have to go to that menu, go to closed captions displayed, go to settings, and from here, make sure that we have the correct standard select, which is 708, and also makes sure that the right stream of selected, which is service 1, then press Okay and there we go. It looks very ugly and we can't change the styling of that. We don't have any font options. We can underline that, but that's pretty much it. That's because this is not meant to bake into your video. This is meant as always as a separate file so your final products such as the DVD player or your media player, such as VLC will define the styling. Now here's the whole thing. Let's say that you have subtitle than have our long film into the service 1 stream, which today I want to do is go head back to your project, Copy and Paste here. Make a duplication of service 1. Let's name that service 2 now and I'm going to drag this into my timeline. There we go. This is going to be the second language. Would it select 10 over 2 captions, and you'll notice that we can't change the stream. What you have to do is go back to your projects, create a new captions file and this time select service 2. That means you can't start copying and pasting subtitles. You'll have to define all of the timestamps again. Yeah. I'm just showing this to you guys so that you know it's out there, that it exists, but you probably will never use that. It's just very stupid and I have no idea why Premiere doesn't update this. Anyways, if you do, would like to keep working in Premiere for your subtitles with multiple languages, I have found out a workflow that is quite user-friendly, or let's just say the most user-friendly that we can go. Again, guys, I didn't invent the Premiere. I'm just here to teach you guys how the program works. We've got English subtitles with the open captions file that we created before. Again, I would just suggest to always work with the open captions. What I'm going to do now is just save my project and minimize Premiere Pro. Right here, English. That's the project that we were working in. Control C, Control V, make a copy of that and I'm going to name this project Dutch. Let me just put it right here next to it, English and Dutch. What we can do now is double-click on Dutch and have two projects at the same time, open insights Premiere Pro. Now for the Dutch project, what I'm going to do here is do some renaming. We're going to rename this one here to Dutch subtitles as well as the captions file, Dutch. Now we can see that we have two sequences, two timelines for one is English and the other one is Dutch. Shown this just to prove my point, let me just quickly change all of the texts in here. This is Dutch. That's right. This is how we speak in Dutch lands. We can see here now and for English we still have my hobby is Lord of the Rings strategy battle game. This is the only work ground that I found and I actually found that on an old form of Adobe, or someone who actually works at Adobe proposed this workflow and that is how you can create closed captions or subtitles in multiple languages. Thank you for watching. 12. Advanced Animations with Keyframes: Keyframes, we all know what they are, what they do, but let's have a look at some more advanced keyframing or animation techniques. But first, where did I left those keyframes? Here they are, was looking for these guys. Let's have a look at this lesson, how to do some more advanced keyframing that's why I was looking for keyframes. I found them so we can start. What I have here in my timeline is a normal texts clip and a background clip. With the text selected, head over to the effects controls for which we can create animations. Let's create one on the Position property. To do so, start with your Position A, let's say on a top, then create a keyframe for that or start the animation, a keyframe is created, go forward in time and now let's push that position down and a new keyframe has been created. If you play back this clip right now, you'll see that the animation will play. We're going from Point A to Point B, and that takes a specific amount of time to do so. If we move these two keyframes closer to each other, the animation will go faster. That is the basics of how to create keyframes and you should know these already. Now, let's have a look at some more advanced techniques and turn one of these keyframes into this. When right-clicking on a keyframe, we get two options, temporal interpolation and spatial interpolation. Lets start with the spatial interpolation. This is how the two keyframes acts in between. If I select my Motion property, we can see that we've got a straight linear line. However, we do have this lever on the keyframe and if we pool that, we can actually change the paths. Even though the text is still going from Point A to Point B is doing that now in a different route. Playing this back we'll see that the painting title will go into an arc and that is the spatial interpolation. We can also select these two key frames, Right-click and, fine it back here and it's currently set to a Bezier. If we set it back to Linear, that line will go back into a straight line. This can get very useful if we're working with multiple keyframes. For instance, in-between these two, let's create a new keyframe. Let's just grab this text and move this little bit to the right side, and since these spatial interpolation has been set to linear, this animation will now also go more into its triangle, but if we'd like to make it so more of a curve here, we can select these keyframes or only the middle one because that's the one that we're going to make into an arc, Right-click, choose Spatial Interpolation and just set that to Bezier and automatically you'll see that we get more of a curve here. We have these levers again which we can pull to make that curve bigger. Let's delete the middle keyframe and focus back on these two. That's it for the spatial interpolation and we've got a visual curve here in the program monitoring. By the way, this is only visible when selecting the motion property. If you don't select it, you don't see that frame around it. The other menu, let's Right-click on one of these keyframes again. Temporal Interpolation is how the keyframe itself should behave. That means when the animation starts, should it go instant or slow or fast? Well, that can be set from here. On the bottom, we can find two very interesting options and these are used very often throughout animations. Ease Out means that the animation that is going out of the keyframe will start very smooth and Ease In means that when the animation comes to words to keyframe that it has to slowly stop. I know that this sometimes can be confusing because the first keyframe sometimes appears like it's the in or the Ease In, but it's actually Ease Out. You always have to see animation as something that's going from the left to the right. As we go out of that keyframe and into the last keyframe, we talk about Ease Out for this one and Ease In for last one. Now you can see that we've turns this keyframe into this. This is actually very good educational material. Let's play it back now. You see here the animation starts smooth and also ends smooth. Where is this curve? We can't see it's an a program monitor but we can see it when expanding the property. In this case the Position property and here's that curve. But the higher that curve is, the faster the animation will go and the lower that curve is the slower it will go. If I pull on the beginning level right here, the peak of that curve becomes higher but here at the beginning it's much lower. Now, do remember that we've set a Point A and Point B in time. The animation has a certain amount of time to go from one point to another, so if we'd make it go faster in the one point, it has to go slower in another point. That's played his back right now, it will go slow and then it will go fast. You can make some really interesting animations by pulling on these curves. Look at this here. This one is pretty cool as well. It goes super slow and fast until the ends. When it set them back to linear, Right-click Temporal Interpolation Linear and it start and stop without any easing. Of course, when you're animating you most of the time when it makes sure that your animations are eased, these Ease Out and Ease In is super important. Let's add a third keyframe in here again as well. Right here, I'll just push this text again to the right side. We've got a nice little triangle going on in there and everything goes very static now. The texts starts. It bounces there in the corner and then it comes back to its last keyframe. Let's say Ease Out for the first keyframe and Ease In for the last keyframe and for the one in-between, we might want to have both like Ease In and Ease Out. For that we'll just simply Right-click, go back to that menu Temporal Interpolation and instead of choosing one of these eases we'll just going to say Bezier. Now your animation starts smooth. It will slowly go to that corner and accelerate again until it reaches its end points. Again, we can play around with these curves and you can actually see what I'm going to zoom in a bit more maybe that the middle keyframe right here sits a little bit higher than the first and the last keyframe. That means that the text won't actually stop in between there. If you want that to do it we actually have to pull down these two levers here. Now we know that the animation will actually come to an entire stop because we know the lower that line is, the slower the animation nation goes and when it sits in the bottom, it doesn't move. Let's play this back right now. You'll see that the text will stop for a brief moment there and then it will go further. If we don't want it to stop would just pull it up again like this. You'll see now that the animation accelerates until this points and then slowly stops until its last points. There we go and that is how you can create yourself some more smooth animations. Remember we don't want to see these guys. No, we want to see these guys right here. These are our favorites. Now, we've been working mostly on the position property, but do remember that this works exactly the same rotation as well for the scale or any other effects property too. That was it, thank you so much for watching and I'll see you in the next lesson where we'll talk a bit more about the essential graphics. 13. Working with Essential Graphics: Graphics and text, the T button in the toolbar. That's what we're going to work with in this lesson. We don't need these keyframes anymore, or they actually do. It's important guys, put that in your minds. Anyways, we know what these are now, so let's continue. Clicking on the T button in the toolbar can help you to create texts. Let's click in here and say texts. There we go. As you can see, a new file has been added to our timeline automatically, and that is called a graphics file, but let me just delete that layer back. We can also create texts from the graphics essential. That can be found on a top window and then graphics essential, no, sorry, it's essential graphics. Click on that, which will open up a brand new panel and we can find two tabs here on top, one is Browse and the other one is Edit. The Browse one is where we store templates, where we can import templates, where we can create templates and everything, but that is for a later lesson. First, let's have a look at the Edit tab and actually create our own graphics. From here we also have a new item button or a new layer button from which we can creates texts. Clicking on that actually does the exact same thing as previously taking that text tool on the bottom. We can say awesome text and that created a text layer. Taking the pen tool, we can grab that text, make that larger, move anywhere we want. Now, interesting enough, since the essential graphics was introduced, we no longer have to create multiple layers in our timeline if we needs multiple graphics. We can simply go ahead right in here and from there say a new rectangle, for example. We can then just enlarge that rectangle and just fill up the screen maybe. There you go. That all sits in that same graphics layer. From the essential graphics, we can also rename that. For example, this is going to be the backgrounds, which has to be below the awesome text. So let's move that so that we can see it. We can give that a different fill color. Let's give that a little bit more, a vibrant red. Look at that. As for the text, we can also play around with that. We've got some different font styles, some different appearance styles and everything. Also here at the top, super important, some alignments and transform tools. For example, if we're not sure that this is the middle, we can click these two buttons to make sure that this text is exactly in the middle. I think that these tools here speak for themselves. I don't want to go too deep into that because there's a lot that we have to do. Let's design something that looks cool. So let's continue. I'm going to create another rectangle and place that below my text and make that a little bit larger so that it fills up behind my text. Looking good. Also just align that to the middle. Maybe give this one here a different fill color so that we can actually see that rectangle. Let's go for something, I don't know, like yellow. There we go. Now, through the essential graphics, we are limited on how we can style these layers. For instance, with the backgrounds, we can't really add a gradient over this. We only have fill and that's it. Something that we could do is, for example, go to the effects library and search for ramp which is such an effect to create a gradient over that and with our text selected, we can also see here in the effects controls that we can find those exact same layers back in here as well. The same that we have in the essential graphics. What we could do is place the ramp effect above the backgrounds. That is something possible to do, but every effect that we apply in here will be applied to all the layers on the bottom. For instance, if we'd like to add to this ramp effect only to the shape, that is not really possible this way because by moving up the ramp effect above that text backgrounds, it will just be applied to everything below that ramp effects. That means we do have to find the workaround for that or work with multiple layers into timeline. For now, let's just place the ramp effect below the text background and have it only applied on the actual backgrounds. Let's take something more like vibrant red for this one, for a start color, and the end color may be a little bit less vibrant like so, and then change the ramp shape to radial ramp. That way we have this more vibrance going on in the middle and the darker reds here on the sides. Maybe make it a little bit more darker, like that. Looking good. All right. We can then go ahead and animate this text and everything as well and that it can be done in multiple ways. For example, for instance, with the backgrounds, we can actually just click here at the essential graphics on that layer and then here, this is the position property, and by clicking on the icon next to it, we can toggle the animation for the position. This is the ending position already, so we're going to move a little bit forward in time. Click on that icon, then go back in time and now it's pushed its backgrounds down. There we go. Let's play this now, hence the backgrounds will pop up. Now of course, this doesn't give you much controls over your animations so I would actually never advice to do it in this panel. Always go to your effects controls and just open up the shape from there. Here you can see those keyframes, which we can now also ease. For example, the last keyframe has to be eased in. We can even go ahead and expand that property to change to curve and make it look really awesome. Let's continue and also do that for the text backgrounds position keyframe. We're going to place that. That's the current position. So let's grab that keyframe, move that forward in time and push that rectangle down. This is now position A going up like that. Always make sure to ease in. Let's have a look. Nice. Finally is the texts right up here. Maybe do something different with that text. Let say scale of depth but you'll notice as we are going to scale that text that will be scaled to the bottom-left corner and that is because the anchor point sits there. What we first want to do is take that anchor point and bring it over to the middle. That will also change to position which is still already aired in Premier, but no worries, we can just simply use the align and transform buttons here to bring it back here in the middle. Now when we go to scale that, it will do so around that anchor points. Let's create a keyframe for the scale. Move that keyframe up in time and bring the scale down to zero. Again, he's in, let's play that. There it is, the text. Let's play the entire animation, it comes in, that comes in and it exits there. Very interesting now is that everything here sits within one layer. So that means we can take this layer and reposition that anywhere in our edits. Now, let's say that you want to make like a global animation. What we could do is go to the normal motion property and perhaps like scale this up, but this is not a healthy way of further animating your graphic and that is because you can see here that the text starts to get blurry even though we are working with vectors. I'm going to reset here to scale and to begin actually find a global vector motion property on top. Expanding that will also reveal the exact same motion properties. So from here we can also just scale it up. You'll see here that we retain those sharp edges from the texts. What we can also do to reset that vector motion back is actually create groups inside the essential graphics. For example, we can say this is everything from the first animation. Let's select everything and press on the create group. It will place everything within that folder. We can also give that a name, for example, the first text or whatever, hence inside our effects controls, we can also find that group back. Under that group now sit all of our layers that we've created. When expanding that group, we have, again, those same motion properties. We can now change the scaling of that group separately. This could be very interesting. For example, what I've created here before I started with the lesson in my timeline is another graphic where we have some pillars that are popping up as you can see right here. I'm going to leave it in the middle whether or not that is good graphical design. Hey, I've animated some pillars. Let's just leave it with that. What I can just simply do is select that folder. I've created the group for that as well. In here, we can find those three pillars which have been animated. I can simply go ahead, select that, say control C to copy that group, then go to my other essential graphic and in here, say control V to paste those pillars. Now they are in here as well with their animation. For instance, we can now also create a different animation on that group. With that selected, expand that property and before those pillars pop up, I'm going to create an animation for the scale, move forward in time and maybe perhaps scale that up too. Let's say one or 20 or something and whenever I'm going to play this back right now, you'll see that those pillars as a group will stay animated in the scale. Knowing that we can create such groups, we now understand that we can also add certain effects within those groups and only be applied to those layers. For instance, I want to add a ramp effect to these pillars as well. What I want to do is go back here to my effects library, search for that ramp, and I'm going to place it within that group here above the three pillars. In my effects control, we can see here that the ramp effect is being applied to these three pillars, but because they sit within that group, this ramp effect will not be applied to the first text group unless we're going to take that ramp effect out of that group of course, and put it all the way on the top, then it will be applied to everything. Let's put that effect back into that pillars group and perhaps change a little bit of the styling here. Let's go for something yellow. There we go. Awesome texts and three pillars makes absolutely no sense. But hey, we've learned something new today, right? We learned how to make groups, how to create different graphic layers, work with text, animate them, and that these are vector graphics and that you should never use the normal motion properties. That's it. Thank you so much for watching and I'll see you in the next lesson. 