Transcripts
1. Welcome!: There are so many video editing courses and tutorials out there. The knowledge that
you can learn in Premiere Pro and
in video editing, in general, is honestly endless. But there is such a thing
as analysis paralysis. You spend so much time
watching tutorials that you never end up taking the leap
to start booking clients. What can also happen
is complete overwhelm. If you're anything like me, then the difference between
you and the you that's living with freelance dream life
is all about confidence. Confidence and simplifying. What do you actually
need to know to take that step and start being trusted to edit video
for paying clients. Well, that's what this
course is all about. Who this is for? You have a basic concept
of video editing. You have not had many or
any video editing clients. You are looking to step up your video editing
skills specifically so you can jump right
into working for clients as a professional
video editor. You are working in Premiere Pro. If we haven't met
yet, I'm calling it, I've been video editing
for over 15 years. Years ago, I struggled with my video editing confidence as well as how we go about starting my freelance
video editing career. I'm here to share my experience and my knowledge to help you grow as a professional
video editor quickly and efficiently. As part of our class project, I am providing you with actual footage from my own
YouTube channel for you to work with to
practice creating a sample of an actual
YouTube video. For more tips on video editing, creativity and
freelance lifestyle, you can always check out my YouTube channel that
I will link below and you can visit my
Skillshare profile to view all of my
available classes. In the meantime, let's get
into our first lesson.
2. How to Handle Multiple Projects: [MUSIC] How to handle multiple projects. If you're going to be
taking on multiple clients, you cannot just slip by without the proper knowledge
and discipline to be able to organize your
client's projects properly. It can lead you to losing assets or needing to constantly
re-link files and even not being
able to access old projects without a
boatload of problems. Now, having said that, we are in the business
of minimal info here. What do you really need to start practicing in order to create an easy but optimal organizational system
within Premiere? Well, the key here is your organizational
system should be within Premiere and
outside Premiere. I'm going to show you what
that looks like right now. We're going to make
a new project. I know, again, it can be so
exciting when you're first starting out
to just want to hop right into Premiere and not worry about where your
project is going to live. It's just going to set you
up for disaster moving forward and you're
going to get really lost in where your projects are. Especially if you're thinking like a professional
video editor, a professional video
editor knows where all of their clients
projects are. They can find everything
on their hard drive or within Premiere or a cloud or wherever they're
storing everything. Everything needs to be located
in an organized system. As much as you may not want to hear that, it's
important to know. We're just going
to hit "Browse", find out where we are going
to be putting our project. I made a little test
project folder. Within all of my folders, every time I want to
make a new project, I have a project folder. Then within that project folder, I've got three folders, exports, materials, projects. If you can just remember those three folders
that will get you so very far when it
comes to organization. Everything that you
are going to create or export out of Premiere can be categorized into one of those three things and those
three folders is going to remind you to create a folder that all of those
folders are going to live in, for example, minus test project. You see what I'm saying?
Because it can just be so easy to just throw a
Premiere project into a random other folder or
directly onto your hard drive like way back without creating a folder for it and
you don't want to do that. Your project folder,
a projects folder, a materials folder,
and exports folder. We're going to go into projects and we're going to
save it right there. We're just going to
call this test project. Excellent. When in doubt, make a folder for it. It's not going to hurt you. Can't really have
too many folders, although it can get a
little messy if you do. But more than likely
if you are wondering if you should make a
folder, yes, you should. You should always make a folder. When you're in Premiere and
you open up your branch, take a new project and you are so excited and you
want to jump into it. I urge you to follow
these steps right here. I've got my footage,
I've already put it into a footage folder within
the materials folder. Now it's very often that I
don't do a footage folder and then I just throw in my footage in the
materials folder. Do what you want depends on how big the project
is and depends on how good you are at finding
where all your files are. I think a footage folder
is great because then what happens is after
you pull in music, which is a material, graphics, which is a material, other broll, which
is a material. It's nice to have a separate folder for
your footage because that is your most important thing and it's nice to know where
that is specifically. But as you've done that
outside of Premiere, you can just go ahead and drag
in your materials folder. It's easy as that. Suddenly
you have a band of materials. You've got everything
you need right here. Me personally, I like to have minimal folders in Premiere, but I have seen other editors
have a numbering system. Maybe number one is their sequence and then
number 2 is their footage. Number 3 is broll, graphics, sound effects, music, and it can go down the line. This could be a great
system for you if you are usually working with a lot
of different elements. Me personally, I'm working at
a lot of smaller projects, so I would rather just
keep the folder small. I made them materials
folder and then command b, we're going to make
a sequences folder. All my sequences are
going to live in there. I also put all my nests
in there as well, which I will touch on later. Now again, I would
suggest keeping your bins minimal when
you're in Premiere. But then again, if your
projects gets too crazy, then it doesn't
really matter where all of your materials live. You can always have shortcuts
like reveal sequence in project or reveal
footage in project. You can always set
up those shortcuts to be able to find
your sequence or your footage or
whatever you're looking for very easily in the project. If you are looking to
reveal your sequence, I simply right-click my timeline and you'll see here reveal
sequence in project. It's just grayed
out because I don't have any sequences
made right now. Then to set up the reveal
in project shortcut, you're just going to want to
go to keyboard shortcuts. You want to type in
reveal in project, there's a couple
of different ones. You want to find this one which is specifically
in the timeline panel. That means this panel and then you want to
find revealing project. Then I set that up
for me as command P. You can make whatever you want if command P doesn't
work for you. But I like command P, that works for me. When I'm in the timeline and I'm editing and then I decided that I want to find where this footage lives
in my project, I simply click it, I hit command P, and then it will highlight that source file in the project. You can always find it that way. Now that your folders and your bins are set
up and ready to go, check out the next
chapter to kick your video editing speed
into high gear.
3. The Shortcuts you REALLY need to know: [MUSIC] The shortcuts, you
really need to know. The biggest step to
start video editing at an acceptable
speed that can give you the confidence
to start taking paid projects is of
course shortcuts. When using the video editing a big skill that
comes to mind is speed when it comes to
pros versus amateurs, so let's get you editing fast.
