Building a Successful Video Editing Business: From Beginner to Expert | Jerome Heaven | Skillshare

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Building a Successful Video Editing Business: From Beginner to Expert

teacher avatar Jerome Heaven, Instructor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Welcome To The Course


    • 2.

      What Software Should I Use?


    • 3.

      Software Setup


    • 4.

      Learning To Use Our Editing Software


    • 5.

      First Video Editing Project - Understand The Basics


    • 6.

      Second Video Editing Project - Creating A Video Ad


    • 7.

      Third Video Editing Project - Understand How To Use Motion Graphics


    • 8.

      Fourth Video Editing Project - Learn Color Grading


    • 9.

      How To Make Shorts


    • 10.

      How Do I Make Money?


    • 11.

      Create A Portfolio


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About This Class

Embark on a transformative journey to master video editing skills with Adobe Premiere Pro and thrive as a freelancer on Upwork. Guided by a Top Rated Plus freelancer with a decade of experience on Upwork, this class provides a thorough understanding of both technical and entrepreneurial aspects of being a freelance video editor.

Why choose this course? Your instructor, having directed, shot, and edited videos for various domains, brings a wealth of real-world experience to guide you. This course is not just about learning to edit; it's about gearing up to manage successful freelance projects and satisfy clients.

Who is this course for?

  • Individuals interested in video editing and freelancing.
  • Those ready to learn new technologies and skills to build a freelance business.
  • Aspiring freelancers desiring to stand out and succeed on platforms like Upwork.

Your Path to Freelancing Success: Delve into extensive tutorials on Premiere Pro, color grading, project creations, portfolio building on Vimeo, and a masterclass on optimizing your Upwork profile. Engage in practical projects that prep you for real-world freelancing tasks.

Need Support? Your success is the priority. Reach out with any queries, comments, or needs you may have along your freelancing journey. This course is your ongoing companion in the freelancing world.

Meet Your Teacher

Teacher Profile Image

Jerome Heaven



Hello, my name is Jerome and I will be your instructor. I have spent the last 15+ years working in Music, Television, Film, Software, Marketing and more and I am excited to share my knowledge with you.


I am passionate about education, discovery and all things learning so feel free to ask me any questions.


Lets work together to help you reach your goals!