14. Create Custom Presets: Here's something pretty cool, a 16 millimeter Redflex camera. That thing is hot, really awesome, and it has nothing to do with this lesson. Let's just leave it there and have a look at what's on my screen. I have created two circles and one of them I've animated the position from the left to the right. By the way, this is going to be a very technical lesson because I want to talk about creating custom presets in a more specific some options that we get when creating a preset. What we can do is right-click on the motion property and say save presets. We can give that a name, for example, animation right. Then down here, we have a couple of options, and this is what I want to talk about in this lesson. How do my keyframes need to be stored within the presets? The first one is scale, so this is about one-third of the clip where my last keyframe is set at. The preset will also look at it that way, where the first keyframe is set at zero percent, the last one is set at 30 percent. Saving this as a preset hit "Okay", and I'm going to go to my effects library right now into the presets folder, we can find that in there the animation rights. Let's apply that to the graphic here on top. But before i want to do that, I'm going to trim this clip a little bit shorter. Now let's drag that animation preset to that top circle. What you'll see now is that the animation will let go as fast as the preset was saved, as as you can see here. That is because it has been scaled over the clip. Where in the first example, the last key frame set at around one-third of the clip, applying that to a short other clip will also plays that last keyframe on one-third of that clip. That is what scaling does. If you don't want that, let me just remove the keyframes from here, and I'm also going to delete my preset, there we go. Because we're going to create a new one, right-click on the motion property, say save presets. Again, moving to the right or whatever you want to call it, and this time we're going to say anchor to in point. That means it's going to retain the same distance in frames rather than in percentages. Press "Okay", and whenever I'm going to apply this preset now to the one or the graphic on top, you'll notice that the last keyframe here sits at the same position as the one that we've created our preset from. These two circles now move at the exact same time. I'm going to delete that preset again. Right-click again, save presets, this time choose anchor to out point, give that a name, motion right, and what I'm going to do now is actually look at the distance between the end of the clip and the last keyframe in here. This part right here, and it's going to retain that distance, because we're looking at the out point instead of the in points. This is mostly useful when creating an outgoing transition or something which we'll dive into in just a moment. Lets just press "Okay", and I'm going to apply my motion right to the graphic here on top, and you'll notice that the distance right here between the last key frame is the exact same as right here. The animation will be applied to a little bit later in time. But now let's scroll a little bit to the right side because book what we have right here, our beautiful [inaudible]. He's talking again about his miniatures of the rings, and what I've created is this beautiful animation as the B-roll starts, but also we've got a beautiful animation as the B-roll ends. I would like to save this as a preset because I'm going to use this more often through out my edits. Just click on that and it's right here to motion property, right-click, say save preset, and let's just call this wipe up. Now we're not going to pick scale because I want to retain that speed. If I'm going to add a new clip into my timeline that is a lot longer, that wipe up animation will also take a lot longer. I'm also not going to take anchor to out point, because this is a starting animation. I want to make sure that these two keyframes here sit at the beginning of my clip. That's why we're going to pick anchor to in points. Press "Okay." Lets do the exact same thing for clip number 14 right here. Right-click on my motion property, say save presets, and call this wipe down or something. This time do pick anchor to out points. Because I do not want these keyframes to appear somewhere in the middle or at the beginning, they always have to be on the end. To stick that last keyframe right here on the end of every new clip that I will be applying this to; I'm going to have to select anchor to out point, hit "Okay", and they can be found back right here now in my presets folder, wipe down and wipe up. Just to test it out, let me just delete these two clips. We're going to apply them again to to timeline. Here's clip number 6, let's take a different in and out points. Let's take this part, and for clip number 14, let's do the exact same thing, maybe a small part here in the beginning, that's it. Back to your effects library, wipe up is going to go to the first one, and wipe down is going to go to the last one. If everything is correct, the wipe down sits at the end, which has the exact same length that I have created in the first place. For the first clip, those keyframes sit at the beginning. Everything here should look right. Wipe up and here wipe down. Look at that and that is how keyframes work inside Adobe Premier Pro. The one last thing that I do like to mention, and that is; maybe you want to share one of these presets with your friends. Well, we can simply do that by right-clicking on any of your presets here, and then say export presets. But because we've got two of them, what I'm actually going to do first is create a new presets bin and call this wipes, and have these two presets within that wipes folder. Then I can now go ahead, right-click on that entire folder and say, export presets. Give that a name. For example wipes save, and I can actually go ahead and delete these to show you guys better what's going on. They are on my desktop, it's a simple file that I can share it through email, through my different computers, or to a friend, or a colleague. They can go ahead and right-click say "Import Presets", select that file and hit "open." That entire folder will now be imported, and in here we've got the wipe down and wipe up, which I can directly use now back in my edits. That is the wonderful world of presets and how to save them inside Adobe Premier Pro. Now I'm going to put this very old but very expensive camera back safely in the rack. Thanks for watching. 15. Advanced Text Graphics: Now here it is guys. I was looking for this button. Pretty important. The save button, you want to click on it pretty often when you're working inside Premiere. I'm going to let it close with me. Anyways, in this lesson we're going to take a look at some more advanced text techniques. What I have here in my timeline is just a very simple text which says, Lord of the Rings. What I'd like to explore here with the essential graphics panel is the mask with text option. What we can do is actually use this text as a mask for another layer. For instance, you want to see a video through the text. Well, that can be simply done by just taking a normal clip like this one right here and we can drag that clip here inside the essential graphics panel. We're going to lay that on the bottom, select the clip on the top, and then make sure to select mask with text, and there we go. Now we can see the video clip that lays underneath through that text which is pretty cool. We can also choose to invert that mask, which is basically going to reveal the video and not the text, but this is not so exciting. In this case, don't invert it and just have it like this. All right. For the next example, what I have here is just an animated text that is going up. Now what I want is that this text here actually reveals itself from behind something. What I'm going to do here on the end position, just stick to rectangle mask tool from my toolbox and just draw a rectangle over it just like that. What we can see now is with that shape selected here, make sure to say, "Mask with shape." What it's going to do now is only reveal the text when it sits within that shape. There'll be folder to the animation you will see that the text will go behind that mask thus revealing itself. As you can see, there are multiple ways to use a text or a shape or any other element within the essential graphics as a mask. All right. On to the next technique and that is right here where I have some credits. What I want to do is make sure that these credits roll up. To do that, simply select your graphics essential layer and without having any layer within selected, we can just say here on the bottom, "Roll." With that enabled, the animation already sits in place hence the texts will roll up. They're pretty cool is that we also get the scroll bar. So that means that we can work further on this text for however long that we want it to be. We can now just double click in here and add a line. For example, actor, hence the actor is Yannick, there we go. Now it's also animated within that rolling up texts. We also have some more options here, for example, preroll, that means how long should we wait before the animation starts. The same thing goes with postroll, but also some easing options. For example, we can say in the first couple of seconds we want the text to ease in. Now you'll see that the text will start coming up slowly and then accelerate faster. All right. Then finally is a pinning option. What I have right here is a new Graphics essential layer and within there I have some simple texts and also a background shape, just a simple rectangle. Then what I can do here with the text is pin it to, for example, that background shape. I can choose to which site that I would like to pin this to. We can say, for example, "Only to the left sides." But we can also click in the middle and say, "It has to be pinned to everything." So if I'm going to click here on the background shape now and move that to a different spot, you'll see that the text will always come with it. Even when I'm going to stretch out the background shape, you'll also see that it will also stretch out the texts. It has been pinned there so it will always follow whatever that I'm doing with the shape. That means that I can make a complex design, pin it altogether and then just animate one layer. Also like a group, but this also has the advantage that you can stretch it out as well and everything will stretch with it. Something that a group will not do. This means that I can make a complex design, just pin it all together and just do my animations on one layer. That's it, pretty much for the more advanced text techniques. I think all the rest speaks for itself like the size, the feel, the stroke, the shadow, and all those other styling options we have in the essential graphics panel. Now let's save this project. There we go, and let's continue to the next lesson. Thank you so much for watching. 16. Create Custom Templates: Templates. You can use someone else's work, or you can also create your own templates that someone else can use your work or just make it yourself easy and use your own custom design for multiple videos like maybe you're working on a show or something. Anyway, let's have a look at how we can do that. What I've got right here is just a simple graphic and I've added this animation tool which where we can see this text with a background chip pop open. During a previous lesson, we have seen that we can pin different layers together and what I've done right now is actually the opposite of what we did last lesson, and that is linking the background shape to the texts to repin into option. This means that whenever I'm going to change the text, the size of the background shape will also change. Let me just show that to you. It truly says Lord of the Rings, but let's change the text to something else. You just say text and as you can see here, the background changes in size as well. That is something perfect for templates. As you always want to make sure that whenever you're going to change the text from within that your design also changes with your texts. I mean reset that back to Lord of the Rings because that is pretty cool. What we can do is actually save this as a templates that we can use that in other projects as well and the templates can be found back here under the browse tab on top and by default, you will already see a bunch of templates in here. Whenever we are going to install Premier Pro, this come with the installation by default. They are not the greatest templates, but they're there. If you don't like them, you can also just right click any of these and just say "Delete". Yes, I'm sure. Now this is a local templates folder or some folder that is stored on your computer. That means whenever I'm going to import a template in here, that doesn't mean that it will also appear on another computer, but we also have an Adobe Stock templates location. Adobe Stock is essentially an additional subscription from Adobe or you can purchase Stock clips, but also templates and the cool thing is that you can browse through to Stock from within Adobe Premier. You can search for something specific or you can also select to only show the free templates or to only show the premium template. Though I personally don't have an Adobe Stock subscription and that is because there are a dozen of other stock libraries out there, for instance, we use Storyblocks for such things but we can make use of the free template. Let's just have look at what that is. Let's just take the first one here, for example, I just drag that into our composition like that and from here I loaded in, we've got a template right here and it's pretty heavy at CUs and that's because we see a bunch of effects on it. My PC is in trouble playing this back. Anyway, but let me select that layer. We can then go to the edit step here on top, and from there we've got a bunch of controls to change the template. Of course, we've got some text controls from which we can change the text in their. Lord of the Rings, there we go. It's that easy, and this is how you can import templates and start using them. Let me delete this back because pretty heavy. Let us save Premier as well because we don't want this to crash. Where is my Save button? Here it is. There we go. No Premier is saved. Let us go back to my template right here. Let's save this as well because what we can actually do is import this template that I just created inside the library here as well, of course, in the My Templates library not into Adobe Stock. To do that, simply right-click on your layer and go to export as motion graphics template. Give that a name, yellow pop-up text, whatever and then we can choose where we'd like to save this, for example, into the local templates folder, and that will automatically import it into the essential graphics right here. But we can also choose to store this on to the local drive. Let's do that. I'm going to hit browse to make sure that it's safe to my desktop, say Select Folder and press "Okay". The great thing about exporting it onto your local drive is that now we can also share that template with your friends or colleagues that they can use the same design. Let's have a look. Now minimize premier the yellow pop-up textmogrt. That's right. How can we start using that? Now let's go back into Premier Pro until on the bottom of the essential graphics when you're inside the browse tab, you'll find a button that says install motion graphics template. Just click on that and let's locate the yellow pop-up text template that I've just trained it onto my desktop and hit "Open". Whenever you are going to send that file to a friend or something, they can do the exact same steps to also import it into their templates folder and let me just look, it should be somewhere in here. It's usually on the bottom. There we go, here it is, Lord of the Rings. I can now just go ahead and delete this here. There we go, because it's in my templates folder from which I can always drag it out from into my edit and it will just load it in. Look how cool that is and from there I can now go ahead and change to text painting and the cool thing about the templates folder is that whenever you are going to start a new project inside Premiere, you will every time see your templates in here. You don't need to install them every time again. It's basically like a collection of video assets that you can use throughout your entire video editing career. Look at that. That was it for the templates, now you can create your own, how to use someone else's templates. That's pretty much it. Thank you so much for watching and I hope that you've learned something new. 17. Track Matte Transitions: Track Matte Transitions, something very important because the Track Matte technique is something used very often with more advanced edits while making transitions in compositing visual effects and so on. You'll see that you will be working more with Track Matte in the future. So that's why I want to give you guys a demo about how to use or how to work with the Track Matte effect, and we're going to create a transition. What we have right here is this [inaudible] working on his little figures as miniatures. We cut to a close up of him. To demonstrate exactly what's happening, I'm going to create a rectangle first. Let's add a quick animation to that with the position