What do we need to know? We need to know shortcuts. In general how I
edit my footage in Premiere is specifically
on the timeline. You can add it two ways. You can be editing here
in the source window, here in point around point, and then drag it in, or in another case you can hit the comma button and that
will insert it for you. I prefer to not edit that way. I would prefer to edit
everything in the timeline, so I'm going to select
all of my footage, throw it in the timeline. Why do I do this? One One think it's easier to use certain shortcuts
when you are in the timeline and you're editing. I think it's really easy
to get a flow going. I also prefer to edit by the waveform which I will talk about a
little bit later, but basically as you
can see we can see where all the pauses are
by when I stopped talking. If you're going to be editing
for a lot of YouTubers, this is probably
something that's going to be pretty common for you because YouTube editors
normally taught like this and the whole point is to be cutting
out the dead air. So being able to see both the dead error and where any mistakes could possibly be, it's going to be
really helpful for you cutting a lot faster. Now of course you can scroll
left and right to play, you can also hit the
Space bar to play. I prefer to hit "L" on the
keyboard to move forward, and the more you
hit "L" the faster you will go which
is very helpful. K on the keyboard we'll
stop that movement, and J will move you backward. The more you hit J of course, the more you're
going to speed up. That is a key shortcut. You've got to know it if you haven't already learned that. [MUSIC] How I cut
this footage in the timeline is a
really pivotal shortcut that's going to make your editing process a
heck of a lot faster, and that is Q and W. We want to start right
when the waveform starts, we've got where our play head is going to be, the marker, and we're going to hit "Q" and it's going to cut up
to the play head. This is super helpful when
you are moving very quickly, you can hit a cut right there and you'll go to the next piece and you're going to hit "Q". Same thing if you would like
to go the opposite way. Let's say we're
going to cut out all this and we're going
to place a cut there. We're going to go to this end and we're going to hit "W", and now everything has just cut up to the play head
on the other side. This is probably my
most used shortcut when I'm editing my rough
edit in the timeline, and it's something that
I definitely if I were you I would learn to use. It's also important
since we're talking about that to know and understand that when you are cutting with the Q
and the W tools, it's cutting according to which video track
is highlighted. Right now the video 1
track is highlighted, and so when I'm trimming off the beginning
or end of a clip, it is going to do it according to V1 which this video is in. If I had this selected, it could be a little
bit different. If I have V2 selected, it's now looking at where's the next video in the V2 track, and when I hit "W" for
example it's going to shove all the video up to the
play head according to the V2 track which you
of course do not want. We're going to hit
"V1" and we can move according to the V1 track. Another one of the
most popular shortcuts I use to edit very quickly in Premiere is simply hitting the A button
on the keyboard, which brings up these
two little arrows. You will then hit the mark
that you would like to select and you'll see
that everything to the right of those
arrows goes highlighted, and this would
pertain to everything that you have on the right
including multiple tracks. Everything's going
to get highlighted. If you needed to
add something in, this could be an easy way to do that because then of
course once everything is highlighted you can then shift
it however way you want. I use this a lot when
I'm editing as I normally need to add
extra things in. It just helps to move things
out of the way so that I'm not pasting things in
and it's overlapping. I just like to be able to
clear everything out of the way so that I can just have a clean area for a moment
and then of course I can just hit the Space right
here and hit "Delete", and that will bring
everything back or if you didn't want to
ripple delete you could just hit "A" again, select everything and then just drag it back to where
you wanted to drag it. Now, one tool that I
don't use too often, but I do like to use a lot when it makes sense
to me is the N tool. It's already set up in Premiere. You don't need to set.
It if you hit "N", it will give you this tool. This simply will adjust where
your clip is being trimmed, but it won't necessarily. Well, I'll just show you if
I were to move this here, you can see it's not moving
any clip any particular way. It is simply shifting where
the cut is happening. This can be super
helpful if you do not want to adjust the edit; necessarily if you do not
want to move anything, but you just want to slightly adjust where a cut is happening. This is a super great
easy tool for that, and that is called the
rolling edit tool. Now, I'm going to share a
tip that I made for myself. I don't know if this
will help you or not. I just know that it helped
me greatly when I'm moving quickly through an edit which of course is
the ultimate goal, is to move as fast as possible. The zoom in and out shortcut is the plus and minus
on the keyboard. That feature is very far away from where my
hand usually lives. My hand usually lives, is on the left side
of the keyboard, near the Q and then W, and lives near C and V where the cut razor tool and
the select V tool is. I like to have my hand on the
left side of the keyboard, so I prefer all of my
heavy hitter shortcuts to live on that side. Now, I also have experience
working in Pro tools, and in Pro tools these zoom
in and zoom out buttons were R and T. T zoomed you in
and our zoom you out. I taught myself that as T
for tiny and R was roar, so R was like, "Oh, everything is
backing on big and faraway," versus tiny was
supposed to be closer. That's what I taught myself. Of course, you do
not have to do this, but this was something
that helped me greatly and I stand by it that it really helps because
I'm usually zooming in, zooming out all the time
even while I'm in the middle of playing my YouTube video. I'm zooming in to do any detailed cuts and
I'm zooming out while the video is playing
so that I can get a big picture look at what I'm doing and
what's coming out. Take that with the greatest all. Maybe R or T is another
shortcut in your workflow it wasn't anything
that couldn't easily be replaced by something else. That worked for me and it helps me a lot,
we'll leave it at that. A couple of other
small things is the enable and disable tool as well as the link
and unlink tool. You can of course
hit "Command L" to link and unlink if it's
not already in Premiere. I believe link is already set up with Command L. That's a
really helpful shortcut, usually helps me in
the way of that. For me personally
something is going to need enabled or disabled, or maybe it just needs
a link for some reason. Those two things go
hand-in-hand in importance, so again Command L
will unlink footage. Now it's unlinked and then Command E disables
or enables a clip. I do not believe
that Command E is something that is automatically
enabled and disabled, but again of course
I encourage you to figure out what works for
you in terms of shortcuts; what shortcuts are
important to you, and then to find them in the keyboard shortcut
panel and then to adjust them or create
them as needed. I did already mention
the Command P that I set up for myself which reveals
a clip in the project. Again, super helpful
for if you have a ton of footage and you need to find maybe another
clip that's near another clip or you need
to find a different take. That is super helpful in moving quickly
through your edit. Then the last thing
I just want to talk about is actually not quite a shortcut
but it is more of a feature in the
Premiere timeline, and that is utilizing the
tracks to your advantage. Right now of course we have
the video and audio enabled. If for some reason
you couldn't drag video in, that's probably why. Same with audio, this do
need to be highlighted. Normally V1 is highlighted
as well as A1, A2, and A3. This can help you
greatly if you are looking to paste something into an already created timeline without wanting to
move everything around with the A tool like
I was mentioning before. Say we have a piece of
content like this shot here, and I want to put it over here in the
beginning of this timeline. I'm going to copy it; Command C, and then I'm going
to come over here. If I were to paste
this over here, it's going to paste
right into it. Of course, that's not cool. We don't want that. It's pasting there
specifically because the V1 and A1 tracks
are highlighted, however if you were to
highlight V2 and not have V1 or A1 highlighted when you paste it's going
to paste above and below. Again, take with
this what you will. I find this incredibly helpful
for my workflow because I'm often copying
pasting things a lot. Especially when it
comes to other assets, and graphics, and
things like that, I want to make sure I create
those things and import those things as smoothly as possible and this is a
really easy way to do that. Take with that what you will, but honestly when
I learned that, that was gold to me. Of course, there are so many
shortcuts you can learn. I believe that can be
an overwhelming thing when you are learning
video editing is feeling like you need to
learn all of these shortcuts. What do all of these
shortcuts mean? What do all of
these windows mean? But again, we are in
the [MUSIC] business of making things that minimal
and easy as possible. While I could continue on other shortcuts that
might be helpful to use, those are the main
shortcuts that I use in my daily life
as a video editor. Especially working in YouTube, those core shortcuts are
going to help you become a more professional
video editor and most importantly a
wicked fast editor. Hope that helps. Now that you understand the
necessary shortcuts, check out the next chapter
to view my best tips on editing at lightning
speed in Premiere Pro.