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Level: Beginner

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1. Welcome To The Course: Hey, welcome to the course. My name's Jerome and I have spent the last 18 plus years working in television, film, corporate marketing. Just about anything you could do with video. I've learned over the years how to make money, video editing. Throughout this course, I want to be teaching you all the different ways that you can make money. And also I will also be teaching how to actually use the software. Because how are you going to make money if you don't know? I'm excited to walk you through it, get you into this door and figure out how you can make five K ten K, 15 K, 100 K video editing. So excited to get you started. Let's get moving. 2. What Software Should I Use?: To be a video editor, you have to have some video editing software. It's really cool to be able to have a mobile version like an ipad, tablet, mobile phone, Android, iphone, Windows, even editing piece of software. But inside of this professional game, it's best to use an upper level, like a computer specific editing software. You could get away with doing a lot of things in a cap cut or some mobile software editor. But it's easier, more highly respected. If you use a regular professional grade software, there is the old and tried and true Windows movie maker that people use. You have movie which is Mac specific. You have Sony Vegas, which definitely still shines after I feel like it's been a brown for at least 15 years or something. Davinci Resolve. There is Premiere Pro, there is Final Cut, which is another software I got my start on on final cut seven. But final cut seven was and has been respected. People still use it to this day. But they use right now, more commonly, Final Cut Pro X, which is a modern day software. It's very quick, there's some benefits to it. But the main negative is it is a Mac centered software. Which means that you have to have a Mac device which starts at around at cheapest. $300 $400 price point. If you get a old Macbook Pro, Macbook Mac, many, obviously if you want to get something new, it's in the 1,000 space. I think maybe about 112001500. But obviously, you know you're going to be making money as a video editor, so if you want to make that investment, you definitely want to put that in. Maybe ahead if you really want to use one of those softwares. Devin Resolve is really highly respected, but there are some drawbacks. There are some benefits of course. But for this course specifically, I'm going to be using Adobe Premier Pro. I believe it's a quick start. You can use it on any system, so you can use it on Windows, you can use it on Mac. But there's a lot that you can do with it. And I think it's a very quick start, it's easy to access. So that's what I'll be focusing on for this course. Obviously, if you want to learn another piece of software, let me know. I'll add a section within this course teaching you how to use it and making it very simple and quick, right? So let's take a look at how we will get into using Adobe Premiere Pro. 3. Software Setup: Here. We can go to You can either type that in in the top or you can just click on it right here as you search it in Google with Adobe. Right now, they're running a special deal, which is a Black Friday sale. This is around November. But they're having a sale, but usually Premier Pro, you can buy it in a suite which has Premier Pro, and Photoshop, and Illustrator, and a bunch of other pieces of software that are amazing. They have Audition, Adobe Rush, which I think you can use on mobile devices. There's a bunch that you can choose from. Adobe Premier is what we want. If you want, you can get some of the suites. The price range varies. Let's take a look at those price ranges now. Just about the majority of us are going to be coming in as an individual, meaning that we're just a sole person. If you are a student or a teacher, you get that discount. My sister's a teacher, she gets that discount. And she uses Adobe products. And if you're a student in a university, you could use that and it saves you some money. Or you can come in as a business, if you have multiple people you want to get in on the software, but we're going to click on individuals. And then as we scroll down, we see the different options that we can try, and they give you a free trial. So if we go down to Premier Pro, we can click Start a Free Trial. And I'll take you through that process. I'll click it here. Then it says you can get a seven day free trial. And then they charge you $20.99 a month. So keep that in mind. As you use Premier Pro, obviously you're going to be making money, so it's going to be a worthy spend. But just keep in mind that it's going to be $21 a month. If you are a teacher or a student or if you know somebody, hey, why not make it work, get a discount. Because the students and teacher plan is you get the entire suite for just $20 instead of just one program or one piece of software by itself. But we're going to go back on our individual section and we would click this and press Continue if you want. You can do an annual plan of 23988, and then you can just pay for everything at one time, which is not a bad price at all. It allows you to use it on two different computers at the same time. So you can attach two to one plan, you can't attach three. So if you were thinking that maybe you can get it and have three different members of your team use it. One person would have to log out before the other two could use it. Or either or like you would have to have one person using it and another person using it right. Doesn't mean they're using the same exact project by any means. It just means that they can use it simultaneously. But if a third person wants to come in on the game, they cannot. One of the people have to sign out for that other person to come in and use it. What we would do is we would click Continue. Put in our e mail and all of that fancy information that we need. And then once we add that information in, it'll allow us, and obviously we have to put in our card information, all that, it will allow us to get into our free trial. After that free trial, then you could get into, boom, your main paid plan of $20.99 a month, 21 bucks. So it's a pretty good deal. Price isn't that bad. I think I probably spend more money than that on like, you know, some hot chocolate at Starbucks or something like that per month. But it's not that bad because obviously, if you're going to be making 450006000 or even more, $120 spend isn't that bad. So after you finished signing up and getting everything together, what will happen is they will download that to your computer. So if you look at my list of programs here, you can see that I have Adobe Premiere Pro 2023. And obviously there's other stuff here. This is because I have the entire suite, because I use just about every tool in the suite. But they'll have Premiere Pro 2023. And also it will install Adobe Median Coder 2023 as well, which we'll talk about in a bit. It helps you to batch export out videos, but we'll see the power it can do as we go through this course. 4. Learning To Use Our Editing Software: All right, so now we're ready to go. Let's go and click Premier. I have mine down here already, but yours might still be over here. You can always right click it and then go to More, and then pin to Task Bar. Obviously this is just for PC, but you can also take it and grab it and probably move it to your Task Bar on Mac, which should be, you can move it on Mac all over the place, but it could be here or on this side, or wherever. And you could just move it for easy access. But we'll click this right here and open up Premier Pro 2023. Premier Pro 2023, they usually have some artwork that happens every year, which is super cool. So this is, the artwork might be for the year, it might be for just a couple of months, but I think it's pretty cool. Alrighty, this is the front page of Premiere Pro. On the top left corner, you have a new project where you can click to make a new project. You have Open Project is where you can click to be able to find a project somewhere on your computer. For me, it might look a little bit different than on yours because I have projects that I've worked with on this computer. This is my workhorse desktop. I usually, I'm on this, I haven't been on for a little bit, so that's why it says four months and last month, but it would show a newer date of the last time that you opened that project in the software. Here, I'll just list, I think up to the last six that you used over whatever amount of time. Here's some other options down here that you can use. New team project, which is making a new team project, open team project, which will open a team project. And open premiere rush project, which would open a Premiere Rush project, which is a mobile version of Premiere Pro, but you can use on a tablet ipad or a mobile phone. What we're going to do is we're going to ignore these projects that I've worked on here and we're going to go to new project. So they already give you some options out the gate. These are some footage that premiere allows you to access and use which is really cool. It's really interesting because this is definitely not the states, but it's really cool things that you can use for your project to get you really started. So let's do that. I'm going to click this one here because I think it's pretty awesome you have the set up where somebody is kicking a ball and then they're about to kick. I think that's pretty awesome. Let's use this clip. You can use any of the options. It'll work the same way as you click it. It doesn't do anything. Obviously, you can click Create. But how would you know where this is? Where is it located? I'm confused, right, how Premier Pro works. This is may be different if you're using a CS six version of premiere, which is an older version of premiere, which you could download to your computer from the disks before they move to everything being online, then it's also different, Premier 2019, 2020, 2021, 2022, because they made a change to make it more user friendly. What it does is it lists all these different areas from your computer, home, desktop, downloads. It might be different on your computer depending on what you're using. If you're using Windows or Mac or whatever other platform you're using, like a Linux. But it lists out these different areas where you can click to find files, and then it also has the different hard drives that you can use. I have multiple hard drives in the desktop. There's the C of course, which is your main drive on a PC, and then you have a D or E that you could use. They have here project name, which is where you can change it. Untitled seems cool for now, but just imagine if you're working on multiple projects and they're all named Untitled, it's probably going to be a bit confusing. It's good to name this. We'll say something like my first project, um, or whatever name works better for you. Then for me, I have my project location set to this place, which is probably from a previous project I've worked on. But we can click it and choose wherever works best. I'll go to Choose Location. I'll go to Desktop, then I can just drop it here on Select Desktop. Boom, we'll be able to see this is where this project file will be located on the desktop. Then if you go over here, you have import settings which are important. There's some other settings on this page. Don't get caught in the weeds. A lot of this is just to help with viewability. You can list it in a different way or you can change the options, which one was here, the first based on creation, date, or order if you want to be ascending or descending. But most of this is just options on viewability. For this, the main meat and potatoes is this project name and where you want it to be located. And then the sequence. Right? We can ignore copy media and new bin for now, but we would go to create a new sequence. We can create a name for it or it'll just automatically choose sequence 01 is the first option. We'll do that to start and then as we go on we'll rename it. I'll leave it a sequence one. I'll press Create. Okay. Now after we click that button, it brought us to our editing screen. This is a big deal. Obviously for any older premier users or people who use a different version. I would say use 2023 or 2022 or something because help the same layout. But if you're using an older version, the start screen may look a little bit different. But this screen will look the same on any version of Premier that you're using. What you see here is there are four different sections. You have this section on the left, which is your source window. You have another section or another window on the right, top right, and that's your sequence window or your program window, which looks like it's showing us what