property. This is the end position, and I'm just going to push it to the left side or to the right side. There we go. Always ease in always looks better. What we have right now is just simply a rectangle coming in from the right side. Let me just put a little bit slower like so. This looks good. Now with a Track Matte effect, we can actually use this graphic here as a matte to reveal a video within the white area. Previously, when we were working with text, we've also seen that a little bit where we used the text to display video true, This works the same. Let's do that. I'm going to go to my Effects library and search for the Track Matte key. There we go and just drag that on to the video that you want to use inside the Track Matte. From the options of that effect, we can find that we have to define where our matte is located at. In this case, that is on video track number two. Select that from this drop down menu and that's it. Playing this back, you will now see that the video will wipe in using that graphic. Let's use that now as a transition. As we know that the video right here wipes in from this point, we know that we can place this on top of clip number 23 here. Let's move these two one track higher and bring them above the clip. Now we do have to go back into the Effect Controls here and now select that the matte is on video track two because we moved it one track higher. Now you'll see that we first just see the clip underneath. But because of that Track Matte graphic being animated, the other clip will be transitioned inwards. Now of course, this is nothing fancy. We could have also created this transition with a simple crop effect, but it does give you an idea of how that Track Matte key works. Let me show you guys a little more advanced technique and I am going to delete here my graphic. I'm going to go back into my project's panel because in my assets folder, I have created a paint transition. Now this is just something that I've made inside Adobe After Effects and it's a simple paint spot that is coming open like that and as we can see, we have multiple gradations of whites. It's more transparent and we can also use that within our Track Matte key. Let's check it out. I'm going to drag this above clip number nine and nothing much is happening yet and that is because we have to go back into the settings here of clip number nine. For me, Track Matte key, this time we're going to set the composite to Luma. Now the matte alpha only works with clips that have a transparent background. But because we have rendered out that paint transition to an MP4, we have that black area right here bait into that video. That's why this time we're going to have to choose from your Track Matte options here, Matte Luma. Because this transition takes a little time, I'm going to move these clips forward as well. Now when we take a look at this transition, you'll see that clip number nine comes in beautifully through the Track Matte met that paint spot. This is essentially how the Track Matte key works. You can't actually find many of these transition effects on the internet where you just have a black background and a white animation to transition over into a next clip. Thank you so much for watching. We've almost gone through the animation and graphics chapter. In the next lesson, the last one of this chapter, we're going to take a look at how to animate using the transform tool, which is going to give us some beautiful options. 18. Transform Effect & Motion Blur: Hi. I didn't see you there. I was just trying to animate this clip so that it would come in from this sides, and this appears to be Amdur, Lord of Blades. It's right there on my timeline. Let's check it out. I'm going to drag this clip above Clip number 23. Would it select this head over to be "Effects Controls", and from there under the "Motion" property, I'm going to create a keyframe for the position. This is the last position of this clip. What we'll do is actually move this keyframe a little bit to the right. Now, I'm going to set the first position by changing that value. Let's bring it all the way to the right sides, like so. Let's play the clip back and see how that looks. Amdur, Lord of Blades is coming in there from the right. We made ourself an animation. It looks okay, but it's missing something. It's missing something very natural and that is motion blur. During this animation here, the edges of that clip and a clip itself is still pretty sharp. Whenever you see a certain motion, like I'm waving my hand right here, my hand is not sharp. It's very unsharp. There is motion blur going on. We're going to have to introduce that some way. There is a rumor that Adobe is going to introduce that within the normal motion property, but until now it's still not there. Therefore, we have to use another effect called the transform effects. Let me just delete all of that animation right here. Yes, "Delete the keyframes and resets the motion property." I'm going to go to my "Effects" library and search for the transform effects, drag that's here to clip number 12 to Amdur, Lord of Blades. Let me just scroll down. As you can see, this effect actually just has the exact same properties as the motion properties. However, we do have an extra option here on the bottom, and that is to disable to use composition shutter angle and set one of our own. But before we do that, let's first create an animation. Let's start here with the last position of that animation. Create a keyframe for the position. Go back in time, and let's split clip again outside of the frame. When playing this back, we get the exact same animation, and in between that clip is also too sharp. Let's explore here the option on the bottom now. I'm going to disable this option right here. Set a shutter angle of my own, a natural shutter angle is 180 degree. Look at that, we got some motion blur going on, and this looks a ton better. Definitely, what we're going to smooth out these keyframes here as well, "Ease in", look how smooth that animation looks. Now we are talking here on the bottom about a shutter angle. Usually when you're going to fill them with your camera, it set at a shutter speeds. For instance, you're filming at 30 frames per second, then your camera is set at 1/60 of a shutter speeds, and that is the exact same of having a shutter angle of 180 degree. When setting your shutter angle to 360 degree, that'll be the same as having your shutter speeds sets to 1/30 of a second when you are shooting at 30 frames per seconds. We can also set this here to 90 degree and actually introduce less motion blur. That would be the same as setting your shutter speeds to 1/120 of a second, when you're shooting at 30 frames per seconds. We all know that when increasing that shutter speeds, you'll introduce less motion blur. The shutter angle actually comes from old film cameras where you had an actual disk rotating in front of your lens. Nowadays that's not the case anymore. However, it's still a value used a lot because whenever I say that the shutter angles should be set at 180 degree, it doesn't matter what the frame rate is. If my frame rate is 25 frames per seconds, then my shutter speed will automatically be 1/50 of a seconds because I've picked out 180 degree. It's automatically going to adjust its shutter speed according to the frame rate. In most cases we're going to leave that at 180 degree. Let me create some text in here like that. This is going to be "Amdur, Lord of Blades." Look at that's, maybe enlarge that a tiny bits. What I also want to do is add this rectangle background to it. From my Pen Tool, Rectangle Tool. There we go. Let's open up the graphics essential. You've seen this before. That way I'm actually able to move this shape here below my text and maybe give that a different color as well. I actually like to yellow a lot or that orange, yellowish thing. Now what we have here on the clip properties is under the vector motion or the normal motion. Also, the position controls and a scale and everything. But we don't have any option to enable motion blur. What I'm going to do here again, there's also adds the transform effect into my graphics essential and put it here on top. Right now, I can actually use the transform effect to also animate this lower that right here. Let me just put that into position where I wanted it to be. For example, right here, create keyframe for to position, this is the last position. Let's move this keyframe to the right and now let's bring this entire clip here outside of the frame. Again, right-click and say, "Ease in". It's looking nice, it's looking good, maybe a little bit faster, there we go. The last thing that it needs is also motion blur. Disable this option right here and set one of your own, for example, 180 degree. Look at that, we've got some beautiful motion blur going on. Now if you don't want the transform effect to be applied to everything in your graphic, whatever you're creating, make sure that you select all the layers and then create a group for that. This here is my lower third. I can now go ahead and create a new group if I like so with a text in there. Let quickly show that to you guys, new texts layer is still in there. As you'll see here, only Amdur, Lord of Blades will be animated and not this text. It has to be inside the group, obviously. Even if I put this group here all the way on the bottom, you'll still see that it won't be animated. That is because we had the transform effect set within a group folder. Let me delete this back here, because it's looking great and we've got a better understanding now of the transform effect, which we should always use when creating animations on the position, the scaled, rotation, whatever, so that we can enable that natural motion blur. Thank you so much for watching. 19. Stabilize Footage: Hey, watch out. Wow. What's up with this clip right here? Let's find a way to stabilize that clip. This is not good, this is dangerous. Let's have a look here in Premier. What I've got right here is a moving shot. It's shaking a lot. It was shot hands-held obviously, but we need to stabilize that because moving shots are dangerous. What I want to do is head over to my Effects Library, and search for the effect called Warp Stabilizer, right there. Drag that onto your clip, and the first thing that's going to do is analyze your shot. If it doesn't do that automatically, then from the Effect Options, we've got a button called Analyze. Now this could take some time. You're going to have to wait it out and then you can see the stabilization. But in the meantime, let me explain what these options are here on the bottom. For starters, we can choose whether our shots still needs to have some motion in it but more smooth, or no motion at all like it was shot from a tripod. But usually no motion at all, it's going to be very tricky because if you are moving around with your camera, you can't really have no motion because you'll have a perspective change in your shots. This is typically good when you're shooting from a tripod, but maybe the wind or something is shaking your camera, then you can choose the no motion option. Then the smoothness is just the amount of stabilization, and we'll dive a bit more deeper into that when centralization is done, and then the methods. We've got a couple of different methods here from this drop-down button, and to further visualize that better, I've got again, look at here, Amdur Lord of Blades. The first option is position, and that means that the stabilization is only going to reposition your clip to make it seem stabilized. Then we've got position, scale and rotation, which means that it's going to rotate, reposition, and scale your clip in order to make sure that the clip is stabilized. Then we've got perspective, which is also going to turn around your clip like this and stretch it out and all. Finally, we got subspace warp, which is a technique that we will use the most often because it is going to work on specific areas of your clip, stretch and warp that out in order to stabilize your shot. But definitely go with Trudy's options if you think that the stabilization didn't go as planned. In the meantime, the clip has been stabilized, so let's have a look at it, and just looks actually pretty good. It's more stabilized. But as you can see, it does make these weird distortions. Well, that's because I was moving pretty much, so we can't really get the whole motion out of it. What I want to do actually in this case, is bring my smoothness a little bit down maybe to 20 percent, just so that it doesn't work too much. I think this looks a little bit better. Now we've got some more options here in the bottom. From the borders, we've got framing. Basically, when sending these to Stabilize only, you will see the actual border or actually what Premiere is doing here with your clip. This is the Subspace Warp doing its thing. Of course we don't want that border, so usually you're going to pick stabilize and also crop, so it's removes the shaky border from it, but we still see that border. Also we got the next option which is also to autoscale, and this are going to work with the most. However, there's also an option to synthesize the edges. That basically means that it's going to repaint the edges back so that it doesn't need to scale your clip. However, that's pretty heavy for your computer, so I wouldn't suggest doing that unless you really want to. You can try out that option. Anyways here you can see at the bottom how much the clip had to scale. It's just almost a 106 percent, which is not much. You won't see much quality loss in there. Then on the bottom, this is the last option I want to show you guys here under advanced, that's an option called detailed analysis. Basically, if you think that your analysis didn't went like planned, you can check that box for a detailed analysis. It will take a little bit longer, but you might end up with better results. That's pretty much it about the Warp Stabilizer effect and how you can use it. Now, there's one last trick that I'd like to show you guys right now. We've been removing motion from a shot, but we can also bring back handheld motion in a static shot. Let's do that. I'm going to delete the Warp Stabilizer from here, and what I want to do is use the handheld to motion of this shot, and bring that over to a normal or more aesthetic shot. Let's right-click on that clip and say next, call that Handheld Motion, wherever, hit okay. Now let's apply the Warp Stabilizer effects to that Nested Sequence. What it's going to do right now is make an analyzation based on this clip right here that sits within the Nested Sequence. We're just going to let it do its thing, let it analyze the motion of that shot. The we go. It's stabilizing, and it's done. This shot should be stabled right now. Looking good. Well, what I want to do is double-click to go into the nested sequence, I'm going to go to my B-roll folder, and take a static shot. This one right here. Has a little bit of motion in it, but it's pretty static. Displace that on track number two. Let's have a look. It seems to be pretty static. Let's go back to my main sequence to stabilize shot. It will show the clip on top, but it has a stabilization effect onto it that was analyzed using the previous clip. Let's have a look at what that does to this shot. As you can see, it introduced a beautiful handheld motion in that shot. Even though it was pretty steady, it does seem like we've got handheld motion now. Make sure not to touch this effect anymore. Let me just collapse that. It's taking care for the handheld motion, and that's exactly what we wanted. There you go. A little trick. Thanks for watching, and I'll see you in the next lesson. 20. Advanced Time Remapping: Oh, hey guys. I was going super fast and I didn't knew at the door wasn't open, so I bumped into the door. I was playing around with speed and time remapping, I know silly me. Anyways let's see here inside Premiere how we can do that speed up or slow down clips. There a couple of ways to do that. First of all, we can always right-click onto a clip head over to speed/duration and just change it's speed percentage from there. We can also choose to reverse the speed but this is not such a good option, there are better ways to do that. Now let's have a look at the toolbox. Right in here we should find somewhere the Rate Stretch tool, it's right there or just press the R on your keyboard. This allows you to stretch the clip shorter, which will speed up the clip as we can see here, or we can also just drag that longer. I do need to put it one track higher in order to do that and this way the clip we'll play slower. We can see the percentage here as well inside the clip name which is currently set at almost 55 percent. But there is a third way that is a ton better, and that is by doing a time remapping on your clip. Time remapping also called time ramping is a technique where you're going to fast forwards or slow down clips. That means that we're going to change the speed. In order to do that, I'm going to change the view of my clip. Right here we can find an fx button, and currently it is set to opacity. We can see this line right here, and by pulling it down, we can actually decrease the opacity of that clip. But we're not interested in the opacity at the moment, we are interested in a time remapping feature. Right-click on there, and from here choose time remapping speed. This is a default option as we can see here in the effects controls, time remapping, it's right there. We could also change the value or the property in here, but I find working on the clip is much easier. What we can do now is find the point where we would like to start speeding up this clip, let's say here on end. I can just then take the pen tool from the toolbox or just simply press the p button on my keyboard and then place a key-frame on that point. Now, this is a very special key-frame, it's a time remapping key-frame, so it works difference. It's actually going to divide your clip in two parts, left part and the right part. What I can do now is with the right part, for example, pulling this line up, which will fast forward the clip, and we can see the percentage value over there. Let's fast forward that all the way up to 300 percent, which is three times faster, there we go. I'm playing this clip back right now, you'll see that the last part is fast forwarded. Now here is something pretty cool, I can actually open up the key-frame right here. Let me just zoom in a tiny bit. By opening that up, we can see that we can gradually changed his speed. Instead buy instantly going from normal speed all the way up to 300 percent, we gradually go from 100-300. We can even grab the lever here in between and change the behavior of the ramping, make it more like an s curve, and now let's have a look. The clip will gradually speedup, and it also looks a ton more natural. Now something we can also do is of course slow down our clips. However, you need to pay attention to the frame rate of your source clips. When taking a look at the b roll folder, you'll see