4. PRO Speed Tips for YouTube Video Editors: [MUSIC] Pro speed tips, for
YouTube editors. Now I know that shortcuts
are the main way way you can speed up your
workflow in Premiere. But, there are some
other tips that I did already mention that
I'd like to go over again just to really
double down on how important these can be at helping speed up your workflow, and ultimately make you
a better video editor. One of those tips of course, is all about the keyboard, and your hand placement. At all times when I'm editing, I have got one
hand on the mouse, and I have got my left
hand on the keyboard. This is where I mentioned
where I like to have all of my heavy hitter shortcuts on
the left side so I have Q, W, R, and T for zoom
in and zoom out. A, X is my text tool actually, I know I didn't mention that. That is what I had to
change from T whenever I made R and T my zoom
in and my zoom out, so X is my text tool, C is my cut tool, V is my select tool. Of course, most of those
are pre-made in Premiere, but having all of my big keyboard shortcuts
on the left side, makes my workflow way faster. Most importantly, to practice
making video editing, a two-handed sport, it is two hands at all times
working together. Now the next thing I
want to talk about is just a small thing, but it helped me greatly
whenever I finally just took a moment and
set it up for myself, and that is organizing my
workspace on Premiere, to be the optimal setup for me. Now, of course, we know that there are different looks to how the panels can be
set up in Premiere, there is "Assembly"
is a big one, there's "Editing",
"Color", "Effects", "Audio", "Graphics",
and "Libraries", and then it goes up from there, it depends on what you're doing. Now, I took the liberty
of making my own, because the optimal
setup for me, is when the project is
in the top-left corner, "Lumetri" is also in
the top left corner. I've got in this window, the "Source",
"Effects Controls", "Audio Track Mixer", "Lumetri Scopes", that's
all I need up here. I've got the "Program"
window here, that's all I need there, I've got the timeline, I've got my audio meters here, I've got these tools here, and then over here
in the bottom left, I've got the "Effects" and I've got
"Essential Graphics", that's all I need. I know that when you
first open up Premiere, and it gives you the
pre-made editing setup, it has a lot of other windows available to you
that you can have. Who knows how your editing vibe is if you care about
having multiple panels, I think it's a small
thing that helped me speed up my workflow
significantly because I have everything
that I need in my workflow and everything
that I don't need. I don't need the history panel, or the media browser, or even the audio clip mixer. Although I do sometimes need the "Libraries" feature
which is pretty cool, because that's
where I have all of my client colors stored, which is a pretty cool feature, I don't need it all the time, so I don't always have
it in my workflow, but it is something that I do like to use every
once in a while, but I don't necessarily
need it right now. This is all I need, and this helps me be a
faster editor for sure. When you start
working for clients, or even before you start
working for clients, it may be something to consider, to start implementing
presets into your workflow. For me, I have a
color correction as a preset for specifically
for my YouTube channel, I have some motion graphics for some basic transform motions
that I use all the time, I have a drop shadow preset, and you can make a preset
for almost anything, simply by dragging the effect that you want to
use onto your clip, going into "Effects
Controls" creating your effect that you'd
like to use consistently, it can be a drop shadow setting, it can be a color grade, it can be a certain type of warp stabilization that
you'd like to use, whatever it is that
you tend to use a lot, it would be worth taking just a little extra time to
make a preset out of it. You can do that by, again creating your effect
and then right-clicking on the effect in the
"Effects Controls" panel and hitting "Save Preset", and saving it as a preset, in which then it will live in your presets folder in
the "Effects" panel. Also in the "Effects" panel is the ability for you to
create a "Favorites" bin, you can create a new
bin down here in the corner by hitting
just "New Custom Bin", and you can name it favorites, you can name it whatever
you want if you want to have multiple folders, and then I have just a core couple of effects
that I use consistently. You can add to the
"Favorites" bin by simply selecting the
effect that you like, and dragging it into
the "Favorites" bin, and I'm going to do
that for both of those, why not add those in there? Just another small thing, that can really help
speed up your workflow, because in video
editing it literally is the seconds or the half
seconds that count I believe, in making the difference between an amateur and
a pro video editor. Now no matter what you took
from both this chapter and the previous chapter in terms of things that you can
apply to your own work, the biggest thing that
I encourage you to do, is whatever you choose to do, to start implementing
into your workflow, is to practice it consistently and to
challenge yourself to incorporate more and more with every time that you are
working in Premiere Pro. Consistency is the biggest thing that's
going to lead to you actually having a habit like
any of these shortcuts, or any of these other features, having that habit built which takes a significant
amount of time, and you should be forgiving
of yourself of that, but it does take time. I would just encourage
you to prioritize that, as well as looking
for new clients, and getting that experience. Of course, the experience
is super important, but I know that me
personally in the past, I would get so excited
about wanting to do a project and do
it very quickly, that I would not prioritize the shortcuts and
the things that I should be learning
or implementing, because I just wanted to hurry up and get the project done. Meanwhile, those projects are
the stepping stone for me to be able to implement what I learn in Premiere in the flesh, in real work experience, so again, take it
however you want, but those are tips and
features that I use all the time on the daily as a
professional video editor, so I would consider adding
those into your routine. Now that you are speeding
through your edits, let's take a deep dive into what you can start
implementing today, to become a really
well-rounded video editor.