video is inside of our editing section, right? It shows a video reflection of what's happening in here. So we have this project window on the bottom left. And this project window is a place where it imports the files we want to use in our project. In Premier, you can use video files, you can use audio files. You can use pictures. You can't use like Microsoft Ware documents or things like that. But you can use photos, pictures, videos. There's probably a couple other options I'm missing. Like, I know you could use Photoshop files and Illustrator files and other Adobe files, because the Adobe ecosystem tends to work together. If you worked on something in Photoshop, you can drop it in Premier. Or if you worked on something in Illustrator or any other Adobe software, for the most part, you can import right into here. The way that we would import something new is we would go to file, We would go to import, then we would find some video file or something we want to use. And then we would import it in something to make note of is inside of the desktop. You can see that this is where our project file is living. When we specified that we want to make it named my first project and said in the desktop, it imported it in the desktop. Let me find some videos that we can use and import in. I'm going to go to desktop. In Desktop, I have some videos for some old client videos I've done. In order to import it in, I would click open and then it pops up right here. That's how we import for right now. I'm not needing to import anything in. I'll delete it so I can press delete on my keyboard or right click and then go to Clear. It works the same way, but if you want to import something, remember you go to file, you go to import. Then you find wherever the file or music, audio file, video file, photo, whatever you want to use, you click on it, you go to open, and then boom it opens up. Simple as that. What we're going to do is we went through this screen, this screen, and this screen. Let's go to this screen, which is a big deal. This screen is the timeline screen. This time line window is what we're actually going to be editing, right? This is the thing that we're going to be altering to make it into what we need it to be. If you look inside of here, we have one clip that's already imported. This usually doesn't happen, but because we clicked a clip inside of that previous window we were on, it imported it automatically into the timeline. But let's redo that. I'm going to delete it. You can see that even this screen went empty. This screen must be connected with the screen. It's titled the same way, sequence one and sequence one. This is the video file we're using. I double click it. It drops it here. It doesn't bring it in here. I'll remove that. The way to move this into the time line is I would click it, Hold, drag, and drop here. Click drag here. That's it's as simple as that. You just click, hold, drag, and drop. This window is called your sequence window or your timeline is what we call it. Just for refresher, this is your source window. You can see because it's name source. Here you have your program window which is what you're actually seeing on the timeline. If I were to move this, you see now because I don't have a clip in here, it went black. This is just a visual representation of what's happening in here. Then you have your project window where you import different things. Your video, your photo, your Photoshop, your Illustrator. Whatever file you want to, that Adobe will accept. I'm going to delete this extra file because we don't need it over time. We're going to talk about this window, we're going to talk about this window, but for right now, we know the basics that we need to start getting moving. 5. First Video Editing Project - Understand The Basics: Welcome back. Just to go over what we've learned previously, remember that video editing is essentially just storytelling. That's all it is, right? It just focuses on putting together some clips which are just individual things or individual videos recorded, and then adding music and sound effects in different things to amplify it so that it become something bigger and tell a bigger and more stronger story. Now we have an edit. It works if you look through it as we slide across. This is called scrubbing. As we scrub through our edit so far we can see that we've begun something. There's music here, there's clips here. There's some movement that emotes some emotion, right? We have him lining up for the kick and then space for anticipation. Then the kick and then afterwards he goes back again. Probably just because the clip doesn't get long enough. If we zoom in, which is the plus button on your keyboard right next to your backspace button, it should be, if you look at your keyboard, there's a zero. To the right of it, there is like a minus symbol and then a plus symbol. The minus symbol will zoom out, the plus symbol will zoom in. If we zoom in and we look at the end of our second clip, we see that has these white things in the top right corner, right on the top and the bottom, that indicates that we are at the end of our clip. If we go to the beginning of a clip and we drag it out again, we see this red thing that pops up and we pull it out back. If you go to the beginning of a clip, it also has a white thing in the corner, but that's on the left side. That's just an indication to us as we edit that. On the left side as we see it, that that's the beginning of the clip. And if we go to the right side and we see it, that is the ending of the clip. Okay, let's do a deeper dive. We have these four screens, right? We've taken a look at them. We also have seen, I haven't set it yet, but we've seen that we can move these around and customize them. We can make any screen bigger. If something happens where we accidentally make a mistake or delete something, we can go to Windows workspaces and then go to Reset to save layout. Then we're back to where we started. But let's look at each of the individual windows themselves. On the top, we have this window, which is the source window you can see because it has that right here. We haven't really touched on the power of the source window yet. What the source window could do is we can drop in anything if double click any item from the project window. Right, This is the area where we import things in. If we double click Dreams, the music track, it'll open first in the source window. It won't just automatically move into the sequence or time line window down here in the source window on the top left, we see that we have another thing that we can scrub through, just like we have here, right? If we move it across, it doesn't do anything or plan anything, but it seems like we can scrub through our music. If we press the play button, press the play button, you can see that it's playing through and playing the music. Right, we see our music lighting up over here. It seems like this is an area where we can see what's happening before it happens here. Pretty cool but useless when we could just click and drop something directly in here, right? I'm going to delete that just because that was an example. But we can do more with the source window. In the source window, let's say we want to take not just the whole track, right? Because this is about 3 minutes, 30 seconds, 22 milliseconds. Let's say you want to grab just this part. To this part, we would go to the beginning. We would press one of these buttons because there seems to be many buttons here. If you look at this one, it's for adding a marker. Interesting. It adds this little thing here. We'll talk about that later on as we go through Learning Premier, I'll control Z to remove that. We have this, which is a mark. We have this, which is a mark, out in, we have a step back, one frame. We have a play button, a step forward, one frame, A go out. Overwrite and export frame. Export frames. Looks like it does something with taking a picture because there's a camera icon there. If you want to be able to select just this beginning to this section, which option would be used? We would use the Mark In option because that tells the source window what it wants us to focus on selecting, or this is the area that I want you to begin selecting. If we click this, it marks that point. But it looks like it marked everything. The reason everything's highlighted because we haven't set a mark out or out point which tells it where we want it to stop. Let's scrub through the footage. You can either move this or you can just click. I'll move this and go right here. And then I'll press the out and it just selects these two areas. If I take this audio and to take the audio, you see there's like a little drag video icon and a drag audio icon. The drag video icon would drag video, but since this is music, there's no video. We would just drag the audio option here, drop it down. It looks like we grabbed the section that we marked. If you remember, this track is originally 3 minutes over 3 minutes and 20 seconds, right? We saw just a few minutes ago, but now we only have 1 minute and 21 milliseconds. That's the way that we can read this. This is the minutes, second milliseconds. And this is the hours, right? We see that we were able to select the area that we wanted. It's still a little bit too long. What I would do is I would delete this. I would press the delete key. Then I would go and make this a little bit shorter. Usually what I do is instead of grabbing a big area, I'll go and maybe move just a couple seconds forward, like 6 seconds. Then I'll press the mark out button. I'll drop that in. Then as you can see, it's less of what we did last time we had this big track. And then we had to cut it. And use the cut tool to bring it down to make it fit. Instead of going through all that energy, we could just drop it into a source window, select the small amount of time, drop it. And then we could just move it ever so slightly and zoom in. I'll be doing this a lot, remember plus button for zoom in and minus button to zoom out. It works the same way with the video window. We can mark our selection of where we want to start and we want to stop. Then we could grab this video if you can see it, there's two icons here, meaning that this clip has a video and an audio layer. And we could see that because here we have V one, meaning that we have a video, we have a one meaning that we have an audio and they're connected together. It's not. Let me try deselecting this or separating this really quickly so you can see what that looks like. It doesn't look like that. Where it's just a video with no audio track. It has and I'll press controls you to go back. It has a video and an audio layer connected. We just want the video layer. I'll grab video icon D drop, and then I can extend it as far as I want. And as you can see, it just has no audio, just a video. I'll delete that if we want it both, we would just click video itself. And then they'll give us both. I'm going to do this again. This is just seeing how all of these things work. What settings are inside of Premier Pro. Let's keep on digging. Yes, we've seen the source window and there's all these different options that we'll talk about as we continue going through this course. But there's also some other options here. We have effect controls. If we click it, it says no clip selected. But what happens if we select a clip? I'll select a clip, and then all of a sudden we get all these options. This is the powerhouse of premiere. If we look in here, it has so many different options. We have motion, we have position scale, and this is inside of motion. So that's interesting. We have rotation probably has something to do with rotating the screen. Anchor point anti flicker filter. We have opacity, right? Opacity usually shows is showing if something see through or not, right? We have some blend modes. We have time remapping, which we can click a dropdown and it has speed, we have volume. And this clip specifically has a channel volume and then it has a panner. But these are settings that are connected with this specific clip, right? So if you go to the audio layer and I click it, the settings are different. It doesn't have a motion, it just has audio settings. Just know that each clip carries different options that come along with it. Because some clips will not have channel volume, it'll just have volume. But every time you have a video clip or a photo or something, you'll have a motion and opacity option. Let me go and move this over to this clip. When I do, if I click on it, I could see what these things do to alter or adjust this clip. What I'm going to do is I'm going to scale up. The way I do it is I just click. And I could change the number in this, I could change it to 12. And it looks like it zooms in just a little bit. I'm going to press control Z to bring it back to where it was. But instead of just typing in, I could