that we've got a few clips here, that number 23 and 25, which are shot at 60 frames per seconds, the others are at 30 frames per seconds. Let me just quickly add a label for those two clip. I'm going to select 25 and 23, right-click and change the label color to, let's just take mango, pretty cool. For these two, I can actually go below 100, maybe do that. I'm going to drag down the left side. We can go all the way to 50 percent because we are working in a timeline of 30 frames per seconds, and 60 fits exactly twice in there. Because my gap wasn't long enough, my clip here got trimmed off, so let me just use the track select tool, move everything to the right and trim this clip open. First now you can see that we go at slow motion and then here it speeds up, and it goes fast forward to the next clip, let's bring that next clip in here. We can actually use that time remapping feature as a nice transition. As we speed up here in this part of the clip or the first clip, we now go to a speed apart of clip number 12, let me just make this a little bit shorter here, like that. I'm going to create a new key-frame somewhere right here, in the middle, and move the left part up, speed that up, like so. Also ramp that, always do it, and let's have look now. We speed up and we cut to the next shot, which also is a little bit speed-up, but I think that we can go even faster. Let me just push this up right here, and let's have a look now, there we go. Maybe the first clip could also be a little bit faster, that's a thing with time remapping. You're constantly making adjustments just to see that your time remapping goes smooth or your transitions go smooth. Look at it, how nice that is. With time remapping you always want to make sure that you're not fast forwarding clips, you always want to make sure that you're making a time remapping with a reason. Like for instance, here, we have created this transition between these two clips. As the first one speeds up at the end, and the second one speeds up in the beginning, we get this beautiful transition between these two, definitely because of the motion as well. We can do that basically again here. At the end of this clip, we're again going to place a key-frame and the move the right parts up, speeding that up. Again, open up that key frame and in the end, and let's place clip number 23 next to it. Also here we're going to select a time remapping speed, create a key-frame, because we're again having that nice motion in there, until here, speed up the first part, make that smooth, and let's have a look. I think that my second clip here can go a little bit faster. Again, you have to play back and forward and you see how it looks. It's right here we've got an issue, what I was talking about, Genic is suddenly painting super fast and that is just fast forward it, it doesn't look good. What I'm going to have to do here is make my ramping a lot shorter. We're going to have to work with a very short time remapping, maybe make the first part even faster but just short, it cannot just take that long, let's have look now. There we go, this looks a lot better. His hands movements here in the beginning doesn't take so long, so it doesn't grab our attention, and your time remapping looks a lot more smooth. Again, if we like, we can go even below the 100 because this is a clip shot at 60 frames per seconds. You don't always have to go to 50, you can also go to something like 60 percent. You got enough room, you can go up until 50 percent. Look at that, painting in slow motion. Let's just speed up one last parts here of this clip. Again, a key-frame move this part up. We know the drill right now, spread out the key-frame, bring this shot closer to the other one, let's see how this looks. Make sure the Genic doesn't look like he's being fast forwarded, almost looking good, let me just trim this clip a little bit more, like that. This actually looks pretty good. Also for this one time remapping, speed key-frame in the middle, speed up the first part, stretch out the key-frame and let's play it back. This can go a lot faster now, we got the same problem as with the previous clip where Genic seems to be fast forwarded in his painting action. Maybe a little bit shorter as well. There we go, looking a lot better now. This is not footage that is so easy to work with. Of course, when you are filming like bicycles or cars or something, that has like a fixed motion and it's always easier to fast forward. There is one last thing that I'd like to show you guys here with this clip, which is shot number 10 here at 30 frames per seconds. Let's say that we would like to add a slow motion to it. For this time now, I'm going to right-click and say speed/duration, and I'm going to set my speed to 50 percent, press Okay. Actually we've only got now 15 frames per seconds available. You can see this sharpiness definitely here in his pencil. An option that we have of you go back to that same menu here, speed/duration is here on the bottom called Time Interpolation. If we set that to optical flow, what the mirror is going to do is actually create new frames in between, is going to calculate those, so press Okay. What you always have to do now is render your clips. I'm going to set an in point and an out point around that clip, go to our menu and top sequence and say Render Into Out. It's some a back that you always need to render it before you can see it's. It's not that the playback will be not smooth, it's just for me or doesn't show the optical flow when you haven't rendered your effects. There we go. Now this footage looks a ton more smooth, and that is because Premier has added these extra frames in between. We can definitely see that coming back very well here in his movements. With every frame than I'm going forward, we can see a movement in his head, so that means that we have 30 frames available by changing this back to the frame sampling, we have 50 frames. When I'm going back now, every frame you'll see that only Genic moves every two frames. There you go, the more you know. That's it about about time remapping, how you can speed up, slow down, and ramp your clip. Thank you so much for watching and I'll see you in the next lesson. 21. Masking Techniques: You can't see me. It's right, magic. Now I'm right here guys. Hey guys. I know, I was just fooling with you. I just masked myself out and that way you couldn't see me. So let me show you insight Premier, how I did that. What I have right here is clip number 23, which is especially made to create a mask with. I'm just going to drag that into my timeline to show you guys what we're going to do. So first of all, I want to show you where the mask is, how we can manipulate that, and then we're going to create something cool. So by selecting your clip, we can go up to the effects controls here on top and from the property opacity, we can see that we've got a few options here on the bottom to create a mask. We can choose either of these two presets, a circle or a square or we can also create our own mask shape with the pen tool. By the way guys, this is not the same pen tool as this one. Keep that in mind. You always want to take the pen tool from the mask tool, which is right here underneath the property. So anyways click on that, a new mask has being created and that allows me to create points and to create a mask on my clip. There we go and as you can see, it has now been cut out. We've cut out a part from our shot, that is masking. After we've created our mask, of course, we can grab these points and move them around to any other position if we like, but we can also, for example, create a better corner by holding down the Alt key on your keyboard, which allows you to create this more bézier and get this rounded edge. We can also hold down Alt and just click again on that key point to remove that bézier we can also add new points in there, if we'd like to add a new corner, or hold down the Control key on the keyboard or command for the Mac users to remove one of those points. Then here on the top we can see this weird thing. By pulling on this little circle, we can feather our mask more. In here this little diamond shape we'll actually expand the mask. So maybe you have created a mask that isn't large enough, well, doing this you can expand it or maybe de-expand it if you like. That is also possible. Now, these settings that I'm changing right here, they can also be found back within the mask properties, it's right there, feather or expansion. You can also inversion your mask if you like. So in that way you are creating a cut insight of your shots. So that is in a nutshell, how to create and manage these masks. Nothing too fancy, maybe you already heard about this before. Anyways, let's take this into a practice now and create something cool using masks. So I'm just going to delete this here, mask number one and let's have a look at what clip 22 actually is. So as you can see, Jennick is just painting there and we are moving this little miniature. There is my hand, we are moving that a little bit every time to decide like so. What I want to do is actually just copy or clone this miniature a couple of times every time that I'm moving it, which I can do using a mask. So by starters, let me just remove this clip here on my timeline. Let's find the word this clip starts, and we are right here, set it in points, go a little bit further in time, and let's say this is enough and drag this to my timeline. Let's just say to keep the existing settings. So Jennick is looking good. He can move in this shot, but for the front part, we of course can not see my hands. We're just coming in now and then like here. What I'm going to do is select this clip right here, hold down the Alt key on my keyboard and drag that to video track number two. For the one in top, I'm going to start at the beginning of this clip and right-click on that clip and choose at frame hold. By doing that, this frame is freezed or that entire clip is freezed on the first frame. By selecting that clip, go to effects controls, and creating a mask from opacity property, we can actually say to only retain or to only keep this front part freezed, like this, maybe zoom out a little bit more. This way I can create a mask outside of the frame, and close it right there. Let's just fit that back. I'm going to feather this mask a tiny bit, which I can also do from here, and then I'm going to play back this clip right now, you'll see that Jennick is moving, but the front part is not. This part here is freezed. So there we already have a great use of a mask. Now, let's continue. I'm going to again hold down my alt key, drag clip number 22 at duplication one track higher, and put the one on top, select it, I'm going to remove that mask because we're going to create a new one. We're also going to create a new in point. I want to have a new in point where this miniature here sits more on the left side. So I'm going to take the slip tool, the Y on the keyboard, which allows me to change the in and out points of this clip. So I'm just going to click on my clip and drag that to the right, and I'm just going to search for that point where I moved the miniature to the right, and my hand is out. Let go, and if everything went well, this clip is still phrased because we've set that whole frame on the in point, but we've just changed the in point with the slip tool. So this is looking good. We've got a new miniature here. So I'm going to go to my opacity property, take the pen tool and only draw a tiny mask here around that miniature. You know you'll notice insight Premiere that it's not always so easy to create a mask if you're too close to an inner point, it just go if you start rotating like that. So what you might want to do is zoom in a tiny bit. Let's just set this here to 200 percent, and that way we can see better what we're doing. So maybe move this mask a tiny bit more up to the left side, and also feather that so that the shadow is not going to be that noticeable. There we go, looking good. All right. Set this back to fit, and now we can see that we've got two puppets in there. All right, let's just continue. I'm going to hold down Alt, move this, one frame up. I'm going to delete the mask from here, take my slip tool and look for the third position. There's my hand, move again up to there. Let's go, select that, take the Pen tool, zoom in and create another mask. Feather that a tiny bit, or we can also use a tool from here. There we go, and let's just continue doing this for all the miniatures that we had in here. Here we go, look at that. An entire army of miniatures there in the front, and we've just faked that because Jennick didn't had as much miniatures of that kind. Now let's have a little bit of fun with this and say that each miniature has to pop in every time. What I can do here is just select all of the miniature layers, hold down my alt key, and nudge it to the right side using my arrow keys. So let's say 1,2,3,4,5 frames forward. All the rest on top of that, also, 1,2,3,4,5 and I just continue do this. Here we go. Now, each clip here starts five frames later. So let's have a look. Look at that, how cool that is. The small miniatures are now just popping into the screen, which is a very fun small effect that you can create using nothing but masks. So let's continue exploring masks in the next lesson as well, and see things like mask tracking, using masks on effects, it's going to be really cool. Thanks for watching and I'll see you in the next lesson. 22. Mask Tracking: Hey. Pretty cool. This mask is just following my hands, no matter where it goes and that is done through some mask tracking. Let's check it out. What I've got right here is Jenick, and Jenick is little bit underexposed in his face. What I want to do is actually just make only his face a little bit brighter. To do that, I'm going to color correct this a little bit. We can do that from the menu on top, select Window and from there, choose Lumetri and it's right here, Lumetri Color. Click on that and here, we've got the Color Correction Panel, which we'll dive a little bit deeper into in the next lessons. But, for now, I'm just going to do something very basic, like increasing the exposure. Now, as you can see, the entire image gets more exposed, but we only want it to be applied to Jenick's face. What I'm going to do is, head over to my Effects Controlsends right here. We can find to Lumetri Color. From there, we can also finds the Mask Controls just the same as we had within the Opacity. Now, from within that effect, I'm going to take the circle or the ellipse mask tool and right at the back, you can now see that Lumetri Effect is only applied within that mask. I'm going to place this here over Jenick's face. Well, let's do that here at the beginning of the clip as well. There we go. Let's just place that somewhere over his face like so and, of course, what you always want to do is fetter that mask. You never want to see the edge of the mask. It has to be subtle. People cannot notice your mask and when that sits in place, what I now wanted to do is to follow Jenick's face. We can do that here from the Mask Path's options. On the left side, we can see that we can create an animation for the Mask Path. So either we can say to create a key frame for it, we can then move forward in time. Just grab that mask and reposition it. In-between that mask is now animated as well. However, with such movements, we don't want to do that manually. We wanted to do it automatically. I'm going to use one of these buttons here, which will automatically track the mask with the movement of Jenick's face. Then before, I'm going to press here on track forward, I'm first going to dive here and to the Tracking methods option. From here, we can choose the mask only follows the position of Jenick's face, or the position and the rotation, or the position, the scale, and rotation. Lets just go for that last one. That's fine. Also, make sure that Preview here is enabled. When that is enabled, we could also see real-time what the mask is doing. Let's hit "Play" and let's see how the mask evolves. As you can see, it is now automatically being animated here in the Efects Control Panel and the mask should be following Jenick's face. There could be a point where the mask might not follow anymore so well. You can always stop the tracking, adjust where needed and then continue to tracking. That is going pretty good so far. Here, I'd like to adjust again. Just hit "Stop" and just move that mask a little bit more over Jenick's face. With tracking, it's always the case that you want to steer a little bit as you're tracking might go wild. Also, here, I'm going to stop again, just a little bit, hit "Play" again. Faces have eyes and a mouth. That's clear texture for the mask to follow and the tracking is done. Let's have a look and go to dislike my mask because we don't want to see the Mask Paths, of course, and let's just play that. As you can see, we don't notice anything about the mask that we've created and extra exposure in Jenick's face. But if we're going to take a look at the before and after by just disabling declamatory effect for a moment, you can see that we did a huge improvement to the shot. We could also go further with declamatory effect and, for example, go to the creative tab in here and add a little bit of sharpness. We're just now only being applied to Jenick's face. Perhaps, at some more contrast in here, this is completely up to you what you want to do with your talents. But this is looking good and as you can see, the Mask Path is following Jenick's face perfectly. There we go. This technique of creating a mask over someone's face and adjusting the brightness, sometimes the temperature as well is being used a lot in the film industry. There you go, you learn something new about creating masks and tracking them, which are subjects. Thank you so much for watching. To the next lessons, we'll continue with Telemetric Panel and learn something more about Color Correction. 