5. Basic Sound Editing for YouTube Editors: Basic sound editing. Don't mind me over here, I took a break before
filming this section, and since then I
have moved my desk, which is great because
I'm changing up the scenery because this
lesson can be a doozy. In this chapter,
we're going to go over all the things I think will help you become a
more well-rounded editor. Because to be able
to cut a scene, to be able to cut
a video together is great and makes
you a valuable asset. If you're working on a
very high budget picture, you may not have to
worry about anything else than that, but
more than likely, especially if you're
just starting out which, of course, we are, and especially if you're
editing for YouTube, you're going to be
a one man show. So you may need to have
other skills under your belt like sound editing,
color correction, and graphics in order to stand out amongst the
competition and to make your clients happy that
they can rely on you for basically all
things video editing. We're first going to
start with sound editing. Now fun fact, I
actually concentrated in sound design when
I was in college. I've since then moved to video
editing, my true passion, but sound design is
something that I do take seriously, I respect it, I understand the
importance of it, and from my years in school, I have developed a knowledge
of what it takes to create good sound
in post-production. We're going to talk about
three different categories of sound design and
they are volume, clarity, and reverb. Volume, of course, being
the biggest thing. You want to be able
to hear your audio, and while you think you may
be able to hear it when you play it on another
platform like YouTube, or just sending it
to someone else, they may not be
able to hear it as well as you would think
if you don't have the proper knowledge in place to mix that video so that it can be well heard on an
even playing field no matter what you're
listening to it on. Let's just start with
volume and with gain. Looking at this video, you can tell just
looking at the waveform that it's going to
be pretty audible. Select the ones that
you are most engaged in already and try to
increase upon those ones. This is partly because it was shot on the camera
that I have right now, which is a vlogging camera, and I don't record with
a separate microphone. Sometimes if you record
with a separate microphone, the audio might be a little
bit lower and then you need to raise it
up or if you were editing a short
or a future film, a lot of times in
film production, they are trained to record
significantly lower so that they avoid distorting the audio if things
get too high. However, it's important
to keep in mind that as far as your audio goes, when you're editing for YouTube specifically or any
online platform, you can have your audio
peaking anywhere from negative 12 to negative three even. Don't hit zero, but you can get close to zero when you are editing
for online viewing, especially when you
have the compression in place which we're going
to talk about in a second. Number 1, make sure
that your dialogue, your voices, your voice-overs, always are between
negative 12 and negative 3 on your audio meter. Number 2, make sure
there's no clipping. You see I'm making all these
cuts over here in this edit. It would be worth
checking over to make sure that you're not
having a clipping issue. Maybe a little closer than that. You hear that? You
don't want that. If you for some reason
needed to have it like this, maybe wanted to cut off a word and it was just a
little bit too close, I would, of course,
encourage you to add a fade. You don't need to go into the effects panel and
grab the crossfade, although that is a
great option for you, just go to crossfade,
grab constant power, that's fine, and you can pull, right there and that will
get rid of the click. You can also write in
the timeline just using your command tool on your
keyboard and your mouse, you can just click
on the level marker here and then click another one and then
just drag it down. I highly encourage
you to use fades at the beginning and
ends of your video, and then, of course, just
a quick tip on volume, if the volume is
too low and you, of course, need to raise it, and you can only raise
the volume bar so high, you can always hit G on your keyboard which is
going to bring up the gain, and you want to raise your
audio in increments of three. Audio is heard by volume
in decibels of three. When you're raising your audio, you're going to get a better
effect and you're going to have less stress if
you just go by three, six, nine, or if you want to
lower the audio, negative 3, negative
6, negative 9. Maybe I want to lower
it a little bit, we hit negative 3, there you adjust gain by
and then we hit ''Okay'', and that's going to do
it for the entire clip. Now before we get into
the audio specifics, it's really important to talk
about how we're going to be putting audio effects
onto our clips. From my understanding, there are two ways that I like to
go about this preferably, one, and that one is
the audio track mixer. The audio track mixer is a panel that can be
found by going to Window and then finding
the audio track mixer and making sure that that
is up on your screen, if you don't have it already. Once you find it, you're going to see something like this, where each column represents
a different track, A1, A2, or A3, and, of course, more would be created
if you had more tracks. Basically, when you apply an effect on the
audio track mixer, it applies it to
the entire track. This is very helpful. If you just need
to add a couple of basic effects onto the
entirety of your video, nothing really needs
to be customized as per different people
speaking or anything, you just need to
throw a couple of basic effects on there as a quick way to make
everything sound nice. The other way that
you can, of course, add effects is by going
to the effects panel, going to audio effects, and you can find different
effects through there. Say you only need to
denoise a certain portion, you can grab that effect
and pull it onto your clip. Now the only thing
here is that if you then decided that you wanted to put it on the
entirety of the video, it could make things complicated because you're going
to copy that effect, you're going to apply
it on every other clip, and then what if you need
to make another adjustment, then you're adjusting
every single clip, which can get very complicated. I very much prefer
if I'm not doing any crazy audio editing, I much prefer to work with
the audio track mixer. Now circling back
to compression, this is something
that is not talked about a lot, it's complex, even I don't think I understand
the full concept of it, but I understand what is needed, which again, is the whole
point of this class. What do we really need to know? I wouldn't talk about
something if it wasn't something that I thought
you really needed to know. I think that compression is
something that can solve some volume issues if
you were having some, maybe you have an edit, and the person is not talking on an even key
all the entire time. Maybe they are yelling or
they're talking too quiet, just enough where it's a little bit of an issue and
you don't want to go through the entire thing
to try and level the audio because that
is important too, is having an even mix. Here's what I do. I come up here to the Audio Track Mixer, I go and I click on
amplitude and compression, I go to dynamics,
double-click that, come up here, go to presets
and go to soft compression. I found that this is
a nice even preset, it doesn't screw anything up, it's very light, and all it does is take
the quietest part of your audio and the loudest
part of your audio, and it just smashes
it a little bit. If you are listening
while you are doing this, if you have your audio running, you can notice it, just everything
gets a little bit louder, but in a good way. It's just a nice add-on
to do for your video to just make sure everything
is just a little bit even. There's a lot going on here as far as the customizations
that you can make, and, of course,
you can look more into that if you so choose, and you're interested
in learning more about compression, but what you really
need to know that the soft compression and the dynamics filter
works really well. Now the next thing we're going
to talk about is clarity. I could just call it
noise and denoising, but it's a little
bit more specific than that so I'm
calling it clarity. There are two elements to
clarity as far as effects goes that I think are important
to put onto your tracks. One of them is denoise and we'll get
to that in a second, but the other one is
the equalization. Equalization. In this case, we are looking for the
parametric equalizer. That lives in the
filter and EQ category, and you'll find
parametric equalizer. Click that and this comes up. Whatever the platform
and it definitely doesn't have to be on
all the platforms. Now once you play your audio, it's going to, of
course, look like this, which is amazing
because you can see where all your audio is
living in terms of frequency. This is so helpful if you have a notch frequency,
for example, look at this one here
that I could be getting out and it's sometimes
can be hard to tell, but you can tell over time. When you are working with
just silence like right here, there is a notch frequency here, you would manually just
take one of these. I want to make it a
little bit skinnier by adjusting the width. Then you just want to make
sure it's right above it and then take the volume. It's going to bring that down
and now I took care of it. Now, a nice basic
EQ filter that is really great and helpful is just adjusting the high-pass
and low-pass. Generally, human dialogue
lives between 80 hertz and 12,000 hertz depending on who
you're listening to. For me, I think you'd be squished a little