just click and hold and move to the right or move to the left. If we move and zoom in, we can zoom as far as we want. There's no stopping, there's no limits. It's probably not much that we're seeing. It's a bunch of different moving colors. We have position. Position allows us to move to the left, to the right, up or down. Right. Now, our clip isn't even being seen in the program window. We would revert that. I'll control C, control Z to get it back to where it was before. But we're able to move this different positions as we see fit. Just imagine I'm going to control you again. Let's say we move forward and zoom in. And we want to be able to move this. So the balls in the center of the screen, what we would do is move this to the right, which is us clicking and holding towards the right direction. We click and hold this one up until we get to the center of the screen. Now I think we're just about the center of the screen. It gives us a different look on our shot. Now if I press the space bar to go see it looks different. So this is closer to what our default looked like, what we let the clip as it was looked like. But we were able to alter it, to zoom in and get this ball in a different direction. When we do that, it does make the clip a little bit grainy if you see that the pitcher has blurred a little bit. And that's because when the clip was originally recorded, if we go down here and we just hover over it, it says the clip was recorded in 640 by 360. That's the size that it was in, right? If we zoom in and literally zooming into this picture to try to make it bigger. If you have a pitcher and you try to make it bigger and bigger, and zoom, zoom, zoom. Of course it's going to get blurry and fuzzy because it's stretching past its original size. Just keep that in mind as you mess around with clips. You don't want to mess around with clips to the point that you affect the size and the position and it becomes blurry and fuzzy and not something that is visually pleasing. What I'm going to do is I'm going to control Z to go back to where we were. That was our default. We're back at 100 and the position is this. It'll be different for each size of each clip, but this is the default for this case. Then we have other options, like we can change the uniform scale, where we can move not just the scale altogether, but we can specify it for height and width. We can make the height longer, or we can make the width wider. If you make the numbers add up to the same, if it's the same number, it's the same thing as zooming equally height and width. But I'm going to bring this back to 100, 100. And then I'll turn off uniform scale. But that's if you ever want to alter something to make it more zoomed in or zoomed out, you will click Uniform Scale, which allows you to open up a width setting and a height setting specifically, instead of just zooming in or zooming out the height and the width at the same time, we have rotation, which allows us to rotate. It's kind of making us dizzy. It's making me dizzy at least. But I'll turn it to zero to the default if you shot a clip and it was a little bit off like it looked like that. And I'll zoom in so we can remove the black. Then in order to straighten it out, what we would do is we would just put it back to zero. Or we would just move this until it matched to where it looked to us, as it was fully balanced. Right where it wasn't like curved to one end. Because imagine somebody recorded a video like this. And you zoomed in and you're like, this doesn't look right. In order to move it, you would then move the rotation to where it looks like it fits. That looks not too bad. But in this case we would put it back to zero. We know because it was recorded straight, right? It wasn't like recorded at an angle of any way. And then I would move the scale out back to where it was at 100. But there's some cool stylistic things we could do. Like, we could always put it like that and it has strong borders around it, and that could be cool. We could always just make it start that way and then get bigger and bigger and bigger. And the way that we would do that so that it os in, let's say like we want it to start at about 50 and then we want it to zoom in. We would use these options which we call key frames. What a key frame does is that it allows you to change something over time. The way that we would do this, do that, is we would click this, right? We would click our scale or whatever option we want to change over time. And we would click it, move a little bit over then, let's say when it gets to that 0.17 milliseconds, I believe this is 17 seconds. Actually, no, that's milliseconds as we go to 17 milliseconds or wherever we wanted to change. I'll go back to 17. We could just increase this number. About that. Let's say that's cool. Then what will happen is it'll start at one size here, and then the next time it sees a key frame, it will change to that size. It won't keep going. It'll stop because there's no other key frame and tell it to keep going. But keyframes give it the power of changing over time. I think we already adds so much value to this video. I'm going to turn off this keyframe because we don't really need it. When you do it, you'll get this warning that says this action will delete existing key frames. Do you want to continue and I'll say yes or okay. If you don't, then you can press cancel. But in this case I want to, for my situation, I'll go back to 100 to make it the full size again. And let's look at some of these other options that we have here. We have anchor point, which moves the anchor point. We have the anti flicker filter which only goes to one, right. It does something very specific. It deals with making sure if you have a flicker in your footage which it happens sometimes you're able to turn this on and this will allow that to not be flickering. Let's say we have opacity, Some of these settings, I don't use that much, but we have opacity, which is the setting I use all the time. And this helps us to choose how much of the picture we want to be seen. At the same time, if I turn it all the way to zero, it's black. If I put it at 50, it's halfway seen. Halfway. Not if I go to 100, that's fully seen. But as you can tell, this doesn't really have too much of an impact because, yeah, if we put it at zero, we can go to black. And then we could add a key frame. And then within the first couple seconds, let's say about 10 seconds, we can go to 100. And then we have this fade in effect, where if we press Play, it fades in which already adds value. If you look at that, it gives us something different to look at. It makes it more interesting, right? But that's not something I want to do. What I want to do, I want to turn this keyframe off and press okay again and go to 100. What I want to do is I want to put two clips in the timeline. What I'm going to do is I'm going to copy this clip. So I'll right click it, press copy. Go to an empty space. Move this to an empty space, right click. But that doesn't do anything. I can't copy and paste like I would in Microsoft Word. How we would do that is we would go to edit. We could paste. If we're pasting, it's the same clip that we copy and paste. Another way we can do that is we can click, we can control C, like Microsoft Word or any other normal software. And then we'd go to an empty space and then control V or command on Mac Control or command depending on what you use. But for PC it is control. And then we're able to copy and paste. The same way, I'm going to delete this because I only need one. I'm going to throw this on top of this, but there's an issue. You see that if I do it, the music layer, this bottom layer is going to hit onto this and remove it, because we're on the same line. If I do this, that bottom layer is gone. With this track, there's no music or any sound that's connected with it. I wish there was, but there wasn't any. It doesn't matter as much. But let's say you wanted to preserve that. I would go to control Z. I would move this audio layer down one and move it back. Now we actually have both there. Right? And that's important if you wanted to keep both audio layers. But in this case there is any. Because if I were to move this audio track over, you could see that there's no sound moving. If I press Played, there's nothing, there's no audio here on these layers. I move this back to where it was before, our fancy music. And what I want to happen is I want this layer, right, which is now on V two, which stands for video two. And I want to make this 50% Basically the top layer or the top video clip that's in the timeline on this layer is at 50% But as you can tell, we can't see anything underneath it because we have the same exact clip underneath it at 100% I'm going to move this original one that we had there and I want to put this clip, I'm going to move this down and put this here and see what it looks like. If we look, we have 50 and we have underneath 100. But it looks the same. And it's because it is, because remember if we zoom in, press the plus key. We still have that white symbol in the top left corner on the V one track, which is the one we just moved. It's showing the exact same thing, but imagine if we move this over to the right, drag it over. Now if we see there are two different pictures, which it gives us this like double exposure effect, where we're seeing two different things at the exact same time. Which is pretty cool depending on if you want to use it. But I think it adds a lot of value to what we're doing if we press Play button, the Space bar, we're seeing two different things, but it stops when we don't have this bottom layer showing with V one. We have this, I'll zoom. We have this hanging out, but it stops right here at about 20 milliseconds. Then we have all of this leftover where we don't have anything. We just see this picture, that's 50% What I'm going to do is I'm going to click this and use the razor tool, which we can use by pressing C. Or we can go here and press the razor tool. I'll cut that. I'll use, I'll click this. Then what I'm going to do is make this 100. What's going to happen is as we go from this, then we get to here, we go from where we're seeing two different pictures at the same time, that double exposure effect. Then we're going to go to here where we just have the normal picture playing. I'm going to go to the beginning of this again. I'm going to press the Space Bar, Play. You can see at the end there's this big difference where we actually show everything in its normal lighting. It looks different, definitely. Because we're seeing like two feet showing, we're seeing two splashes happening. Right? But obviously this works in certain cases. So what I'm going to do is I'm going to press control, revert everything to where it was before even that second one that we had there, and go back to where everything was, exactly where it should be. Let me get back here. I'll keep pressing control till I get back to where everything was exactly the way it was. So I'm going to move this over. Well, it doesn't really matter, but I'll move this over. What I'm going to do now is I'm going to lift this up one layer. I want to put something underneath here. In order to put something underneath here, I would go to this project window and I would actually click here to make a new item. I will go to Color Matt. I will press okay. It lets me choose whatever color I want. I'll choose orange. Let's say press Okay. I can type in any name I want for it. I'll just say orange. For this case, I will put this orange here. It's too long. So what we could do is we could double click it, but it just opens the color picker. It doesn't actually open it in the source window. I press cancel. I would go to source. I would just drag this up here into the source window. And then when I do that, I could just select with the marker point and outpoint where I want it to start at the beginning, and then where I want it to end, right here at about 7 seconds or so. Then I'll press the video icon. Remember this doesn't have an audio icon, it's off. So I go to the video icon, I'll drop it here. And V one right underneath as you could probably tell. I want to do a double exposure, but with orange, what I will do is I will change this opacity on the clip. Make sure you're selecting this and not the color. And then I will go to about, depending on how much of it I want. I want about maybe like 60 or so as you can see. It gives it a different effect, like effect as if you're in a very hot environment, right? And then as we play through it, we have this vast different difference from what it was before. We have this orange heat look versus a regular picture. We could also change this orange to, let's say, a blue. And the way I did that is I just double clicked it. I changed this to blue, depends what color you like. I'll take that color press. Okay, now it has a