23. Match Clips with Color Correction: Good afternoon students. Let's get started. There we go. I forgot the colors. This color corrected myself and everything here. Anyway, let's have a look inside premiere now how we can do a simple color correction. What I've got right here in my timeline is that interview of gigantic, and we've got three cameras,.A, B, and C, as we can see here, the colors don't really match. There is a color difference. That's what we're going to do right now, match these colors perform a color correction. In order to do that, I first like to compare these two shots next to each other so that I can see better which actions that I have to do. Within the program monitor here we can find a button on the bottom that says comparison view. If you can't find this button, you can click here on the Plus Icon to locate all of the buttons available for the program monitoring. You can drag when out of here into your tool bar or you can also drag when out of there if you don't use it and then just press Okay. Let me just click here on the comparison view. We get two shots next to each other and I'm just enlarge that program monitor so we can see better what we're doing. On the left side is our reference so we can just scrub through our timeline and select a reference image like this one. Here on the right side is just our timeline that we can play. Let's add a color correction to camera B. With that selected head over to you telemetry color panel, if you can't see it, go to Window on top and from there, select telemetry color. Now we've got a bunch of controls in here starting with the basic corrections on top, or we can change things like the temperature, tend exposure contrast, and so on, we also have some more creative controls from which we can also add more sharpness to our shots, we've got the curve controls, we got the color wheels and match, we got to HSL secondaries, and finally the vignetting tools. Now, I do have an entire class dedicated to color correction and trending alone, because this goes pretty far and it's pretty advanced. I'm going to spare that for you in this course or we're not going to dive into the deep controls and everything. What I want to show you is a very practical example of matching two shots with each other without using things like the scopes, the wave forms, HSL secondaries, curves, whatever. Now what I'd like to show you guys is the color of wheels and match because this is the only control that we need to match these two shots, or at least to get them as close as possible to each other. Again, we can go a whole lot further with this, but I'm assuming that you don't have the time to spend 15 minutes each color correcting every shots. If you do and definitely check out my telemetry class, you're on skill share. What I love about the colors and matches is that we can push a specific color into each level of the shots. We've got the shadows which are here at the background, then we've got the mid tones, which is mostly eugenics, and his skin tones, which are important, and then we've got the highlights, which is here to highlight eugenics face, but also here does little highlights in the back of his ear. The first thing that I notice is that this shot is a little bit more magenta than this shots. What we could do is go to our basic correction tab and just push in some green in there to compensate for that. But this makes the entire shot green. That is why I like to work more on the color wheels. Because from here I can also push in more green from the mid tones and just really try to match those skin tones better with the shot on the left. At the same time, you'll also notice that we get him more green tone here on the right side, which artist shadows, but I can fix that now by compensating with the shadows control. From here I actually push back a little bit more magenta or maybe blue in there. Let's have look at the before and after now with the fix button here on top, we can disable the telemetric color and enable that back, we can see that we've already matched that a ton better, but we can do better. Next, let's have a look at the contrast, so the blacks are much deeper here in this shot's, let's also pull down the exposure of the shadows with this control, and the highlights are also a little bit more brighter. Let's push up the highlights with this control over here. We can also use the highlights if you notice that in the highlights, we should get more green as well, we can do that too, and you always have to go a little bit back and forwards while color correcting a shots as you push one color into the mid tones, that also alters the shadows and the highlights a little bit, so you conjure that again with the other color wheels, but this is definitely starting to look a ton better. Let's have a look at it before, and the after. Look at that guys. We've taken out the magenta and we've brought back a little bit more yellow into his skin tone so that that matches more with camera angle number 8. Do keep in mind guys that these are two different cameras, so you will always have two different colors and it's very tricky to match them exactly. Definitely, if you're only going to use the color wheels and match, if you want to fine tune this even more, we're going to have to work more with the colors, or which is HSL secondary. Let's Zoom this shut out because what I've actually done here is increased the scale, which helps me to better match the skin tones of gigantic, going to reset that effects and look at that. It's looking a ton better now, these two match more together. Of course something that you can also do when having trouble to match one shot to another is to alter your reference shot as well a tiny bits. Maybe what I have to do in here is put a little bit more blue into the shadows like that, make that a tiny bit darker too, and perhaps put a tiny bit a green, not too much into the mid tones just to match his shirts a little bit more. But look at that. These two here match a ton better. Let me enlarge this here for a moment, double-click on it to see these two shots next to it shutter. We have done a proper color correction using only one tool, the color wheels. Now we can go ahead and copy the telemetry effects from camera angle B over to cameras C. Because these two were shot from the same camera type, if I'm correct. I do notice that it's a little bit more green than the camera B, so what I can do now is this change here, the mid tones to tiny bits so that, that matches better again with our reference shots. But this is looking pretty good. Playing this back, we can also see now that these colors are matching a lot more than they used to be. The one thing to remember is that during an interview, you'll notice that you have multiple clips of the same camera. That means that we're going to have to copy the telemetry effect over to every single clip. Of course, that's a lot of work, and if you do decide to change something back to the color of one clip, then that means that you're going to have to copy and paste dose changes back to all of your eclipse and the timeline. A better way to do that is actually by copying the limiter effects from your clip right here, and now currently sitting here on camera B, I'm going to delete that telemetry effects, next, I'm going to go here in the top and click on Master, and I'm going to paste the telemetric effect in there. What I've done now is applied this telemetry color effect to the master clip on the source level. That means that automatically camera B will also be affected by that effect or that color grading. Whenever I want to make a change, I can just select any clip that I want from that same camera angle, go to my effects controls, then click on the master tap and from here, make my changes the way that I want. Let's just push in back a little magenta just to see the changes here and the other clip as well. That is how you can do a color correction or match two shots better with each letter with just a few clicks using the color wheels inside telemetry. If you'd like to learn more about color correction and grading, I can highly recommend to check out our color grading class in telemetry, which can also be found here on skill share. Thank you so much for watching, and I'll see you in the next lesson. 24. Create a Look with Color Grading: One update than a missing for Premiere is a proper hairdresser. My hair is getting long. It's what you get if you live 15 years in the program. All right, let's continue because you're probably here to learn more stuff. What I've got are here is genic, obviously, we've been working with him for the entire class so far, and let's create a specific color grading look on them. Now something very popular is the famous teal and orange look. That's what we're going to do right now, and I'm going to teach you how to do it properly, because there are many ways to do it wrong as well. With your clip selected makes sure that lumetri color is open and we're going to go over the color wheels and match. Again, all of this stuff will happen in this area. The midtone is usually going to be your subject in this case, it's gigantic. What am going to do here is add some orange into this midtones and don't be afraid to exaggerate a lot. It can really make her shot pretty warm, like so. This will also alter the shadows and a little bit of the highlights. We're going to do the opposite with that. Let's start with the shadows, just pull that color into the teal, something like this. If you'd like your shadows to be deeper and not so washed out, we can bring the exposure of the shadows down like this, and if you like your subject to be more prominent, we can also increase the midtones like that. That way we are also creating more contrast. If you do find that some areas in your shot, let me just zoom in here, are getting a little bit too much exposed like his hands here. You could bring down the highlights a tiny bit, but do be careful that it's not going to be washed out again, and finally, I'd like to keep the whites. I'm going to push in a little bit of blue into the highlights as well, and I'm paying attention to those pains bottles here in the front, looking good. All right, I'll zoom back out, and again guys, this is the same as what color correction, but color grading you also want to go a little bit back and forwards as you're adding one color into the mid tones, you want to steer again with your shadows. While you're steering with your shadows, you might want to adjust the mid tones again, but try to find a good balance where your subjects pops out great with the orange you and the blue sits in the shadows in the backgrounds. Now why is that teal and orange looks so popular? Well, let me get my killed reveal for that. There we go. As we can see, we've got the blues right here, the blue areas and when we think about blue, we think about its shadow, the night, something cold that sits right here, but then on the opposite side of blue, we can find the warm colors, the sunshine, something positive, something that we are attracted to the day, lights. We can assume that these here are the positive colors, which sits on the opposite side of the negative colors. If you want to draw attention to your subject, makes sure that that person here sits within this site of the hue colors and that the backgrounds, sits within the blue tones, and that way our subject will just pop out way more, because we have created a color contrast. There you go. Now, this is not so hard to do inside Premiere, as you can see, we've done a proper work here with the color wheel. This is looking pretty okay, but it's looking a little bit amateuristic. There are a few issues that occur when treating a typical teal and orange look, and for starters, you're blacks should be black and it's not blue. Now to fix that, we're going to work on the HSL secondary. Let's just go to that tap right here, and what we can do with the secondary is making a selection of a specific area and a shot and alter the colors or the exposures of that specific area. For starters, here on the bottom we can, for example, say, which lightness do we want to select, all the way from the darks, do the highlights here, and I'm currently selecting everything in that area. Then the saturation, how saturated should that area be, and I'm just going to select the entire spectrum. Finally, we've got the hue or the color, and now you can see here that we are actually making a selection. For example, let's pick out the warm colors here, the orange colors. As you can see, genic here is being selected and to get permanently set on your view for the mask by checking this box right here. Now we can also say that we don't want to touch the highlight. What we can do here is changed to selection of the lightness and only select the more darker areas inside the shot, so that it's more the shadows here underneath genic's arm or is face right here, but not the highlights in his hands. All right, let me just reset all of the values here by just double-clicking on them, and I'm going to deselect here to view my mask at all time as well. What I want to do now is select all of the colors, the entire color spectrum. I'm want to select all of the saturation values, and I'm only going to select the darkest areas in my shots like so. With a triangle on top, we can change our selection, and with a triangle on the bottom, we can federate that selection. Always make sure to do that. There you go, looking good. Even after your selection, we can even further blur that mask, and that way we are sure that we won't see the actual changes that we're doing. We always want to make sure that whenever you are changing colors, definitely is drastic when selecting areas that it kind of like fetters over into other areas. Once we've done that, we can then change what has to happen to that area down below here. We can, for example say like make that super green, of course, that's not what we wanted, but we could do that. In this case, the blue is too prominent. We don't want to have blue and the absolute blacks. I'm going to add a little bit of orange, the opposite of blue, back to those absolute blacks. Something like this would do, and if we scroll up, good did at HSL secondary category, we can actually disable and enable that for a brief seconds, used to see the before and after, and as you can see, we do retain that tilde orange look while having natural blacks. All right, let's do one more thing. What I believe is that the saturation of genic's orange here and his face is a little bit too much, so I want to do a second secondary selection. Unfortunately, there's only one within lumetri color effects. So what I'm going to have to do here is on top, where it says lumetri color, click on the drop down and choose add lumetri color effects. We're going to add a second one. For the second one, just to be a little bit more organized, click again on a drop down and say rename, and I'm going to call this orange fix, because I'm going to fix the orange color in the shots. Make sure here and your effects controls that, that lumetri color sits on the bottom. All right, so with this one here selected, its head back to the HSL secondary, and this time I'm going to say select the entire lighting spectrum, but only the most saturated parts, summer right here. Of course, then to end my selection, I'm going to say to select the orange colors, the orange hue fetter that again, and this is looking pretty good. Also fettered the saturation selection here, a tiny bit. This is looking good. All right, and finally, the blur, just to blur that mask more so that we don't see the edges of our mask. Let's scroll down and let's now change to saturation of those two saturated parts, a little bit down to, I don't know, like 90 percent, and I think this is looking pretty good. It's a subtle change, but that subtle change does make a whole difference as we can see here. Definitely see it here in his arms and in his face as well. This is actually looking a lot better with that orange fix. Now to see all of the changes that we've made, there is actually a button here, in a program monster called the Global Ethics mute. Now by default, that button is not in there. You can find it back with any button editor and it's somewhere right in here. You'll find that [inaudible] button, which you can just drag into your button layouts. This is cancel this and enable D ethics mute. Both of these lumetri colors now are muted, so we can see the entire before right here, and now let's have a look at the after. There we go, this is how it looks after the color grading, and again, guys, if you would like to learn more about Lumetri color panel, then check out our separate course for that. We have now touched some of the more advanced features within the Lumetri, and this will definitely help you further to create certain looks and to color correct a shot, but again, the most important tool are, those, where are they? The color wheels and match. This is the part where you'll do most of the work. That sets again, thank you so much for watching, and bye bye. 25. Dynamic Linking to After Effects and Audition: Hello, good morning guys. I was just doing some visual effects work over at Adobe After Effects. It goes pretty fast because of the Dynamic Link that Adobe has provided for me, that way can easily switch between the different adobe programs, and yeah, that's what I'd like to show you in this lesson. What we have right here is just a simple edit in our timeline. We got some normal clips in there. What I want to do is, for example, on this specific clip, do some kind of a visual effects like a motion tracking here on this paint bottle. That is the functionality that Adobe Premiere Pro doesn't have. What we have to do is send this clip right here over to Adobe After Effects. We can simply do that by right-clicking on here and then head over to replace with Adobe After Effects composition. Now, before I'm going do that, a good workflow is to always make sure to first duplicate your clip, because once we're going to click on this, it's going to replace this clip right here in your timeline with that Adobe After Effects project. Hold down your Alt key and drag this clip to track number three. This way we've got a duplication of it and you'll see by the end of this lesson why that is so important. Right-click on this clip now and head over to replace with Adobe After Effects composition. It's going to lunch Adobe After Effects and the first thing it's going to ask me to do is to save the project file of Adobe After Effects. Let's give this a name, for example, Motion Tracking, hit save, and the project has been saved. We've got our clip now, right inside here in Adobe After Effects. Let me just close a panel right here to make it a little bit better for you to see, there we go. Here's that clip that we previously had in our timeline in Adobe Premiere Pro. Now, if we go back to Premiere, you'll also notice that our clip here has been replaced by a Dynamic Link comp which refers to that After Effects project file. The only thing to remember is that you'll never actually import a project file of Adobe After Effects. You'll actually import a composition which is the same as a sequence inside After Effects. That means, I can actually go here into After Effects and create a new comp, and I'm just going to name this Comp 2, hit okay, and just maybe, quickly draw a rectangle in here, and what I can do now is drag Comp 2 into Adobe Premiere Pro, like that. Now, I'm able to use this comp right here that sequence into my Premiere project file, and you can see here that rectangle that I've created. What we want to do, for example, is motion tracking. I'm going to go back to Adobe After Effects. I'm going to delete Comp number two because we don't need that anymore, and let's go here to the Dynamic Link comp one. Now because this is a Premiere course, I don't want to go too deep on what I'm doing right here. But this is one of the reasons why you should go to Adobe After Effects to do a motion tracking, for example, that's what I'm doing right here. Now we do have an Adobe After Effects class. If you are