bit more than that. What I like to do is I
turn both of those on. The high-pass, of course, is only allowing high
frequencies to pass, so it lives over
here, on the low end. The low-pass, of course,
is the same thing, it's only allowing low
frequencies to pass, and it lives up
here. Here's that. You can manually move
this if you want, if you only have one person
speaking and you want to just trim into where
their voice is. In that case, I could
go around here. Actually, that's not so bad. However, if you want
to just be precise and not have to worry
about any of that, you can always just to be safe, just type in 80 on that end
and 12,000 on that end. I think of it as a
nice base to just get yourself started
with bringing more clarity to your
audio because that can be where some noise lives. It's within that range. When you just go ahead and
pop that filter on there, you're not impeding on any
of your actual dialogue. You can do it blind
as I just did. Because I can see
where my audio lives, and I know that putting
a high-pass and low-pass at those ranges
are not going to hurt it. That's step one of clarity. But of course it
doesn't take a lot of noise off of the clip. We're going to check
out the DeNoise filter. It lives here and the
noise reduction category. You're just going
to go to DeNoise. Now once you hit that, you audio is going to
be clamped because it automatically sets itself in a pretty high mark,
around 40 percent. I don't think that's
very necessary. I think that you can bring
it down as low as here, and it has a really nice effect. You can also listen to
the noise that's being taken out by clicking
this output noise only. You can test these
different processes, just like I'm playing
this audio right now. If you were to get real quiet, maybe put your earbuds
or your headphones in. I would listen to each one of these and just see if it has a better or worse effect on
taking certain noise out. If you hover over each one it's going to tell you what they do. Again, this is so
consumer-friendly. It makes it easy for you
to be able to remove noise just by clicking
these different things. It's already set up for you. I would encourage
you to explore this because it is really effective, I think, compared to what Premiere used
to have especially. It's really effective
at reducing noise for a basic clarity
cleanup of your audio. The last thing that I would
like to talk about is reverb. Reverb very simply, I'll say an example
of it right now. As camera's far way from me, it's going to create a reverb. Reverb is my waves bouncing off the walls and then coming to the microphone on the camera. Reverb can be as dramatic
as when you're in Grand Central Station
and the echo is insane versus just being here
in my room and still hearing that slight
reverberation. Even when it's slight, it can have an adverse effect on the quality of your video. It's worth just tightening
it up a little bit, especially because
Premiere also has a pretty good DeReverb filter that you can just
throw on there. We're going to find it in the same category
as noise reduction, we find the DeReverb. Guess what? It works exactly the same as the DeNoise filter. Again, you can play
your audio while you hear the effect
that's happening to it. You can of course bypass it up here if you want to compare. Again, I wouldn't do too much because you don't want it
to sound too processed. That is the only thing. As far as adjusting what frequencies
we'll be tuning out, you can go ahead and listen to each one or if you
can hear it yourself. If you hear that
there is a mainly a lower frequency reverb or a higher frequency reverb, you can make those
adjustments there. These few tips are going
to help you significantly. But I do have one more note about audio that
I'd like to mention here. It doesn't have anything
to do with audio cleanup, but it has everything
to do with syncing. If you happen to be syncing
audio and you are having an issue cutting or syncing
to the right exact spot. Or if you are doing some actual full-blown
short film audio editing, you're doing some
sound design and you can't quite get
things to match up. It may be because you don't have the audio time units
represented in your timeline. See as you move
through the timeline, you're moving by one
frame at a time. But audio measurements are
much smaller than one frame. To put it simply, if you're
having trouble with this, all you'll need to
do is come up here, go to Show Audio Time units, then you'll see that those
dashes get even smaller. You're going to be able
to move your audio significantly more than if you didn't have this
on and you try to move it, look how chunky that gets. It's hard to get very precise. Just an extra little pro tip. If you're having
trouble with this, audio is a funky dude and it can be tricky when you are dealing with
audio in Premiere, which is primarily of course, a video editing platform, not a sound editing platform. But they do have all the answers that you need
hidden in Premiere, you just have to know
where to find them.
6. Basic Color Correction for YouTube Editors: [MUSIC] Basic color correction. [NOISE] Color
correction is a beast, and maybe sound other
than just the same. But color correction is not something that I
necessarily focused on when I was in college. It's something that
I grew to learn in my experience
as a video editor. Because of that,
I believe I have grown to understand the basics of what you really need to know as a color correcting
video editor. Because I personally feel
like color correcting is a huge world and
only so much of it really needs to be understood
to be able to have an acceptable looking video that's color corrected properly. Now what I'm going to go over in this section is specifically how to best go about
color correcting, the best tools to use,
and then ultimately, I'm going to show you how I do a basic color correction
of my YouTube videos. [NOISE] First of all, let's
actually talk about how to apply color correction
to your clip. There's a couple of
ways you can do this. You can have the clip selected
and then just go up to the Lumetri Color panel and
start adjusting from there, you can go to the Effects
panel and type Lumetri Color, and you will find
it here and you can drag it onto the clip. I find this helpful
if I've already added a Lumetri color adjustment and then I want to add a second
one on for some reason. However, both of
these options limit you to only correcting
onto the clip, similar to how I was saying the audio track mixer versus applying an effect
onto a single clip. It's the same thing here
with color correction. If you apply the Lumetri
color onto one clip, and then you need to copy it
onto the rest of the clips, and then you have to
make an adjustment, it's going to make things
really complicated for you. So there are two ways you
can go about creating a master color that
is not going to be affected by the
clips that you cut. One of those things is
creating an adjustment layer. To create an adjustment layer, you right-click on your "Project panel" you go to new item,
and adjustment layer. You just want to make sure
that your dimensions is right, which it usually is
and then it's going to come up here in your
project panel to which then you can drag it down
like any piece of video and you can drag it across
the entirety your video. If you didn't edit yet
and you wanted to color correct first for some
reason you can absolutely, of course, lock this
adjustment layer so you don't
accidentally cut it. Which can again make
things complicated. So now that we have
our adjustment layer, now we can click on our
"Adjustment Layer", go to Lumetri Color, and we can adjust the color
onto the adjustment layer. That was process number one. If having an adjustment
layer in your clip is annoying for you or
not available for you, there is another option here. You can color correct
the entirety of a video file by clicking on the clip that
you'd like to color. You'll go up here and right here it says this is the clip that
you are color correcting. But if you go to source
and you click on this, this is your master file. This particular section affects the entirety of your video file. So if you have this
section selected, and then you come up here, you'll see that you can
make adjustments still. But it's going to apply
it here rather than onto the clip and now you'll see that in the entirety
of this video clip, there's a little red line
that's been added here. That means that your master
file has an effect on it. I do actually prefer this method over the adjustment layer depending on what
I'm working on, especially because I'm
usually in one space, it's easy for me to just
actually have a preset, which of course you can do by, once you've made the
color that you like, coming up here, go to
Save Preset and you can save it as your name or
your YouTube client's, and it will live then
in your presets folder. It's helpful for me to just
go to all of my clips, grab my preset color and drag
it onto the master clips. To them this is where
that color would live. So I think it's a helpful way to know exactly how
to color the clips versus what to
color the clips so that you do not make
more work for yourself. The only thing I
want to note here is you'll see that this clip here and this clip down here do not have
red lines on them. That's because I have three
different video clips in my timeline and so you just want to make sure if you're
going to go this route, you are going to need to copy your color onto those
other master clips, so don't forget that. [NOISE] Now that we've gone on onto how to work
color correction, how to apply it onto our clips. Let's actually walk through
how I color correct my clips. It's relatively
basic, but again, that's the whole
point of this video, is, what are the basics here? First of all, I