cooler effect, but this name didn't change. This is where we could change it to blue or whatever fits best, just to keep us organized. And now we have a cooler effect, where if we press play or space bar, I like this space bar, we see a vastly cooler effect and it might be too strong, so we could just bring it down. Oops, on the wrong one. We wouldn't bring down the color we want to use. We'd bring it down from the video layer or that clip, and we would drop it down. If we drop it down, we get more of the blue. If we bring it up, we get less of it. And it gives us some options here, press Play. There's a lot of power we can use in messing around with opacity. A last thing we could do with that is we could make this 100. We can put this up. You can see even though we change this to blue, it still has orange here, but it's still talking about the same thing. I will shrink it down a little bit by going to the end of it and dragging it down. What I'm going to do is zoom in, press plus button, I'm going to go to about there. Then what I want to do is I want to fade in from the blue to the normal pitcher. What I would do is go to Opacity. Click this key frame which says Takal Animation. And then I will let it go for just a couple seconds, then I will. Right now it's at 100 and I need it to be zero. Then I'll go from that blue, that strong blue, to, but you see it's quick. You can't make it out. I would move this down to about 12 milliseconds. I'd go from blue to that. But it does it quick. You can't make it out. This means I had to take this, pull it down. Then if I press Play, you could make it out that you're fading from this to that. Or if we wanted, we could always reverse these. Which, clicking, dragging, and switching places. Now we're going from nothing to that blue. And I could direct this out if I wanted it to go all the way. We will start it just showing the video to blue. And then we'll see blue until we finish off that blue and go back to the picture again. If there is a clip on the timeline, hopefully this is making sense. We're going to add to this and grow on it. So don't feel bad if you're a little bit confused, but we're going to continue to go through it. If you have any questions, comment, let me know. I'll come in, I'll make a loom or whatever has to happen so that you can know what needs to be done. Or I'll add something to the course, but it's simple. We're adding as we go on, but we're just figuring out how to work out emotion and feeling in our stuff. Because we're going to have all these clients sending us things and they're going to want us to capture an emotion. We are a pro editor for them even if we're beginners and they want us to be able to show what needs to be shown but add emotion to it, right? So the way that we would do it is we would add different things that help us to achieve whatever the goal is. So I'm going to press delete on that color. I'm going to go back to the source screen. To remove this, I would go to the hamburger press close panel. Ooh, that's not the right effect or the right thing because now it removes that. How do I get it back? I go to window work spaces, we set to save layout, but it's not here anymore. If I go to the hamburger menu, you can see that it's all the way down here. I can click it to the hamburger menu again, press close, and then I can see all the different things that are in the source monitor that I could choose as Options. Closed panel, closes panel, Doc panel separates it where it's by itself. If I want to put it back, I can click this, right? I can't click everywhere. I can't click here and drag it. I guess I can. I've never done that before. That is something new up, but it doesn't put it in the right place. The way that I do it is I click this right where the name is, and I drag it down to right over here, but it still doesn't look right. We just pull this down because we can move all these screens because it's very versatile and Premier. We're good to go. Alright. That is the power of source and effect controls. As we keep going down, we have these volume options, but there's no real volume things that we can change. But if we go here to the music, we see that there's the same kind of thing. There's a panel which will show the different sound. We can change if we want the sound to be on one side or another. We have the volume which tells us we can change the level. I don't really mess with bypass, but we have level and we could change this or up. If we're seeing that the sound is too loud, we would bring this down. Right? Let's say the sound was too loud. We would know it because we see it showing red over here. We would then just break it down. Then it's not in the red, which is a good sign for us. We could maneuver this level to be able to change our sound. And then we have channel volume, which works pretty much the same way. It just helps us to specify if you want it to be the left should be louder than the right. And then we obviously have our panner tool which assists the next setting we have or the next option we have or the next option we have is audio clip, which allows us to see our audio. Right now it's telling us our audio is on audio layer three. But if we moved it to two, it would show an audio layer two instead of three. Bring it down to three, just so we have a little bit of space here. Then we have metadata, which just gives us information about what we're selecting. If we click this clip, it gives us the name, the label, which we could always change. This is a way that we can organize things. If we have a bunch of things inside of our project, we can click it and group things by color. We have the type that's audio, the frame rate, the media start point endpoint, the duration of how long the original clip is. We have all this information, all the things that are connected with that clip or that video will display here in metadata. If we click this showing the video versus the audio track to be chose, it's different settings. We have a different label color, saying that this media type is movie over audio. It carries some more information. Like we have a frame rate, we have a pixel aspect, and we have so much more information connecting with it. I very rarely will ever find myself in here at all. The main areas I will find myself is in the source window or effect controls. Or if I want to see something with the audio levels, I might just look in here. But source and effect is where you're going to spend most of your time. In this window. In the program window, we see a direct connection with what's happening in the timeline. I think if we learn about the timeline, we'll pretty much have an idea of how the program window works. Let's look at the timeline before we go to project. It'll make sense why in a minute. If you look at our time line or sequence window, the reason I keep on using it interchangeably is that the sequence window contains the timeline. The timeline helps us to mark what we want to be shown over time. That's what it's called, the timeline. In the timeline, a couple different things. We have the name, a hamburger menu with all of these different options. Same ones we seen before like closed panel or undock. We have the work area bar we talked about briefly, which just so that bar or removes that bar. And I like that bar because it tells us, it lets us specify when we want to export, what we want to export. If we have a clip hanging out all the way over here, if we didn't have this on, it would export all the way to where the end of this clip is, right? Or how As far as we have clips on the timeline. A nice way that I keep it organized or that I don't over export longer than I need is I keep everything in the work area bar. I'll just control as you to put it back in its original space, soon back in again with the plus button. Then we have what we need showing up right here. Okay, Another thing that we have is we have so many different settings, we'll go over them on a need to know basis because as a beginner, you don't really need to know them. Even as a pro, you don't find yourself just wafting through this. But there's things to take a look at, like audio, waveform, use, label color if you want to use it in the organization process, like if you're working on a bigger project like TV, your film, that's something you want to take a look at, right, in terms of organization. Because we can group things by color and it's a nice way to find it. Inside of our project window, we have the rectified audio waveforms, logarithmic waveform, scaling, time ruler numbers. Don't really find myself messing around with anything in here besides the work area bar. Keep that in mind, But there are some other options we could mess around with. If you want more information on them, give me a comment, whatever needs to happen, and I'll go and make a video specifically on it. Or I can send a video specifically for you. But let's keep moving. So we have here, which is our actual time. So as we go through it, we see that our time changes. And just like I said up here with the source window, we have milliseconds, seconds, hours. And then after hours is probably like days. I don't think it probably could be days. I've never actually gone beyond that. Because even if you're making a movie, you'd probably be at like 2 hours, 3 hours. This is just like an extra if you go above. But for most cases that will not be a thing. But I'll just keep going based on how much things that you have in your timeline or how far you go in your time line. If you go to ten and it just keeps going as I go, but if we keep going at 10:10, hours, 0 seconds and four milliseconds or as far as we add things to this, it'll just keep going. So keep that in mind. We have this option, which is for insert and overwrite sequences as nests or individual clips. But as we go on, it's not something that I find myself messing around with though. We have this snap to time line, which is key if I have it on, If I try to put something on top of something else, it will give me a little indication, right, That hey, there's something there, push me off. If I zoom in a little closer, when I go to the end of a clip, it'll tell me, hey, look at that. If you go any further to write, you're going to take this clip or thing that you're moving and you're going to cut into something else. Make sure that you're not going all the way over. It won't so much stop you from doing it, but I'll just give you a visual indication of hey, you're going to go over something. If I turn it off, I just go over it. I like the snap, the timeline just because it makes it safer so you don't end up like editing something. Let's say you're all the way over here and to edit, but you accidentally don't have it on and then you accidentally cut something off. You're like, oh man, I got to do it over again. The snap you to have that safety feature to let you know that, okay, if you move this you're going to cut into something else. But if you do cut into something else by accident, then you could control Z or command Z. It does bring you back where you were off still. It's a safety risk for me. I'll turn back snap, I'll move it over. Now we're back to being a little bit more safer. We have this option, which is link selection. I don't think I've ever touched this, but what it does, which is key, if you're like editing something, it's the same thing we saw on source. But if we're like over here and we see that this is the area, we want to say that this is where Press this marker, and I'll give us a visual reminder that something happens here. But markers can get even more pro than that. We can right click and then edit a marker. And then we could add a name to it. He kicks ball. Then we can choose a marker color, a time. Let's start with a time, and I'll move this time to, let's say 45 seconds, which is probably too long. I bring it to about 30. This comment, I could write more like he kicks the ball so hard. Then you could change the marker color. Let's say red. You have marker, chapter segment marker. This is a cool way that you can stay organized as you have bigger and bigger projects. But I find myself just using a comment marker. And then I press okay, a marker symbol that is literally like 30 seconds long because we specified it. As we hover over it, it shows the wording. If we hover it, it shows the comment before. It shows that we named it. But as we hover on it, it says he kicks the ball. And then we have the comment he kicks the ball so hard. If it's too long, we could always do the same thing we normally do. Go to the beginning and drag it down. Or we can go to the ending and drag it up. We can move it to however we want to move it. He kicks the ball so hard. Boom, it happens here. We should probably move this here. You'll see this in the most professional edits if you're dealing with a edit for Hollywood or corporate, or TV, or just in your freelancing