interested in learning that program as well, maybe you already know the basics, that is great. In this lesson, I'm just trying to show you the Dynamic Link between the two programs. There we go. This is what I've created, the red paint sets above the red paint bottle and it is following that beautifully, which I can only do inside Adobe After Effects. I'm going to hit Control S to save this project, go back into Premiere, and you will instantly see here that we also have that text here inside Premiere. Now the one problem that is going to occur here is that, whenever I'm going to do something like a color correction using Lumetri, I'm going to apply that to everything. Let's make this shot a little bit warmer. You'll now also notice that the text itself also becomes more yellow, which I don't want. I wanted to retain its white color. What I would want now is that my text here would be in the After Effects calm, and that may clip would still be my clip as I would have it before in Premiere, and that I can do because I have duplicated my clip in the timeline. If I go back into After Effects, I can just disable clip number 14, but retain my texts, which is going to retain that motion tracking as well, save that, go back into Premiere. I can now just go ahead and delete the Lumetri effect from here, and do my Lumetri color grading on the clip itself, make it warmer, without touching the text, because that here sits on a different layer as you can see, and it is still following that path. One last thing about the Adobe After Effects Dynamic Link is that, you could always right-click on any comp that you have inside your sequence, and then just say, Edit Original, which will automatically open up Adobe After Effects back and take you to that comp. Definitely useful when you have multiple comps that is linked to Adobe After Effects in your Premiere timeline. All right, I'm going to close Adobe After Effects because the next and last Dynamic Link feature that I'd like to show you guys is with Audition. Let's say that I'd like to enhance the audio of Gen X interview inside Adobe Audition, which is a dedicated program for audio. Well, what I can then do is just select a sound. Now automatically, it's also going to select the video clips, but if you hold down the Alt key on your keyboard while you are selecting, you can actually solo select the audio clips, then just right-click on it, just like before, and this time you'll see here an option that says Edit Clip in Adobe Audition. It's going to render and replace that, open up Audition, and there you go, we now have these three audio clips inside Audition, and we can make changes to it here. For example, we can make everything a little bit louder, like this. Let's do that for every clip, and then I'm going to save everything by just pressing Control S, and I'm going to do that for every clip separately. When I'm going to go back into Premiere, you'll notice here that also that will be refreshed and that my audio has been gained. Next to the original video files which are here in the interview folder, you'll notice that Audition has extracted and imported the audio from those files. Where Adobe After Effects is going to create an After Effects Project, Audition is actually just going to create WAV files from your audio, which it can use inside Audition. You don't need to save an Audition project file for that because it just going to work on the raw audio, which is a.wav extension in this case. That is, in a nutshell, how the Adobe Dynamic Link works, that also works the exact same for Illustrator, Photoshop or most of their apps, as well. Thank you so much for watching and I'll see you in the next lesson. 26. Fixing Audio Issues: Let's put on the headphones. You guys know what that means? It means we're going to fix some audio. Right here we've got Yannick talking again about his miniatures and let's have a listen to it. At first I started with the high elf because I really like elves, but now I'm shifting more to the easterlings because there's something evil about them. That is pretty silent, let's gain up the volume. There are two ways to do that. First of all we've got this line right here, which represents the volume of the clip. We can either increase that or we can bring that down, making it more silent or we can also right-click on your clip and go over to Audio Gain. The shortcut for that is G from gain and that is going to give us some more information. On the bottom we can see that our Peak Amplitude sits as minus 14.2 decibels and that peak is the highest volume of Yannick's speaking, which is probably this point right here. What we could do is select the option Normalized the Maximum Peak to zero decibel. Automatically it's going to gain the entire clip by 14.2 decibels. Lets hit OK, and as you can see here, the wave form has increased in size. Let's play it back one more time and you'll notice that the volume is better now. At first I started with the high elf because I really like elves, but now I'm shifting more to the easterlings because there's something evil about them. Much better. But we are now hearing some other act effects, such as noise and some weird reverb thing. Let's fix that. Let's go to the menu on top, select Window and from there Essential Sounds, that is a panel completely dedicated to sounds, fixing, and enhancing and everything. Let's explore this, we're going to make a little bit more room for that panel like this. The first thing it's going to ask is, "What kind of audio type is this?" Yannick is speaking so this is dialogue. Then we've got a couple of tabs, we've got Repair here on top, we've got Clarity, and Creative. On top we've got an auto gain feature, we have just set the gain through the audio gain menu, but we could have also done that through here by just clicking on Auto Match. It's automatically going to place the volume of your clip to where dialogue should be at. But of course that is something debatable like, "What should be the max volume for dialogue?" If you're working for television then they have specific standards. But if you're making a video for YouTube, they're aren't really standards there. It all depends, but we're going to talk about the audio mix in a later lesson. For now let's have a look at how we can fix the issues in the year. Let's head over to the Repair tab. The first thing we see is the Reduce Noise feature. Now we don't really have much options in here, we can only enabled that and just increase or decrease the Reduce Noise feature and with little noise this definitely works. I would never really suggest to pump it up that high, if you're really at that much noise, either try to re-record it, or don't reduce it that much and just leave in a little bit of noise. Let's bring this down back to around two, that is more than enough, and let's play it back again. At first I started with the high elf because I really like elves, but now I'm shifting more Definitely a lot better, actually the automatic feature works pretty good. As you saw we did had a little of noise, and by setting it to two, it's already enough. Next up is a feature to Reduce Rumble, which are more the lower frequencies. Think about you're hitting the table or some low sound of a refrigerator in the background is on, then you can pick that out here or you're having trouble from higher frequencies, then take out the DeHum, which is basically going to remove things like a frequency from an LED light somewhere, or some other interference. Then we've got the DeEss. Some people have a really hard S, they almost start to whistle a little bit. If that is too hard, you can enable that here as well. But again, make sure that's not pumped up too high. Never do that. Always make sure you sit around the value of two, and that should be okay, let's have a listen. At first I started with the high elf because I really like elves, but now I'm. Pretty good. Next up is reduce reverb or echo. Now basically you can't really remove echo or reverb, because whenever your voice is going to bounce back from a wall, you're going to end up with similar frequencies, so it's very hard to filter that out. If you do have reverb that you would like to take out of it, like we have in our example, you could enable that feature, but never pump that up. Lets pump it up for a moment just to see what happens. At first I started with the high elf because I really like elves, but now I'm. As you can hear, Yannick's voice is just being taken away because of that. We could enable that, but just for a tiny bit, not too much. At first I started with the high elf because I really like elves, but now I'm shifting more to the easterlings because. As we can already hear now, that his voice is starting to hear more robotic because of all these fixes that we're doing. We're taking away frequencies to fix the issues, but that's also going to alter the actual voice of Yannick. In the next step with Clarity, we're going to have to fix that again. It starts with the Dynamics feature which is going to pop the voice a lot more. It definitely works well, again I would never pump this up pretty high. But just setting this to around three is pretty good. At first I started with the high elf because I really like elves, but now I'm shifting more to. Now the dynamics is a feature that works on the clips individual. If your result is not that great, what you could do is click on Reanalyze to analyze the clip so that it can do a better job at that. You could try out to go little bit higher if you'd like, so just play it back, but make sure that you're overdoing something else. I really like elves, but now I'm shifting more to the easterlings because. You see he is getting that over tuned podcasts voice now. What I want to do is just bring this back a tiny bit more like so. The next thing we've got is the equalizer, and that is basically going to higher the volume of certain frequencies or lower that. What we could do is for example, bring up the lower frequencies, bring up the warm tones more. There are actually a couple of presets in here, for example vocal Presence. The voice sits more at around 1000 kilohertz, so is also going to pump it up over there. You can see a graph on the bottom right here. These presets actually work pretty well. If you'd like to fine tune them more, you could go into your Effects Controls because every single option that we are enabling rights here in the Essential Sound panel, is actually just an effect being applied to your clip, as you can see here. Here's that graphic equalizer that has been applied to my clip from here. We can go over to Edit and actually change the equalization into your custom. If we would like to bring up those lower tones within the voice, we could do that from here, maybe increase to 500 a little bit and just have to listen to how that goes. At first I started with the high elf because I really like elvers, but now I'm shifting more to the easterlings because there's something evil about them. This is pretty okay. Now to take the edge off that robotic voice, what I usually like to do here is go into the Creative tab and on the bottom you'll find Reverb. I know we've just been taking away Reverb, but what we can do for here, it's actually select a different reverb. We have the option here at the bottom called Warm Voice, and that is going to add more of a warm reverb to your sounds. Usually you don't want to have that too much. Again, a little bit around the two might be enough, let's have a listen. At first I started with the high elf because I really like elves, but now I'm shifting more to the easterlings because there's something evil about them. This is looking pretty good. Now this is hearing Pretty good. Definitely if we know what we are coming from, let's have a listen at what we had before. I'm going to select the audio track in here and duplicate that to a track lower and from here I'm going to right-click, head over to the top here, Remove Attributes and just say to remove all of these sound effects right here, hit OK. Unfortunately, we cannot mute the effects applied to this, that only works for video effects so that's why we have to do it like this if you want to hear the before and after. On the left side here of our audio tracks, we have an option to click on the S of solo track. Now only this track right here will be heard. Let's have a listen. At first I started with the high elf because I really like elves, but now I'm shifting more to the easterlings because there's something evil about them. We have some reverb, we've got some noise, not what we want to have. Let's now have a listen at what we have right now. At first I started with the high elf because I really like elves, but now I'm shifting more to the easterlings because there's something evil about them. It still is a little bit robotic and that has purely because of the noise removal, you're always going to have that when you have heavy noise. This is pretty good and of course, the last thing that I'd like to mention, let me just delete here the other audio track, is that whenever you have to fix your audio this much, is that you can also cover it up a little bit by just simply adding some music underneath. Just take any of these, drag them to the track below, decreased the volume of that to around 26 and let's have a listen now. At first I started with the high elf because I really like elves, but now I'm shifting more to the easterlings because there's something evil about them.. Look at that for almost forgetting how robotic Yannick's sounds. That is in a nutshell, the audio essential tools. In the next lessons, we're going to take a look more about how to do an audio mix with sound effects, music, dialogue, and all that stuff. Thanks for watching. 27. Audio Mixing Music and Dialogue: I know what you're thinking guys, I should get a haircut, I know. I definitely want to but I'm still waiting for that update. If Adobe comes out with a haircut update, I definitely will. Let's just have a look at the screen cast. What we have right here is a simple edit of Yannic's hobby. He's talking about his miniatures and now he paint them. We've got some interview and what I'm going to do now is place a song underneath that, some music. There are a few music tracks within the project files so we can go ahead and dial them, we can also use them because these are royalty free. I'm just going to pick one out and drag them onto audio track number 2 which I've called Music. I'm going to trim this audio or this music clip until here, delete the right parts and I'm going to fade it out on the ends by hitting Shift D. There you go. Now what you want to do is create a proper audio mix. Here in my eye. What you want to do is do a proper audio mix. Basically, that means that all of the music to dialogue to sound effects have a certain volume to each other so that they are in harmony together so that they are pleasant to listen to but also that they make sense. This very simple example that music should be lowered in volume from the moment that Yannic starts speaking in here. In order to do that, we can select the music clip and here head over to the Essential Sound panels and then select audio type which in this case in music and you'll find an option in here called Ducking. Audio Ducking is what this technique is called. We could do this manually by just grabbing the Pen tool from our toolbox or pressing the P key on our keywords. Then just create key frames like so, just pull the volume down here. This line always represents the volume by defaults and pull that up here. We are ducking the audio right here as Yannic starts speaking, let's have a listen to that. My hobby is Lord of the Rings strategy battle game and it's a board game where you have miniatures of the characters of Lord of the Rings and you can recreate the battles from the movie and the book of course. But you also need to paint them. There we go, some nice audio ducking. Now I'm going to undo all my actions right here because this can be done automatically with that auto ducking feature. Now, before we can start using the function right here, we're first going to have to say to which we want to duck this against to. It's already set by default to duck this against dialogue clips. But in order to tell from here what's the dialogue clips are, you first have to assign them. What I'm going to do next here is select all of my dialogue clips like so and for the audio type here and the essential sound I'm going to save this here as dialogue. Now I can just go back to my music track and what I'm going to select to generate the key frames here in the bottom it will automatically do so as we can see here in the timeline. If you think that the transition right here should take longer, you can change these values in here, which is the fate in this example. Generate key frames again and you'll see that the fate here takes longer now. You can also duck the amount more or less if you like so and again it will generate its key frames for that. This is another way to mix down your audio, which is more automatic in this case. I'm going to show you one more example because there are three ways we can actually mix down our audio and everyone has their preference. That's why I'm showing you the three examples. Let's undo the actions right here. For our last technique we actually don't need to the Essential Sounds panels, so we can just go ahead and close that. What I'm going to do now is head over to the menu in tops like the window and from their search for the Audio Track Mixer. Right in here we can see that each controller represents a track within our timeline. So we've got the audio interview which is the first track, we've got music, in which I have my music clip, audio 3, 4 and so on. Every controller has a volume control so we can bring down the volume for that entire track. It doesn't matter, you don't need to select any clips for that, we're working on track level right here. You'll see in just a moment why that is so interesting. Something that we can do with this here is do a live recording of our mix. In order to do that, we just have to select here from the drop-down menu in top. Instead of reading from this we're going to write to it. Once that has been set, I can actually now go to the beginning of my timeline and start playing back my edits and in real-time adjust the volume. So let's do that. My hobby is Lord of the Rings strategy battle game and it's a board game where you have miniatures of the character of Lord of the Rings and you can recreate the battles from the movie and the book of course. But you also need to paint them. Stop, there we go. We can now set it back to read if you like so. If we're going to play this back you'll actually notice that this slider right here will be animated. My hobby is Lord of the Rings strategy battle game. Look at that, those actions have been recorded. Now, where are the key frames of those? Well, if we're going to take a look here back in our timeline, you'll find here on the left side a Show Keyframes menu. Currently it is set to Show the Clip Keyframes. But I said before we're working on track level so what we're going to do here is show the track keyframes of the volume. As we select that, we can now see the keyframes that were automatically generated as we were pulling this slider up and down. Now what's the interesting part about this is because we're working on track level. That means if you choose to pick out a different song, the way we can do that, we can go back here to the clip keyframes, we can select our clip back, delete that song. Take for example something else like Inspirational then go back to that menu and change it back to Track Keyframes Volume. You'll see that it will retain those keyframes because again, we're working on track level and not on the clip. So we can change everything that we have in here while it's going to retain its keyframes, which is pretty cool. As you can probably tell, I prefer to use more of the audio track mixer because of that exact reason where you can just swap your clips in-between. All alright, the hair is back up. That's great. Then let's prepare for the next lesson. Thanks for watching. 