encourage you to have the Lumetri Scopes panel open as you are
color correcting. I don't think you really
need to use it for too much. It's helpful for me
to understand where my blacks are sitting and
where my whites are sitting. So it might be helpful for you, but it really is just
for me most helpful in detecting if I'm too
overexposed in certain places, that's the only thing I'll say in terms of why you might
want to have it open. It's fun to have open. It looks very professional. The only other thing I'll say is that when you click
back on your clip, it's going to go back to your main clip effects rather
than your master effects. So you just want to
make sure you have this selected when you
go to Lumetri color, once you know that you are
working in your master clip, you can go ahead and have Lumetri Scopes open or
throw it somewhere else if it's more helpful
for you to make sure that everything is
selected properly. [NOISE] So very simply, I like to make sure
that my blacks are checked and of course my whites are probably
a little too over. You can see by Lumetri Scopes. You can also just
see in your clip, it's just not as obvious in the clip versus when
its in the scopes. But black I like to be touching significantly
that's fine. I like to drop my shadows
down just a little bit. I like to bring up my highlight a little bit and then I usually will bump up the
saturation a little bit, which is going to look funny, but bear with me. One thing I like to do, this is a really great
effect that Lumetri has on here is the curved section. You can use curves, of course to color
correct your video. That is an option and
maybe I will just do a say I didn't use
the basic correction. This is going to represent your blacks and now
I just pull that in a little bit and then this is going to
represent your whites. I might just pull that
down a little bit. Then to adjust the
rest of this curve, you just simply click
and then it's going to add a little square
that you can adjust. I want to just make sure
that my highlights, my mids, and my shadows
look relatively even. There's enough contrast. I think that we are
looking pretty good. One thing I wanted to mention, and this is a really
helpful thing that's been a part of my videos, is this hue vs saturation curve. You can see that my
room has a yellow tint, especially during
the day and you can see when I bring it up
to full saturation, how yellow things get on the walls and then I
just bring that down. That's a really
helpful trick for me. If you also have yellow in your videos that
you do not want, that is a really
helpful tip and of course you can do
this with any color. You can get rid of the blues. I think that is a
really clutch tool to have in your pocket as far as leveling out color
without needing to do too many crazy color
correction tricks to it. You can just come over
here to the hue and saturation and you can
just adjust it there. You have a very similar
one right below it. I think these two are really the only ones you
need to worry about. Anything else can get
a little bit messy. So if you wanted to change
the hue of something, maybe the hue of my skin tone. I could click here up on my skin and then you'll see
that going up and down, it's going to change
it like crazy. So maybe there's too much pink and I wanted to add a little
bit more yellow and green, which I don't really want to do. I would rather in fact have
less saturation in general, but maybe we go
ahead and do that. You can drag that down. It's important I like going
in the extremities just to double-check of what
exactly I'm impacting. I'm impacting my face, but I'm also impacting
the candle behind me, so I don't really want
to adjust it too much. The only other thing I mainly do this for my
night-time videos, but I sometimes like
to add a vignette. Let's just see what
that would look like. Severe. Now that doesn't look so bad. Just a pinch and maybe
we'll feather that. So that's even more subtle. So what are we really
looking at here? We're looking at higher
contrast of the colors. We're looking at
the brightening of my skin tone on my face. We're looking at the
darkening of my background and the desaturation
of my background. What more do you really need
depending on what kind of video you are color
correcting, of course, this is going to be a lot
more severe or less severe, but all it is accentuating the color that's in the picture. You can't do anything
too crazy in your color correction unless
it's lighted a certain way. I mean, you can, but you don't want it
to come off cheesy. So really if you just
think of it that way, making sure that your lights
are appropriately lit, your darks are the kind
of dark they should be, and that everything
is relatively even, and that there's no weird tints or anything on your picture, then you have a pretty
good-looking color correction.
7. Exploring Premiere's Essential Graphics Panel: [MUSIC] Premiere Pro Essential
Graphics Panel. Now that we've touched on
color and sound editing, let's just touch on graphics. Graphic Design is of course
a monster in itself. People go to school specifically
for graphic design. Wow, again, another
whole world in itself. We can take pieces of graphic design and utilize them in video editing to be more knowledgeable of them and to be able to utilize them to make the best possible videos
in terms of graphics. If anything is taken out of
this lesson, in particular, I just want to be able to stress the importance of
being able to have confidence in creating
and manipulating text. Who knows what kind of
clients you're going to have? If you have YouTube clients, you're more than likely
going to need to be manipulating text for them. This could be as
basic as just having some full-screen graphic saying some texts or having some
lower thirds come in. But it can get relatively
complicated if you want to have a very specific
style and look to the videos and graphics
are a big part of that. What I'd like to do
here is just walk through the basics
of how to create nice-looking typography
and texts in your videos. Let's just start
with the basics. We want to make sure we have our essential graphics panel open. I'd like to have mine here. We want to click on
"Edit" and then we go and we hit new text. You can also if you
didn't want to do that, you could hit your
text tool wherever that may live and you can
just click on the screen. Here's the text, pretty basic. This is in the font that
is my brand's font. There's a lot of
buttons going on. Let's again circle back to what do we really
need to know here? Well, we need to know
how to center our texts. In the align and transform,
you can, of course, see where you can move
and adjust your text, you can see where you
can rotate your texts, and then you can see
these buttons here as the vertical center and
the horizontal center. Gosh, I use these a
million times a day just constantly making sure
that my text is centered. You'll see the opacity lives here and this
can be very important. One thing that is
important to remember is the difference between
font size and scale. Scale lives up here. You'll see that, that scale. Down here in the
text is font size. There isn't too much of a
difference here between the two except for when there is. [LAUGHTER] Font size is
specifically for the text. Font size understands
the manipulating that goes into making
texts smaller or bigger. When you're adjusting scale, you're adjusting
this text as if it's just a general graphic which doesn't necessarily make
too much of a difference, but I've seen it make
a difference when it comes to if there's an
effect on the texts. Like maybe I have a drop shadow outside of this central
graphics panel. Maybe I have a drop
shadow or glow on the back of this text
while adjusting the font, that drop shadow is going to move along with the font size. But when you adjust the scale, sometimes it can get a little wonky and it can
get a little distorted. When in doubt, think
of the font size first and the scale second. Now let's make it nice
and big so we can see what we're working with
here. Let's get rid of video. We don't need to see
my dumb face anymore. One thing that I think it's very important to talk
about without diving too deep into the gritty
details of font is, of course, tracking and leading. First of all, where they
live is right here. You can find these things out
just by hovering over them. This is where tracking
lives and you can see the horizontal spacing
between the letters. Then leading, of course, is the space between the two lines and they live right here
in the text section. You can see tracking very
clearly if you adjust it and you will notice that it
manipulates it horizontally. As far as leading goes, you will notice it this way if you needed to either
separate or bring closer together your two top and bottom or multiple lines. Also that if you're
having an issue, you wanted this line to
be closer to my name, but you didn't want this line
to be closer to your name. You could always adjust
this here, baseline shift. This is important for just
adjusting one single line. When in doubt, try using this
adjustment on your texts. I talk about these
things because they are essential for me in creating nice justified-looking
text on my videos. I use them literally
all the time. [NOISE] The only other thing
I'd like to talk about, and we'll bring back
my video for this , is the appearance. You'll see it's
split up into Fill, Stroke, Background, Shadow. Pretty self-explanatory. Fill represents the
actual color of the text. Stroke represents well, the
stroke around the text. You will see that you can adjust the thickness as
well as the color as well as how many you can now add multiple strokes
if you wanted to. Just make sure that
your bottom one is thicker or it won't
make any sense. Then you will also
see background, which is a huge perk with Premiere since