endeavors to make money, like you should use markers. Because if you need to share a project with somebody else, if you want to save time, like you've been working on something for days and you really want to be able to highlight what's happening. So when you come back to the edit, you don't have to start brand new. You can be able to say this happens here, this happens here. These markers are super key. If you ever get tired of it or if you're moving a clip in the markers by itself, you could always move it or you could write, click it and then press Clear selected marker and remove that marker already. Another option is this where we have the timeline display settings where we can click it. There's all of these settings in here which are similar. Someones to take notice of is show video thumbnails. If we take it off, it doesn't really help us, it doesn't change anything. But if I go back to this tu 6. Second Video Editing Project - Creating A Video Ad: All right, so what I want to do first is I'm going to remove everything off this. I'm going to keep just the audio there and we're going to start brand new. I'm going to go to all my projects, which is the bin or the folder where I put all my stuff. And I'm going to grab this video truck again and I'm going to drop it or this video clip, and I'm going to drop it onto the track. Usually, I haven't said this before, but usually we would put things in the track based on the number. It doesn't really matter at all as long as they're touching each other. If you want them to be shown on screen or a black space or something where you don't want anything to be shown. But usually you start with V one and then you work your way up to 234, and then you move them in the order that makes the most sense. And they can get really crazy. I'll put a picture up of like how crazy time lines can get, but it gets really crazy. But we're going to start off pretty simple today. So we had our first export that we did where we put together, you know, and edit sorts. We made some things that evoked some kind of emotion and I'll be showing that on screen, the things that we did on the first edit. Mine might look a little different than yours because you might have used your own footage versus the footage that Premier gives us to test out on this. I want to start completely from scratch again. This whole thing is we were showing this person probably, I would say somewhere in Central America or something, they're kicking a soccer ball. Let me pull this out longer. They're kicking a soccer ball and then when you kick, we see that it flies. There's a lot that we can do, like with the music that we have, it's very upbeat. I want to make it more like a client facing video that we would normally do. Nine out of ten clients or nine out of ten people who want to hire you to do an edit. In our time right now are going to be Youtubers or they're going to be corporate companies who are looking for somebody who can come in and do a brand thing or a local business that's looking for some brand type work. That's what we're going to do right now. We have a soccer thing. Let's keep with that soccer theme. I want to do a, the story is going to be where we start with the person from Central America, right? They're kicking the soccer ball and then we work our way up to somebody who moves from their situation to probably pro from that. Then we're going to probably end with the logo. You can either write this out. I usually have a notebook where I write these ideas down. Or I can just document it. So I can have it where I make a marker. In order to make a marker, I usually just write click up here. You can't do it down here, but I write click up here, right press M and then click, or I believe I can even go to markers up here say add marker, but I'm going to click right up here. And then right above the work area, bar area where the times are. And I'm going to say a marker. There's no difference if you choose chapter or in my opinion, but I'm going to go to Ad click. Well, there is, technically I definitely want to note this. There is definitely one difference. If you right click and you go to add chapter marker, it opens up for you. Versus if you just click ad marker it, you have to click right click again. And then press edit marker, saves you a step. I'll go to edit marker again. And I'm going to say the first shot is average person playing soccer. I'll mark this as red because I want, when I see this, to know that this is a big deal. That's definitely too long. But I will shorten this. Usually the average like Ad would be about 30 seconds. I'll put a marker at 30 seconds, so I know where to stop. I do that, I'll just press M. Then what's going to happen is, right now I'm starting with that first shot of the average person playing soccer. Then I want to go to black. I want to drug this out. So we use the same music to get 30 minutes and see that marker is super useful because it tells us where we want to stop. And when you have snap in timeline selected, it does help you because it'll stop you right there to tell you, hey, I don't know if you can see that on the bottom of the screen. I'll come down a little bit. It'll stop and I'll tell you, hey, look at that. Boom, this is 30 seconds. If you want to go beyond you can, but it's giving you like a T stop. And it does have a little red thing that's around that bottom as well, which tells us, hey, you hit a marker. Okay, We have this right here. Boom, that's going to be our first shot. The second shot will be Carb. Seeing someone who's a professional would be that second shot. Then the third shot would be third shot, or let me just say final shot is logo logos usually lasts about 05:10 seconds. I'll put it up for about 10 seconds. Obviously, this timing doesn't matter. You can click it to make it fit exactly at ten, but it doesn't really matter. I want to go, oops, I want it to be like that so that it ends with the logo. I probably want this so that it fits a little bit better. All right, so we have more distance. Okay, first shot needs to be the average person playing Premier Disc. Give us some other clips we can use. So I'm going to go back to the import window and I'm going to see if we can import more of their sample media to fish that story together more. It's the same way on yours as it is on mine. If you're using 2022 or 2023, it might even be on 2021. Well, I don't think it's on 2021, but for this course, we should be using 2023. If not, then you can just find other clips that can highlight this. But what I want to do is I want to start out, we're somewhere in an aerial shot of a foreign land. Then another thing you can choose whatever works best. I like this because we're telling a story. We have this aerial shot, then we go to this shot where it's raining. And then you show them playing. That looks good. I imported it into a new sequence. I'm going to grab these out of this sequence. You can control X to cut them. Or you can select both by highlighting both of them. Click outside of them and highlight. Or you can do control A to select all. Then I right click, I will click, I will go here, click, nothing happens. Remember, you have to go to edit and do paste. Or you can just control or command B. Every time I say control, if you're on a Mac it be command. Then what I want to do is I want to fish this story together. This is like our last shot. Before we go to the new thing where we see a professional, I'm going to start here where we are out in the field, then I'm going to move to where we see it raining. I wish that raining Club was just a little bit longer, but then I'll go to the shot of them out like where it's raining and you see them playing. That is about 10 seconds, 8 seconds. You'll just stack them in order. You can put them on different layers. On different layers is a word. So you can put them on different layers if you want, but I'll put them together. It just works better for me. So I can see if there's any spaces in between. Because if there happens to just be some random missing space, then that's going to go black. And if we don't want that to happen, then that's not a feature, it's a bug using coding terms. But if we have an empty space here that we have that's unplanned, doesn't help us to put together the story. So we want to make sure that we put this so that it fits right. Okay, so I keep them together and I'm going to play with this music happening. I want to go a little bit longer to match that. Music And I'll move that there. 1234, 1234. 1234, 1234, short. I dislike how short this clip is. Then we'll go to this. I need one more clip just to fit in there, but do it as you feel that fits. But as I edit, the difference in a beginner and an intermediary pro is that you're feeling the edit as you go along, like you're trying to make the cuts match with the music. As I'm editing I'm seeing, okay, I'm feeling the beat 1234. Then we're moving to the next thing. Obviously, it might be different from me than your style, but you just want to make it where it feels like it's natural. I'm going to go back to import. I want to get another clip. I wish it was a clip of them playing. That definitely goes with it. That's what I'm looking for. But here we go. Then a new sequence. I'm going to take it out the sequence by right clicking, or you can control or command C, or depending, or x if you want to cut. Cut would be controller command X. Copy would be control or command C. The paste of course would be controller command V. A little bit of mind gymnastics right there. I'm going to go to empty space because if I just were to drop it right here, I just did. Or command V. You see it's got to like overwrite it. The reason it's doing that is because this layer V one is selected. That's a key. If this layer is selected, it's got to drop it on that layer. The way it works is if V one and V two is on, it's going to drop it on the lowest layer that is selected. If I just wanted to drop on V two, I'll turn off V one and then I will control or command V, and then it'll paste it on the next layer up. It's weird, that's why still posted. Is that a premier bug? All right, Premier is having a bug, we're going to have to rework this. What we would do is we would go to an empty space. We could go to edit and then do paste. Or we can control or command V in the empty space and drop it. We have that clip. I love that clip. I love it, love it. First shot, we have this aerial perspective shot, wide shot that's leading us in. Okay, we're up, it's raining. And then maybe we go to this clip and then we'll come back and then we'll have this wide shot again of what's happening. Key, filmmaker tip. Editor. Tip. Right as you're editing, if I'm trying to show our story line, which my story line right now is we're in a lower area or area. We're in like a third world country. Our story line is we're in a third world country. In a third world country, they don't have the things that is maybe readily available in a more higher money based country. Let's say, excuse me if this sounds weird, but basically in our story line, we have a third world country. And we're trying to show a story of how you can come from maybe poverty and work your way to a professional. And we're using it to advertise a brand, right? We're going to end with that logo, emphasizing that brand and bringing it home with the video. You're trying to tell a story, right? Any edit somebody gives you even the most flat edit, you have to put together a story. If you're a problem solver, this is an area for you. If you're not a problem solver. This will teach you to be more of a problem solver because video is just you solving problems and putting together a story out of generally the garbage that a client will give you or hopefully the good footage that a professional will record and send over to you. In this case, we're limited by the footage that Premier gives us which is similar to the real world where we're limited by the footage that's available. Then as we look, we're telling the story where we're going wide, then we're getting this perspective, that's what wide shots are, they're giving us what's happening. Then as we go from wide, then we go more to a close up. We're seeing this detail, but then in a story we're saying, okay, well first we're in a third world country, it's raining. Then they're playing soccer in the rain. Because we can see from this rain that's falling that they're playing soccer in the rain. And then we see the result. We want to go wide to close up. You don't want to do close up and close up and know why it could be in your story, but generally you want to give somebody a perspective of a situation before you go into the minute details. As you see this, you'll probably see this more in your television shows or video or movies. But generally you have to have a wide view of something before you go narrow, or you go narrow and