28. Sound Design Tips & Tricks: Sound effects, let's get started with that. Again, put on your headphones and let's have a listen. What we have right here is a simple edit of Genic doing. This thing again, we've got some nice fine remapping going on in there, and some nice actions as well, where we can place some sounds on. Within your downloads, you will also find a sound folder within a bunch of sound effects. Every clip has a name, so you can just see the action that you want to play the sound effect. I like, for example, here he's picking out paint bottles, and that's right here, picking paint bottles. There are multiple sounds within there, so you can just have a listen to it. Start at end point, out point, just pick a certain piece out from it and place it underneath your edits. Important is that of course, you're going to synchronize the actions. If something happens off screen, it's not that important that it's not synchronized. However, whenever he's going to pick up a certain bottle, it is going to be important that's the action is singing, of course. So we can clearly see here that he's picking up a bottle or at least touching it, so right there we can place one of those sounds here. You can see a spike within the audio to synchronize it on that point. I've got a bunch of these sound clips underneath that video clip, let's have a listen now. That's definitely synchronized. However, there's still something wrong with the mix. Whenever you are going to add a specific sound effects to an action, also look at how loud that action should be. For instance, right here, Genic is picking up a paint bottle or just gently touching one. But the sound is pretty loud compared to the other sounds. Let's have a listen. What I'm going to do here, is with this bike, I'm going to mix that down, like so. We've seen this previously, how this works. This might be a little bit better now. Also something to remember is that the action that Genic is doing right here is much further away from the camera as he's picking up the paint bottles right here. Here we are more focused on his action, so this can be a little bit louder than the rest. Looking good. In-between here, we've got this fast forwarded parts, and we can also add a specific sound effect to that. That is called a switch, something very popular used within sound designing. We've got a couple of switches right here, for example, this short swish, let's listen. A simple swoosh sounds. Let's add that here in between. Again, let's have a listen. Makes sense, but it's not sounding that good. It's a pretty robotic swoosh. It doesn't sound right. Here's a very quick tip that I can give to you. If you find low quality sound effects that aren't pitched right, it doesn't sound exactly right, what you could do, is actually just use your rate stretch tool from a toolbar and you stretch that out a tiny bits. That will change the pitch of that clip and also making it a little bit longer. Let's have a listen now. Maybe that does sound good. It's a bit deeper. Maybe you stretch it out a little bit more. Pretty good. Let's also make this subtle. It's not a big movement, so let's make that subtle. Just ended the appears to be like a tiny bit of a winds coming through the camera movements. More than enough. Look at that. A nice swoosh. Now, the great thing about using the rates stretch tool is also that, once you're going to use the same sound effect multiple times throughout your edit, you can make them seem different, so that it doesn't feel like you're using the exact same sound effect every time again. This one, I'm going to stretch out not as much as the previous one, and that way I get a whole new swoosh sounds. If sound designed a small part of this edit, the rest is up to you. Let's have a listen to how this goes, and what else that we can improve about it. Now, one thing to pay attention to, is that whatever you are going to sound design is specific edit without using music, it means that you'll end up with debt spaces such as right here in between. Right here, we have absolutely no sound at all. That shouldn't be, there should always be some sound. What you have to do here, is add a global ambient, or also called a room tone, which is basically just a recording of the silent room. Every room has a certain tone, a certain voice that we hear. It's also present in the sound recordings right here, but they stop once we cut off a clip. For an indoor room, it's going to be something very subtle, when you're outside, you can of course play a lot more with that, such as birds in the background, the winds, the leaves of a tree. If your insight effect three, we could use sounds of machines running in a far backgrounds. We can play a lot more with that. If you are inside a room that doesn't really have a specific characteristic, such as we are in. Well, what I have right here is just a silent room tone clip. Basically what we're hearing in here, is just some a noise. Like a fan or something that is going on in backgrounds. There we go. Room tone. So this is something that we can put globally underneath all of the rest, like so. Now, of course, this is going to be pretty loud. I'm going to decrease the volume of that. I don't know, maybe minus 24 or something, and let's just have listened. There we go, might still be a little bit too much. It can be super subtle. It's just to break those super silent parts. There we go. Not sure if you guys can hear it through my recording, but it's there. You can open up the project files. So we know that a sound effect should have a specific volume. If an action happens far away, then that volume should be less than an action that happens closer to the camera. Now what about reverb. Because these sound effects are record pretty close to the action. Like here where Genic is shaking his paints. That is an action that is further away from the camera. It's also much louder, so it should have some more reverb. Well to do that, simply select your sound effects clip and from the essential sounds panel, we're going to click on sound effect as the audio type this time. At unpredicted radiative tab, you'll find a reverb option. You can choose between heavy, light outside, or room reverb. Usually the lights reverb is going to do just fine. Let's have a listen. Maybe that was still too much. Let's bring it down even more. Maybe that works. It gives some more characteristics to the room that Genic is. You can also try out some other reverb types like room reverb if you like so. Now, one thing that has bothered me is that on the end of this clip, this sound has been cut off, which is correct, because we're cutting to a new clip, but through reverb is as well, and that just doesn't sound so good. What we're going to do here is make sure that the sounds of that shaking of the paint has been cut off, but not the reverb. Now to do that, first we're going to trim that's clip longer, like so, and then we're going to take the pen tool to draw a keyframe point on the volume of that audio clip, and we're going to bring down the audio here all the way to minus infinite right after that first keyframe. This would be the same thing as cutting off the clip. But you'll notice, that the reverb pull continued true. Let's have a listen. Just as an example, I'm going to set this to heavy reverb and just pump that up so that we can hear it better. That pretty nice.That reverb just continues to go on. Let's set this back to something more natural. I think at the light reverb was actually better. Let's just add a little bit of that. Not too much. There we go. We can also do that with other sounds as well. Like for instance, here we're Genic picks out like these to paint bottles. If you'd like to add some reverb that that is definitely possible. It gives some more characteristics to the room. Be careful though not to add too much reverb. Because after all, reverb is also seen as a mistake in audio. Be careful doing that. But of course, some lights reverb, not too much, can never hurts, it gives some more depths to it. There we go. Talking about giving more characteristic to a sound effect, you can also do that with your root tone or your ambiance. When selecting that clip here on the bottom, you can see that we have any essential sounds, also an audio type for that ambiance here on the bottom, and you'll see here that we also have again that reverb option, and it will add a specific reverb for ambiance like outsides, large room or room ambiance. Let's take out the large room ambiance and you'll see how that sounds. That definitely give some more body to that room tone. Maybe I want to bring this down a little bit more. What Adobe is actually suggesting us here, if we're going to click on auto match, is that we're going to mix this down to minus 30 decibel. Of course, that is going to depend on the project or the video that you're working on. Always check it's how your ambiance is. But this is coming together pretty good. Now of course, what you do decide two adds music to a sounds designs video, what you have to pay attention with, is the mix again. I'm just at here inspiration as the overall music clip. Since there's no dialogue, we could assume that we can keep the volume of the music at maximum, but then we won't hear our sound effects anymore. So in this case, I would suggest to bring this down a little bit more to minus 15 or something. Let's have a listen. You'll notice that once we are going to add music that some sound effects are falling away, such as the swoosh sounds right here. We can increase those volumes. Now, we're going to mix them against the music this time. There we go, they're coming back. Just keep them subtle. Looking good. I mean, hearing good. That's it about how to work with sound effects. Basically just make sure that they're always synchronize with the actions that you mix the volume correctly with actions that happen far away or closer to the camera. Also, that's things like swooshes are slow, ends that you can play around with this stretch tool or with the reverb to add some more characteristics to sounds. Thank you so much for watching again, and I'll see you in the next lesson. 29. Synchronize Audio & Video: Do you know what I hate? When your audio is not synchronized with your video. Let's have a look in Premier how to do that. Inside the Interview folder you'll find two clips, one is interview video and the other one is interview audio. This is a separate part that we've shot where Jannick's audio is connected to an external recorder, something that happens very often. Through this clip right here, we can hear Jannick's audio is through the camera, not good, we don't want that. We want to use the audio of this clip right here. There are a couple of ways to do that, to synchronize the audio with the video. We've seen in the multi-camera lesson how to do that. Because at a certain point here Jannick claps in his hands, that's a clear point which we can use to synchronize these two clips. You can see it here in the video as well, there we go. But if you have hundreds of clips to start editing with, it's going to take a long time to search for that point where your talent claps his hand, set an endpoint, then do that exact same thing with your audio as well, bring those two into the timeline like this, and then hope for the best that your audio is synchronized. With Premier Pro, we also have an automatic feature to automatically synchronize these two. As long as you don't have too much surrounding noise, it works pretty good. Let's have a look at how we can do that. I'm going to delete these two. Just simply select the two clips that you would like to sync together, right-click and go over to "Merge Clips". From here, you can give that a new name if you'd like so or just keep it with merge behind it. Make sure that you're going to synchronize this by audio. Don't say In Point or Out Point, or anything like that, Choose Audio. On the bottom, what I'd like to do here is also make sure that I have checked Remove Audio From AV Clip. That means that we're going to remove the audio from the video clip, which is just the sound from the internal camera, which we don't need, that's why I'm going to choose that. That's pretty much it. Just hit "OK" and a new file here will be created, the merged clip. Basically, you could go ahead and delete these two right here, or what I'd like to do as well, is hide them. Right-click, and from there choose "Hide". By default, it doesn't have a short key but you can set one for yourself if you like, for example, Control H, that's up to you. That keeps your project panel clean and whenever you want to go back to your source files, you can always right-click again and say "View Hidden", which will reveal them again. To hide them again, right-click in an empty space and de-check View Hidden. Right now, we can just simply go ahead and drag that clip into the timeline, and you'll see that we only have now the audio from that audio file and it should be synchronized. Really depends on the profiles for the characters. Each character has it's own profile, you have the strength, you have the defense, you have- Look at that. That was already it. A very short lesson, but I do hope that you've learned something new to synchronize through audio. Thank you so much for watching. 30. Preview Rendering: Hi. Good morning. I was just waking up. That's the thing about living inside Premiere. You never know when the editor comes back. Let's continue. Let's have a look at preview. What I have right here, in side Premier is a simple clip of ganic, and I've applied an effect to it. You can see here that my computer has some trouble playing it back, it does play back, but it's pretty Sharpie and that's because of that effect here. I've applied something called lighting effects to it, which amplifies that light here. Right here, I just got a normal clip, and on top you can see this color line with one its red and with the editor it is yellow. Red means that my computer can not play it back in real time because of that effect applied to it. The Yellow Clip does mean that premier is able to play back in real-time, but it hasn't been rendered yet. We haven't created a preview from it yet. To start rendering, we all know what to do, just hit return and Premiere will start rendering. Basically it's just going to export this stuff on our timeline in the background to an actual video clip, and when is done, you'll notice that this clip here now has a green line on top, which represents that this clip has been renders. The clip number seven here is not rendered, and that is because when I'm hitting return on my keyboard, and we can see that back here in the menu as well Sequence, the return is mapped to render effects in and outs. When we choose to render it and out, it will just render everything regardless if it has effects applied to it. So when doing that, it will label all of the clips with that green line. Then there is something very important to be said about these render files or previews that are created. In the beginning of this class, we have seen with the settings of our sequence, f you'd right-click on it and go to sequence settings that we can find here in the bottom these video previews and we've been talking about that, and there's something to note here is that we can change the codec of these exports. Why is this important? Well, for two reasons. First of all is for smooth playback, because we can set this to a heavy codec, a large resolution, and that will still introduce choppy playback after render, and that's the first thing. The second thing is once we're going to export our videos, so head over to File Export Media. We actually have an option here on the bottom that says use previews, and that will actually use those renders inside your final exports, which could drastically speedup rendering time, and that is all good and well. But if we have been rendering to a poor quality codec to a low resolution, it is better not to use those as previews for the final exports. Let's go back to the settings of our sequence here. Let's have a look at the video previews. Now basically, we've got two types of codecs. We've got the lossy codecs and we've got the lossless codecs. Lossy codecs means that we're going to throw away some quality of our source video. We are degrading the quality, making smaller file sizes, which is good for pretty views and all, but not for using those previews for the brief final exports. For that you'll want to use lossless codecs. These are codecs which are also going to compress your video, but without throwing away quality. Typically when you want to use the previews for your final exports, you want to make sure to use those lossless codecs. Let's see what those are. We're trimly editing within DNXHR presets, so that means that we also have only those available here as the preview file formats. However, we can change that here on top to something like custom, which gives us all of the options here. Basically, there are only two formats in here which you are going to work with. The first one is the iframe only mpeg and the second one is going to be QuickTime. Under the iframe option, we don't have any other codecs to choose from. It's just mpeg. Under the QuickTime formats, we do have some codecs that we can choose from, and typically you're going to go for either Apple Prores or DNXHR, DNX HD, which is similar to prores, but then for adverts, in reality, they don't really make much difference. But now which format should we choose? Well, that all depends on your purpose. First of all, and second of all, which camera that you've been using to shoot your source files with. If you've been filming with your phone, well then there's no use to upgrade that to something like a prores codec meaning you can't make something better in quality. Once shot and compressed, that's what you have to work with. But if you've been shooting with a high end cinema camera, such as a red camera, well, you definitely don't want compress that into an mpeg codec because you're going to throw away quality. Now if you're unsure as a golden rule, I typically always go for the QuickTime and then just choose the codec, DNXHR. You don't lose any quality with this codec, and if your final export is going to be to share that online, such as on YouTube or with your friends to a client or a colleague, than that codec is going to work out great for you. You can never increase the quality of your video. You can only decrease that. Just keep that in mind. Now, everything that I've been saying here only applies if you're using the previews in your final export. If you decide not to use that, it really doesn't matter what kind of codec that you pick in between, I'm going to reset the resolution of the previews to bring it back to the same resolution as my sequence settings. But if your system has trouble to playing back four K resolution, then there's no use to set your video previews at that. What I would then do is set a lower resolution. I'm just gonna pick out something drastic here, like for example 250, hit OK and because I'm changing my preview settings, it's going to say that it's going to delete the previous ones. So yes, I'm okay with that, and you'll see that this clip here needs to be re-rendered now, but let's see what happens. I'm going to render again, and it's going to render this video now with that very low resolution, which has the plus side of me being able to play back that clip super fast because it's super small and super low in quality. But of course, this is something that we cannot use in the final exports. So this is great when you're editing, everything will go fast on your system. But when I'm going to go back to File Export Media, I can definitely not check to use previous now. So that is in a nutshell, how the previews work. Keep in mind, guys, how are you going to use your previews? Are you going to use that for faster playback in your timeline? Or are you actually going to use the previews for your final export? It's very important in the decision of which codec that you use and resolution, of course, thank you so much for watching, and I'll see you in the next lesson. 