they have added that. That gives you a nice
solid background on the entirety of your text. You can adjust the
opacity of it, the thickness of it, and in 2022 version, you can even adjust the corners, which is super awesome. Then the last thing that we will just mention is the shadow. That shadow, you can of course adjust the transparency
of that shadow. You can come up here
and click the color of that shadow or as
can you the background. I forgot to mention
that you can, of course, adjust the
background color. But in shadow, there are
a lot of other options. You can adjust the direction that the shadow is going in, you can adjust the
distance from the text, you can adjust the spread and I think of that as
just like the thickness, as well as the softness
or blur of the shadow. Look at these amazing
texts that we created. Of course, I would not
necessarily make it look like that in my videos. But
you get the point. If you want to edit video
for YouTube specifically, you'll notice that a lot of the really big YouTubers
use a very bold, bright, highly stroked text in their videos and
they use a lot of it because text is
really helpful in keeping viewers engaged
in their videos. If you can learn how to
manipulate texts properly, you can have some really
nice bold, bright, clear text in your videos
that the client is really going to appreciate and want more of in their videos. If you want to learn
more about incorporating text and graphics
into your videos, but you don't necessarily
know where to start, I would encourage you
if you haven't already to invest in a
stock graphic site. Now, this could be Motion Array. Or for me, it's Envato Elements. You can find on there a lot
of After Effects templates, Photoshop templates,
Premiere templates. You're going to see a lot of them look very familiar to you because it's that
very highly engaging, fast-cutting, lots of
graphics everywhere look. But understanding how to manipulate those
templates is basically how I was able to get better at graphic design
in video editing. So I highly encourage
you to look into that if you already are interested in getting a stock
site of some sort, this is a great
excuse to do that. Again, graphic design can be a really big part
of video editing. So it's really important for you to understand the basics. [NOISE] Speaking of which, now that you've
learned how to become a very well-rounded video editor for all things video editing, I'd love you to check
out the next lesson to understand what makes a great YouTube video
and how you can make YouTube video
editing your specialty.
8. Understanding YouTube Video Editing: Understanding YouTube
video editing. Not only do I have my
own YouTube channel about video editing, but I also edit
for a few clients, specifically for their
YouTube channels. YouTube video editing is quite different from other
types of video editing, and you know why. If you've watched most
videos on YouTube, they have a very specific
style of their edit, including choppy edits,
pattern interrupts, and overall just a very modern
cut-to-the-point style. I thought it would be
important to go over what makes a good YouTube video. Because as a YouTube
video editor, you're not going to just want to perfect your
video editing skills. But you're also going
to want to create ideal YouTube videos
for these clients. People come, they see your work, and they immediately want to
work with you because you understand how video
editing in YouTube works. What makes a great
YouTube video? Well, number one,
engaging editing. This is going to include an
edit similar to this one. We're cutting out the
breaths, and the pauses, and we're finding
the best takes of our client where they
speak really smoothly, and quickly to get all
of their information in a really tight little
section versus me thinking out [OVERLAPPING]
what I'm going to say. Move it. Could you
be any slower? Way too slow. Now another great technique
to keep the video engaging is pattern interrupts. Now you can think of this
in a lot of different ways. Pattern interrupts
include B-roll, text on the screen. Pattern interrupts also
include just zooming out a little bit every 3-5
seconds in the YouTube video. This is a small thing
that a lot of YouTubers do just to have a slight
pattern interrupt, and make the cuts a
little bit jumpier to keep your eyes more
focused on the screen, and ultimately you are watching
for a little bit longer. Another great part of engaging editing includes graphics, and call to actions. Now, these are going to be at the request of your
YouTube client. But more than likely, the more graphics, the better, the more graphics,
the more engaged the person is that's
watching the video. Graphics at the
beginning more than anything are going to help draw the viewer in a little bit more into the meat of the video. Then of course, including
call to actions like subscribing maybe their
Instagram handle, maybe a lower third, or their credentials
if it's that channel. Maybe a call to
action at the end if they want their viewers to go someplace specific or click
a link in the description, all of those things are going
to keep the viewer engaged, leading to a more overall
engaging video for YouTube. Another thing that
makes a YouTube video great is when it's
easy to digest. Now, this does go along
with engagement but having helpful graphics to highlight specific points that the
YouTuber is stating. This ultimately will help
with engagement because it's making the video more easily
digestible to the viewer. Also things like B-roll
or relating GIFs. Adding those in as
well make things a lot more easily digestible
for the viewer. Now there are other things that make a video easily digestible, including the length,
but you can't really do much about that if you
are the video editor, but it is something
to consider if you want to pursue a path in being a YouTube video editor that you should understand what makes a great YouTube video
on the engagement side, on the actual YouTuber side. That does have to do
with things like length, the script, tags, what they're saying, the
relevancy of the audience, are people even going to
be watching these things? Those things don't directly impact you as a
YouTube video editor, but they can help you
if you are going to be pursuing a relationship with a YouTuber because they
understand those things. It would be great for you to also understand those things. I always like to say, it's not a bad idea to start
your own YouTube channel if you want to be a YouTube
video editor because you fully understand what
it takes to actually create a great YouTube
video that's going to get taken off by
the YouTube algorithm. Not only do you
get to understand the backend of a YouTube video, and how YouTube detects a good
video versus a bad video, and how they take it off
according to the algorithm. But also as a way of
free advertising, and like your own
portfolio on your channel. When you're applying for a YouTube video
editing position, you can just share your own
channel that hopefully, you edit in the
same way that you will be editing another
YouTuber's channel. They can see exactly how you
would be doing their video, which can be super
helpful for them to visualize how
that would look. Now, if you don't want to
start your own channel, that is totally fine you
don't need to go that far. But what could also help you is watching a lot of
YouTube videos. This can help
identify your style, the style that you would
like to be editing for. It can also help if you are reaching out to
these YouTubers, maybe smaller ones,
and asking if they are open to
having a video editor. If they've thought about
having a video editor before, and maybe offering
your services. In general, like I said before, YouTube is full of how to
start a YouTube channel tips, how to make a great
YouTube video. Those kind of videos
will help you as well to make sure
that you are creating the best possible YouTube video for your client in the future. Now what's interesting
about YouTube is that there are a lot of groups on places like Facebook that you can join that have
to do with YouTube. Now some of them are shady, some of them are
sub for subgroups. Some of them are
just really clouded with a lot of shady tactics. Some of them, however, maybe if it's a group
created by a pro-YouTuber, like a really big
YouTuber, for example, I joined Sunny Lenarduzzi`s
Facebook group. Specifically for her
YouTube proboscis class, which no longer exists, but there are absolutely
other courses like that that also have a Facebook
group along with it. When you join those
Facebook groups, there are people in those
groups specifically looking for how in a non-shady
way they are YouTubers, they are small, and they're looking to stop editing all their
videos themselves. It takes a little bit
of work but if you can find these Facebook groups, and just, in general, be in that space, maybe it's on YouTube directly. Being in that space
near these YouTubers is the best way for you to be able to establish a connection, grow your network, and ultimately
share your skills with these YouTubers so that one
day you can edit for them. I also wouldn't totally
discount cold emailing if you have access to some
of these YouTubers emails, which sometimes you do if
you look on their channels, I myself have gotten
emails before, and even though they haven't
directly applied to me in the way that I'm not looking for a video editor
at the moment. If you email a bunch of YouTubers that you would
like to edit for genuinely, it's very possible that you
might catch one of them on a good day where they have been thinking about hiring
a video editor. Next thing you know, you're interviewing with them. Now that you have
a better idea of how to be an expert YouTuber, and YouTube video editor
check out the next chapter to transition from amateur video
editor to pro video editor.