then show the reaction from somebody. That's the idea here, We're going perspective with a wide shot. You see this aerial? I wish it could be shorter, but I don't think we have enough footage. That's cool. I almost want to make this clip longer. Let's do that. In order to make this clip longer. There's two ways. The first way is to right click and we will go to speed duration. Whoa, there's extra effects. Yes, there are. You can right click, go to speed duration. Then you could reverse it. If we don't change anything up here, we can reverse. And now the opposite will happen. Whoa, right. It looks cool. That's the power of premier, right out the gate. You probably won't get this out of a mobile app, editing software or something like that, because they could be building it. But it's like most don't have these built in because Premier has been around for a long time. Same way with the other softwares. They've been around for a long time. They've figured out a bunch of things that are needs and they've solved that. We might think, that's cool. I think that I need to make this clip just to sit longer. Maybe about 11:12 seconds. I'll go back. I controlled Z to reverse what I just did with the reverse. The speed duration and then I'm going to change the speed to make it shorter. If I decrease the speed, what's happening If I decrease the speed, that means that the clip is getting shorter, right? So let's try that. I'm going to bring this down to, let's say 80. And I'll press okay. It made the clip longer. Why is that? The reason is because as you change the speed, you're slowing down the clip. If you slow down a clip, it'll make it longer. Speed up a clip, it'll make it shorter, right? So if you have a clip, it takes 5 seconds, then you slow it down, so each action is slower then it's going to take longer for it to happen, right? But if you speed up a clip, it will take that five second clip. And if you speed it up to double the speed, it will half it. A little bit of math, mental gymnastics here. If you're a math person it's a good situation for you. But just to know that if you change the speed, I'll go back to the speed duration controls. If you bring a speed down, it's going to make it longer because it'll take longer for the action to happen. If you make it higher, then it's going to be quicker that the action happened. Right? And I'll make the clip shorter, so I'm going to leave it at about 80. That takes me to about where I want to go, about 12, almost 12 seconds. Let's see. The thing about this though is that as we change the speed, it makes the whole clip slow. I think this beginning should be normal speed and then we should slow it down. Like how they do it on iphone, like I think iphone has out of the box setting for that. Let's go back to where we were. I can control z, but just to make sure I'm in the right, I'm going to go back to speed Duration. Just turn this back to 100. So I'm back at the default of what the original length was. I'm going to try the second way to change the speed of a clip. I'm going to zoom in, There's a little X box right there. You could right click it, go to motion. There's really nothing happening in motion. But then you could go down to time remapping and click speed. Time remapping to job. Is it literally just lets you change time? I don't know if you know this first, but on every one of these clips, if you look detailed close up, there's these lines. Something to know. In order to move stuff or change an effect of a clip. You can add an effect onto it from this effect window. You can go up to Effect controls and click a clip and change it. Premier also lets you change a clip. At the drop of a hat, you can just come here and then drop this down, this line, and it says this lines for opacity. If you bring it down, it'll make this clip black or transparent, right? Says there's nothing underneath and, you know, the default of Premier is black. That's why it's taking the clip and it's mingling the black with the clip. Hopefully, that makes sense. If it doesn't, let me know. I'll try to explain it in an easier way. But basically, there's all these different effects on audio. There's just an audio effect option, if you just your mouse on it will tell you that this is the volume. You can also change the volume up or down off this. One thing to notice is when you do it, it does it for the entire thing. Keep that in mind, right? If you move that metal bar, it does it for the whole thing. I'm going to bring this back to where it was. A way that you can get around it is you could always like press C and cut, or you can go to the razor tool. The way that I'm moving between these very quickly is by using the keyboard shortcuts that says, and this one says, V for selection tool for razor tool, you can press C or click that and then click around. Then you want this area higher, you'll bring this up higher, you want this area lower, you'll bring it down lower. But if I press control Z, you could also do things that we go to where it was. You could basically do things where you like hold control or command. Then you could add key frames at the drop of a hat. You can add a keyframe, let's say here for audio, at the start of this clip. Then when you move down, you want the keyframe at this clip. At the end of the clip, the sound goes up and then it goes down. What happens to overhear, if I move this? It'll move everything before it press control Z. It means we need in another clip or keyframe. And if you wanted to be a little safer, you could do it inside this menu. But if you feel more pro, you can do it in here. I add a third clip here to make sure that this stays the same before. And it's control, click, control, click. And it makes a little key frame. That's what a little plus symbol means. Then I could take this here and I could lift it up. You could move the key frame around as you select it, and I can move this up, then I could bring this down. Then what happens is as you play, it goes, the music ramps up. It gets higher, and then it goes lower. It'll change the volume higher. I'll add a to the clip. Right, something to remember, something to keep track of. What I'm going to do is I'm going to revert this back to where it was control. Okay, we're back to where we were now for time remapping. We're going to do that same key frame situation right here. I want, when he's starting to fall, this main character here, I want him right there. I want that to be in slow motion. I'm going to click the same way with control. Click. Then I'm going to, let's say I'm going to do it a little earlier because remember key frames change the speed over time. I'm going to zoom in, I'm going to go to the second one and I'm going to just drag this down. Drag this down, didn't see anything happen. Well, if you look, you can see that it's spread that in two. See how that's a full one. This one got split from here to here. Just as you mess around with these, it will change the action. It'll change it by hitting this right here. If I go here, let me pull this down. Oops. Okay, What we'll do is with this time remapping option, we'll do the exact same thing we did with volume. We'll click here. I want it to happen right when the main character starts falling down. About right there, and this is our main character. I'll click here and I could control click, Well I have to do it through here, but here's our time remapping thing that has just woken up. We could do it through here or I could just do it here. That's before the action happens. I want this to be right here and then do another one right there. Then now we have our marker. So this is where we want it to start on this where we want it to end. The goal is we want this to be normal speed and then slowed down. What I'm going to do is I'm going to lift this up. All you do is you go to the little bar in between and you lift it up. And you can see by lifting it up, it shorten the clip. It's not what I want. Then what I'm going to do is I'm going to drop it down. I'm going to lengthen the clip, but that's maybe a little too long. I will bring it up. What's going to happen is it's going to play normally and then when I get to that part it's going to slow down. Ma Do is lifted just a little bit more. See whenever this ends it goes back to the normal speed again. See these markers. Tell us where we want that to start and where we want it to end. Then whenever that ends it goes back to the normal. That's why we have the line that's up here. And then it drops down here where we have the speed slowing down and then back up again. Let me know if that makes sense. All right, so let's play from the beginning. What I want to do is I want to then fade out of this. We could click in and then go to Opacity and press Key Frame, Turn on and then fade out. But Premier actually has a default in the video transitions. If we go to dissolve and we go to cross dissolve and we drop it right here, Then what will happen is, as we go from the beginning that clip, we'll slow down and then fade out. I want to fade out before that happens. At the end, what I want to do is I'm going to move just this time marker to the end. Oops, let's move this over. I can just do it from here to make it easier. And I'll pull it so you can move these windows or adjust it to make it easier. There we go. I wanted to just be towards the end so we don't have this where it slows down and then goes back up to regular speed. That's why it's important where you lay these. There we go. Okay, we go. There is some adjusting that needs to be done, but let me refer this right here with these markers. Slow down. I'll just stop right here to make it easier. Then I'll fade out. So we'll go then from there were that works a lot easier. A lot better. That works a lot better when I go here and see the thing about editing is we could have went and redid this whole mapping thing, but if we see that we don't need to, we don't have to go through the extra trouble of doing it. We could always come in here and delete these restart if no need, don't go out your way to go the extra. It's just about telling the story. You don't want to get lost in the weeds. Here we go, we have our time remapping where we go, fast and slow, fade out. Then the next one is seeing someone who's a professional. Then I already downloaded some footage, you can access it. I'll connect it to this. Probably put it below or it'll be the next pop up or it'll be before or something. But what's going to happen is I have some video course files. In this video course files, I have this logo that we're going to use and I have this here which is our kicking soccer ball in the air. This one, I want to double click it. Put in the source monitor. I'm going to start when the balls in the air. How do I just select that? Should I just drop this whole thing in here? It's a little too big. What I would do is I would wait till it's in the air, press the marker, the keyboard shortcut is, then I will go down. Then when he comes off screen, I'll probably go all the way to the end because I want the logo to appear. Then I'll leave it just like that. He comes back up a little bit, I'll leave him when he's down like that. And then I'll press or press the output button right here. Then if I drag and drop this, it'll get just that section. Well, it was a little bit too big. Why? Because remember the aspect ratio or the sequence size is set for 640, right? Because that's how, how big this clip is. If I go to the sequence for this, the sequence is called sequence one. If I go to all my project and go to sequence one, you'll see 640 by 360. But when I go back to where this clip is, it says this is a 1,080.19 20 by 1080 clip, full HD. We can either click it, go to effect controls, move it around and get it what we want, but you see it's already blurry. So what we would do or what I would do is bring it back to where it was, right. Click it and then go to scale to frame size. That takes the clip and it scales it down to fit inside of the sequence. If it does it and there's some black space, you could zoom it or scale up, which is zooming to make it fit better. But sometimes it'll fit most of the time. Like if the aspect ratio is the same. If you want to get this clip to fit into like a mobile phone version, it probably won't. It might, but there might be black bars. But if there's black bars where there are spaces where the clip doesn't match up, something like this, then you'll just scale it to get it to fit. It doesn't have to be at 100. It'll just whatever the scale is, basically we go from black and then we go to this. I don't like that, it still did the beginning of the whole clip. That was my fault. I chose it to be that basically here it is, where the ball is up in the air. I guess we'll live with that. What's going to happen is I probably will do some fade between black between these, let's fade between both clips with black. I'm