31. Working with Proxies: One of the biggest frustrations of video editor can have is slow playback. Although a computer upgrades might seem like a good idea, it's not always the best idea. There are a few workarounds to that and Premiere has even thought about something, and that is called proxy editing. Basically what I have here in my project folder are five clips from the B-roll and say these are pretty heavy. These are 5K resolution files. So I have trouble playing that back on my computer. What I can do is actually now just right-click on that entire folder, go over to proxy and from there, choose "Create proxies." A window appears and we're going to have to choose a formats again. So basically what Premiere is going to do is create copies of your source clips, but then in a much smaller, lower resolution file size. Our two formats that we can choose from the H.264 or the QuickTime. Although H.264, which is a very common codec, is great for sharing on web such as on YouTube or to send out to a client or something. It is not an ideal codec to edit with, you'll end up but a small file size that for sure. But Premiere has trouble to decode that and manage it inside Premiere. So what I would suggest is to go for a QuickTime and then choose the low resolution progress proxy presets. You'll end up with a bigger file size, but Premiere is able to handle those files much easier. Select that one, and then we're going to have to choose where we'd like to save those copies. What I usually tend to pick is to save that next to the original media in a proxy folder. So with that selected, just press ""Okay." Media Encoder the program that chips together with the installation of Premiere will boot up and automatically it's going to import those clips and starts with the exports of those proxies. There's really nothing on your end that has to be done. It's all happening automatically and you just have to wait it out until it's done. Media Encoder is done with it's processing, so we can just go ahead and close that program into Senior Project folder that nothing much changed, and that is the great thing about these proxies. We can now go ahead and you start adding clips to your timeline, like so. I'm just going to add a few in here like this, and I'm still working on the original files and I can tell because the playback, it's not going be that smooth probably or it is. Nice, I got a good computer that's for sure. Anyway, let's see how we can switch to the proxies now. If we click here on the button editor from the program monitor, you'll find a button in there called Toggle Proxies and it should look like this. Just drag that into your layout as well, hit "Okay." Whenever we are going to enable that now by clicking on a button, from here we'll now actually point all of our clips in a timeline to those proxies or to the copies of your original source files. Your playback should go a whole lot smoother right now. The quality will be a little bit less, but not that noticeable, which is still great for doing things like color corrections. So you can just continue doing your edit this way on the proxies, and whenever you feel like you want to look back to the original ones, you can always de-check that button and look at the original ones. You can see that now that playback goes a lot more stiffer. It's not going that smooth anymore because I'm working on the original files here. So there you go, a way to speed up your workflow, and by the way if we go back to our explorer now, into B-roll folder, you'll see that proxies folder has been created in here with those proxies in there. Thank you so much for watching and I'll see you again in the next lesson. Look how fast this goes. 32. Export Options: Here it is guys, the final edit of my video, how to paints like a pro, featuring Genic. Now it's time to export this video so that we can show it to the clients. Instead of you can start talking trash about it and send over a bunch of pointer. Let's see how we can export this video here. We've seen that before, we can head over to "File," "Export" and then hit "Media." On the top right, we can choose a "Format" type, and there are basically two kinds of formats, I'm not going to go through everything here I think that is just ridiculous. I'm going to show you guys the two type of formats that I usually export to and the first one is going to be the H 264. This is the most used formats worldwide, and that is because it is supported by a majority of devices for example, you place your video onto a USB stick and then you can plug that into your television, it is probably able to read that H 264 formats or you upload your video to YouTube or to Vimeo, or you're just going to send it over to a friend, a colleague, or your clients. It is a small file size, which is great yet it still retains a high-quality and that is why it is so popular. Now from within Premiere Pro, we actually have a bunch of presets that we can choose from, and honestly these presets are pretty good, and the one I that I usually just pick in here is the "Match Source - High bitrate" preset. Basically all of these presets in here are exactly the same only the resolution often changes and the bitrate for example, if I'm going to pick a 720 P, "High Quality Exports," well then my resolution is at times smaller. Sometimes you want that, then you can pick that preset out of here. Other times you don't and you just want exports the resolution of your initial sequence, so in that case, you can just pick out the Match - Source High bitrates. As you can see here with the video tap here in the video settings, the resolution also matches my source as well for the frame rate and everything else. If you're unsure about that, you can also always click on the "Match Source" button and it will automatically set that to your source settings, but then scroll a little bit further here's something interesting. We have a performance setting and for that I think that you need an NVIDIA graphics card, we have that so we can select hardware encoding from here, which will actually speed up the exporting a bunch. If you don't have that option, just to have software encoding and that is what you have to go for exporting will be a little bit slower. Any ways moving on, we also have here on the bottom we should find the bitrate settings, so these are very important. Now from the Match Source High bitrate setting, I find 10 megabits per seconds for a 4K resolution clip to be too less. What I usually tend to choose right here is around 50 megabits per seconds for a 4K resolution video file. If you choose to go for a lower resolution such as let me just uncheck this here, the full HD resolution with just 1920 by 1080 P, then you can actually choose for something like 30, but I would still go for 40 megabits per seconds. On the bottom, you also see an estimated file size if you believe that the file could be bigger in your opinion, then you can set this higher. Of course, the higher the bit rate is, the better the quality of your end video will be. Now interesting enough if you're going to pick out the YouTube preset, the 4K ultra HD preset for YouTube, it'll actually automatically be set to 40 megabits per seconds. I would still tend to go for that 50 for a 4K clip but that's obviously up to you. You can also try out difference megabit settings and see the quality for yourself but those are just my two cents and my personal preference. Now what if you're exporting your final edits not for final delivery,s but for a colleague maybe, who wants to do some more color grading onto your edits, or maybe you're going to do some more visual effects inside after effects, but you decide to first export your video outside of premier. Well then we need to choose an intermediate codec, and we've talked about that previously in this class. An intermediate codec is a higher-quality codec that it's usually going to give you a bigger file size, but you will retain its full quality and for that, I can highly recommend to choose the "QuickTime" format, which is all the way on the bottom right here and then for the preset on top right here, I would choose one of the "Apple progress codec". Though we've got a couple of different ones in here, we've got the 422 and then the 4444 DNs and that stands for the sampling which I'm not going to dive into because that is a whole different class for whole different audience as well. What you want to know is just that the 422 sampling is less quality than the 444, but it is not noticeable to the eyes. So you could actually just go 40 apple progress 422 HQ, which stands for High Quality, which is a perfect codec and there just no reason to choose for that 444, which will just end up into a bigger file which you have no proper use for unless, let me go back to that drop-down menu right here. We do have an option here called "4444 with alpha." Now alpha means that wherever you're going to make an animation of text for example, but you don't have anything in the background that is actually a transparent layer and let me just show that to you guys. Right here you can see that I've created an animation of Yannick's Hobby and when placing that into an empty space right here, we'll see Yannick's hobby, you get that in animation going on in here and the background is black, because there's nothing down below here, but in reality it's actually transparent. Now what I've done here is exported this animation to two versions. I've explored that to ProRes 422 and I've also exported that to the ProRes 444 alpha. Let's go ahead and import these two here into Premier Pro. Here the art, what I'm going to drag the 422 into my timeline on top of an eclipse, you'll see that the background is also black because we have not chosen to export that extra alpha layer which is a lot more extra information that we also need to bake into that video, we see a black backgrounds, but let me just delete this now and import the 444 with alpha layer. You do know just now that we've got our text and that we can see the actual video in our timeline behind it. What we're looking through is that transparent layer. So if you need to export something with the transparency with it, you know that you can choose for that ProRes 4444 plus alpha and that is in a nutshell, again what you need to pay attention to when exporting your video. You can then go ahead and give that a name, whatever you like and where you'd like to export it to and then you can hit "Export" or you can also hit on "Q," which will bring it over into Media Encoder and the interesting part about bringing this to your Media Encoder is that you can either let it rest here, edit further, bring other edits maybe into the Media Encoder and by the end of the day, you're just going to hit "Play" on top so that's the export will start or you can also bring it in here, hit "Play" so that it will start exporting and then you can just go back into Premier and keep on editing if you like so. Do know that your computer might be a little bit more slow because something is going on in the background of course. 33. Premiere Pro Versions & Downgrade Projects: Yes, I knew it. Premiere crashed again. Look at my edit. Damn it. Everything is lost. Guys, be careful when updating Premiere Pro. You never know what happens. You know, inside Premiere, we can go on top here and select Help. Then go to About Premiere and from there you can see which version or which build that you have of Adobe Premiere Pro. It's now and then new updates come out for Premiere and always be careful doing those updates because sometimes, yes, you get some nice new features, but also the program could start to act really funny. Now a good solution for that is when I'm going to go to my Creative Cloud Desktop app where I can install the difference Adobe apps and also update them, it's to actually install them separately. You can see now that I currently have a new update waiting for me for Adobe Premiere Pro. I can do that. I can hit Update and as soon as I do that, we actually have the possibility to decheck to remove the old version of Adobe Premiere Pro. Once I do that, I retain the old version so whenever something happens in the new version, I can still go back to the old one. You can also here click on the three dots for the update and then go to other versions and from there you'll also see that you have the possibility to install previous versions. You can see here that I still have build number 13.15 installed on my computer and that is for such emergencies from Premiere. This crashes out completely. Keep that in mind guys and when checking out the project files here, whenever I'm going to right-click on any of these projects, head over to Open with, I can from there select the 2020 version or the 2019 version. Now we've been editing all of our stuff now inside the 2020 version throughout this class, let's say that the new version is not working out to us, that means that we have to somehow downgrade these project files because if I'm going to open any one of these into the 2019 version, we'll get the following error, "This project was saved in a newer version of Adobe Premiere Pro and cannot be opened in this version." That is the problem but luckily, there's a tool to downgrade our project files. I'm just going to hit OK and from there I'm going to go to a Premiere Pro Downgrader website. This is a tool from joshcluderay.com. You can see it here, the domain name. I'm going to share that link also here in the class notes. Somewhere here down the video player, you'll see a note or my face with a little pop up with that link in there. This tool is for free so thank you, Josh so much for that. The only thing that you have to do is to just say Choose File, head over to your project file that you would like to downgrade, this one right here, it opens and then say Convert. The website will then download a new file for you, which I'm going to drag into my projects folder, and let's open up this one right now with the 2019 version. This has been downgraded to, I don't know, version 2015 or something. I have no idea actually. Once you're going to open up this downgraded project into 2019 or something, it's going to say that the project file is old and it has to be converted and upgraded again for 2019. You can just go ahead and do that. Hit OK. It's going to create a new version of that but you're able now to open it up inside 2019 and continue doing your edits inside here. There you go, a small tip on the different versions of Adobe Premiere Pro that you can install them separately and that you could downgrade your project files as well with the helpful tool from Josh. Thank you, Josh so much for that. This is the end of the entire class. We've gone through all of the advanced features of Adobe Premiere Pro, just in time because my Premiere crashed, I actually have to quit right here. I've got one last lesson for you guys, which is a conclusion lesson so definitely stick around for that. Thank you so much for watching. I'll see you in the next conclusion lesson. 34. Conclusion: Welcome to this last video of the class. Congratulations you've sat through it pretty long course. Anyway, I hope that you've learned some new tricks inside Premiere Pro. Basically, you've seen almost everything that Premiere Pro has to offer. What else is there for you now? Just go out and create stuff, film stuff, edit stuff, and just keep creating and keep using the different tools inside Premiere and you'll become a better editor. But as far as the technical explanation goes, there is nothing more. There are a few things of course, but there aren't any major features anymore that should be covered. Anyway, I've been talking about [inaudible] this class as [inaudible] those things are more specific. We have a dedicated glides on color grading, inside Premiere Pro, so there was no use to go to every single tool or every single detail. The same thing goes with audio, there is still a lot that can be covered there, mostly practical information and still a lot of technical information, definitely stuff in Adobe Audition, but that again, could be a whole different class. So definitely make sure to follow me here on skillshare, you stay updated for those more classes to come. Anyway, you can download all of the project files, all of the media, everything that we've been working with throughout this class, use that to create an awesome edit widths. Utilize the interview of genic use a B-roll over that to create some nice transitions and nice 2D animations and then post that video here in the projects on skillshare so that I can have a look at it and give you guys some feedback. Anyway, there is more information there on that projects page on skillshare. Thank you so much for watching. It was a real pleasure to show you guys around in Adobe Premiere Pro and I wish you the best of luck with your future edits. Thank you so much again. As always, stay creative.