9. Transitioning from Amateur to Pro Video Editor: [MUSIC] Transitioning from
amateur to pro. What is going to help you
transition from amateur to pro? Well, I've got a
few tips for you. Of course, again, as a reminder, we are in the business of
saving time, saving energy, giving you what you really
need to know in order to start getting jaws and getting
paid as a video editor. However, if you really want to stand apart from
the competition, there are just a
couple of things I want to either reiterate or tell you about in case
you didn't already know, that can help really
significantly improve your overall
video editing quality. I said it before and
I'll say it again. I firmly believe
that cutting with the waveform in Premiere in the timeline is better than
cutting in the source window. Of course, if you
are pulling B-roll or if you are
editing a narrative, cutting in the source window
can be very advantageous. But if you were
cutting for YouTube, there is more than likely a
pretty specific style that works well when cutting
in the timeline. When you're cutting
with the waveform, I could, but I don't even need to see what's happening
in the video. I can simply play the audio. Do I have skills? Yes. Am I the best editor and
go to the end of the clip. Better skills than
me in certain areas, but what I do have
engagement. I am there. Online engagement. I am very present on LinkedIn, I can cut according
to the audio. I do not really need to see
the video in cases like this. This is also helpful if you don't have a very fast computer, you can just toggle on and off the video and you
don't need to worry about seeing the video
which will ultimately make your speed faster when you
are doing this rough edit. Now I do have a good bit of
experience in sound editing, so I also am very
comfortable analyzing when I come across
things like ums, which I don't really
have too many of here. But in some of my clients, I literally know what
the um waveform looks like because after just so much experience
editing with them, you just know it
when you see it. If you can get comfortable
working with the waveform, it makes editing very easy. As I'm editing again, I've got my left hand
on the keyboard, on the left side, I've got my hands scrolling
on the mouse and then I'm alternating between
C for the razor, V to select, go back
to the playhead, come over here, set this
playhead and hit ''Q''. I'm just doing that consistently
through the entirety. Of course, I'm
playing it as well to confirm what the
audio is saying, if I'm keeping any mistakes
when I shouldn't be. But besides all that, that is how I can get through a rough edit such as
this relatively quickly. One small thing has
to do with graphics, and I may have mentioned this, but when you are making
maybe a zoom in effect. Sure. Just a friendly reminder or if you didn't know already is that this is fine and maybe
this is the right choice, but there is also the option
of selecting these keyframes coming down Temporal
Interpolation and going to, you can either click ''Bezier'' or you can click ''Ease in'', and you can select
this Ease out. Now the zoom in is just
a little bit softer. This is super helpful
when it comes to editing graphics
specifically, or if they're just looking a
little [NOISE] like roboty. It's something to
consider that this is a very easy thing that you can do to all of your keyframes. You can also do it if you
are fading in and out. That's super helpful
thing to do. Ease in or easing
in to the picture. We're easing out from black and we're easing
in to the picture, just adds a little
extra finesse. Now another thing I
do want to mention is that you are working in Premiere versus Final Cut
or Abbot or anything else. Premiere has a lot
of perks to it. I encourage you to explore those perks and to take advantage
of them when necessary. For example, one I
brought up before was the libraries
window in Premiere, in which you can preset all
of your clients colors. For example, this is mine, and so say you have this here, it makes it very easy to when
you're creating graphics, like say I need to
create a background, it makes it very easy for me to just hit the eyedropper and hit the color that
I want to work with. A lot easier than needing to go find the hex
code, paste it in. Now another thing
that would be worth exploring is the
essential sound panel. This is not something
that I personally use. I prefer to use the
audio track mixer and then add in all of
my effects manually. But Premiere is all about
making things easier for you, and so it would be worth exploring the
essential sound panel, especially because
it is a relatively new addition into Premiere. Just like the essential
graphics panel, it would be worth it to explore that and to see
if that would help you create better sound quality in your videos in a
relatively easy way. One of the biggest
tips I can give you to help you transition from
amateur video editor to pro video editor is understanding the
importance of consistency. You've got to get consistent
video editing work to practice and build
these habits for yourself. Education is one thing, but experience is so important
here as a video editor, because it gives
you a variety of different clients to work
with and different kinds of projects to diversify your
skills and ultimately grow your experience as a video editor at a
much faster rate. Now if you are looking for more help to get your first
job as a video editor, be sure to check out
my Skillshare profile where I have my other class, how to get your first job as a video editor that can help you transition to a working video
editor once and for all.
10. Congratulations! What's next?: Are you so happy that
you spend some time with me growing as a
professional video editor? I know I am. It fulfills me greatly to see you here
at our conclusion. I hope you are feeling ready and motivated to start applying
for those video editing jobs. Now that you have
the core knowledge and skills that you need, I challenge you to take
the leap and start applying for your first or
your next video editing job. You can use these skills to sell yourself to
the client and put your best foot forward on
your video editing journey. For more tips on video
editing, creativity, and freelance site style, I encourage you to check out my YouTube channel that
I will link below. You can always again check out my Skillshare profile to view all of my
available classes. Good luck, and I will see
you guys in the next class.
Colleen Cavolo, Video Editing Mentor