going to put them right here. I'm going to do another dissolve, or just to try a different effect. Let's click it. Let's go to Effect Controls. Let's go to here, press Opacity, then I'll have a couple seconds go by, and then I'll go to zero. And that should be the reverse. So I'll just move it here, that here to the start. It'll tell you it's the start because you can't go any further. And then I'll put that there. Then what's going to happen is we're going to go to black. Then it wakes up again. It goes from black to regular. We see the full picture, it goes to 100% That's two ways we can do something. We can go cross dissolve, which I like, it's a quicker way. Or we can just actually do it manually by clicking on the clip, going to effect controls, go into opacity, hitting the key frame tool and then setting where we want it to start. And stop here I am going from here, fade out, turns back on, then we get this kick, Boom. But the clip doesn't go all the way to 30 seconds jerome. What's going on with that? Because now we need the logo. We have all this extra space. We don't want it to continue, because we see him rising up again. What we're going to do is we're, let's see. Once he drops, we will click. I'm going to cut that. So I'm going to go to the razor tool. I'm going to cut that. I'm going to press V. Remember the difference between a beginner and a pro is that they use the keyboard shortcuts we get here. I click it, right click. I'm going to go to add frame hold. I'm going to hold that so that we can extend it as far as we want. And it's just a frozen frame just to make this a little bit easier. Videos are just a bunch of pictures that are back to back to back, just taken together in a row. So we call each of those pictures a frame, and as we zoom through them, that's multiple different frames, right? Usually there's a certain amount of frames in a second, and that's where we get the FPS thing. This frames per second, right? That just depends on what your settings were when you recorded this. The settings might be that the frames per second was 24 or 30, or 60, or whatever. And I'll have a pop up that comes to accompany it. But remember that your frames just says how many pictures is being taken in a second. Let's keep going. We're going to go down, here we are, and then we freeze the frame. We're going to do is once we kick and get to this end, I want the logo to appear probably about somewhere around here because people don't want to wait for the logo to pop up. We're going to have the logo come up here. The logo is something that's also in the file that you've downloaded that I gave you for the course. You can control or command I to press the import button or you could file Import. Then I'm going to change this view. I'm going to go to this soccer club, press open, then I'm going to drop this logo above. If I drop it on it, it's going to cut into the video which I don't want. You won't be able to see the background, so it has to be on the layer above. And it's a really big logo. I'm going to size it down so that it fits. Whoa, whoa, whoa. Put your Rome, you still have the Vector stock thin, you have the white. How are we supposed to do this? I'm going to show you basically. We're going to click this, we're going to go to Effects. We're going to go to Crop. One of my favorite tools, we can type it in, or we can go to video effects, We can DD, DD transform. And then we'll go into crop. Then we'll just drop it on either or once you know a name of something, you can just type it in. If you have a certain effect that you want to do, you can just type in, let's say Blur and then Blur will show up. Then now that it's added, I know that I need to crop off that bottom. I'm going to go to bottom. I'm going to go up that watermark that they put on the bottom of the photo. There's a lot of power and crop, but that's one of the ways that we can crop something. We could also have press control Z, and then we could have just dropped one of these rectangle things over it and just say this is the area we wanted and stuff like that. But it's easier, I think, to do it. Oops, Let me redo, which you can go to edit and press redo, or you can press control or command shift. And I'll do it until we get to where we were up. See, it didn't save that. Where we actually have this part there, probably because I already overrode it. I'm going to remove this mask. I'm going to go back here to bottom, and I'm going to say five or six or eight. There we go go. Probably maybe if I could do it at 7.5 so we don't cut out the bottom of that. Cool, Now what I want to do is I want to remove that white. How am I going to do that? There's a lot of options we could use. I would say we should do something like a key. So I'll type in key. Key just means that we're keying out something right now. We want to key out the white, but we want to keep everything else. I'm going to try a color key and see if that works. Color key, I'm going to select white. I'm going to change the color tolerance. I see that it did take out the white, but it did take out the white in the picture as well. We might not want that. We could pull it out all the way and then we see that works right? But it just removes the white from the logo. We definitely, we definitely want to be aware of that, that if we're going to take out a color at a key color or color key, if we're going to key out that specific white, this and other things, it's going to leak out of it. But let me look at this. I think that looks pretty good. Look if we kept it something like that. Just as long as we don't have any weird where we see a little bit of it in and it's not there so we can play around with it. What we're going to do is then once he kicks it, he comes off and then the logo comes up. But we don't want to just go, boom, because we're going to be shocking people. What we want to do is we want to go to effects again. Video transformation, dissolve, cross dissolve, Drop it on. We could always go from black or go from white, but if we do it, it's going to fade in from that color. Look at that, it's probably not the best cross. Dissolve just means a dissolve where we just fade in. That's all it means. Fancy way to say it. We're going to play it from a little bit before because when you make a change, you don't want to look at that change right up on it. You want to give yourself a second to watch it take it in and then move into it, right? Just remember that. Then we're going to kick logo appears, okay? The logo definitely needs to be extended longer. And I'm going to have it started a little earlier because we don't want to have such a long wait. Maybe even while he's dropping, we're seeing it starting to fade in. There we go, Soccer club. I dig it and we have it on the loop. So I just automatically looped itself. I remember you can turn on a turnoff loop by clicking the wrench loop and then tockling it on or off. So what I'm going to do is I'm going to press the space bar, see if this looks right. That looks pretty good. If I do say so myself, I think we have achieved our first edit for the soccer club brand. But we're telling a story. We start out where we're talking about, this is where we're coming from, This is our beginning. And then we go from that. We fade out and then we become this big soccer star. Then we show the soccer club logo. We're telling a story. Remember when you're putting together clips, you have to put together a story. You're telling somebody something from the beginning to the end. What's going to happen is I'm probably, I want to do a little bit more movement. If I could a little zoom in there, I'd like a little bit more. What I'm going to do is once he does his thing and he's falling, I'm going to start moving in. So I'm going to click this, I'm going to click the Scale button to zoom in. You can choose to do this if you like, or if it doesn't work for you, you don't have to do it. But as it fades out, I want to get the zoom happening where we're like zooming into the action. Let's see if that works now starts a little too late. It needs to be like where we're seeing it move little. I feel like this is a, it takes too long for this kicking soccer ball to appear. I'll just take this, I'll move it over a little bit, right like that. Then let's see this, It's appearing too soon. Let me move it back. I think this is appearing too fast after this. It just moves so quick. I think we should probably make it a little bit delayed, so we add some more timing so we can have more of an emotion as we move from something on screen and then we're fading out. Remember, a fade is an emotional thing. As we're moving, you don't want to get emotional and then get hit, boom, it's back. I think that works a little bit better. That's good, That looks good to me. What I also want to do is because the music just boom like abruptly. I want to go to audio transitions cross fade, which is similar transitions like video. For audio, they have constant gain, which is like you just ramp yourself up towards the end, like you go from normal volume and then go higher. Exponential fade, you go regular level and then lower, or you have constant power where it just keeps it constant. I want to choose exponential fade added to the end of this. Then the music should fade out, phase out a little too fast for me. So I would get back to the end. I'll pull it so that it has like an exponential. It's happening slowly and not super quick. And it works the same way as with a video like when you add an effect on you could just move it like that. Pull it to where you want it to go. I'll go from here. I dig it. Just do it one more time for good measure. I dig it. I think it's cool. There's some continuity errors if you want to get super serious serious where we see that like his skin tone here doesn't match with the skin tone of this person here. See if we're going really nit picky on it. As you edit more, you'll get more of a stronger eye for it. But I think this does still tell the story going from here to here pretty well. That's really cool. What we're going to do is we're going to save it. Premier automatically saves all the time. But we'll just save. Just to be sure, let's controller command S, or we can go to file, and then we go to save. Let's make sure as we export this that we're happy. So we pull this work area bar out, we pull it to the end of this, make sure that we get to the end. That's definitely the thing that I do last. Make sure every time I make sure that at the beginning and the end, the work area bar is there because it gets finicky sometimes. It might like the beginning when move over here and then you exp 7. Third Video Editing Project - Understand How To Use Motion Graphics: Hey everybody, Welcome to another section in our course. Right now we're going to look at a second project. We just wrapped up our first one and we're happy about that, but let's make a new sequence. We go to this right here. This new item, go to sequence. We're going to leave it in our same digital SLR, 108030 frames. A second. I'm going to name this second project. And this one is going to be about an event. I'm going to say second project event. And this is a cool way to keep us organized by naming it and something that allows you to find it again. All right, so I have my new sequence. It is a 1920 by 1080, a sequence, which means it is full HD, so you can have 720. But usually people want 1080 because they want it to be the best that it could be, and above 1080 would be four. It expands from the 4.65 6812 K. For most projects, majority of the time, I will sit somewhere between the 720.10 80 space, depending on what a client wants. But most times they'll lean towards 1080 versus a 720. So let's get moving for this case scenario, we're looking at an event, right? I have some footage you'll find in your footage pack that I made available somewhere on this course. Either will be on the page before this or will be somewhere in the section where you can download it. I'm going to import that first. I'm going to make a new bin and I'm going to say this is for the second project, for the event. I will put this in here. Project for the event, I will then import all my stuff. To import, I press control or command I or file import. Then I go to second project and then I import all this and then I press open and then it drops it in. A lot of times I get confused and I'll press this button. Just ignore me. This is just for these things that you want to access or add to your project. But if you want to import it is control command on a Mac or file Import in the top menu. Okay, I have this footage, this is my event footage. I have this shot, that's my wide shot that you can see as I clicked it opens up in my source monitor. I have two close this shot and then this one which is like a different angle from that one. This is like a side view and this one is a main view. Okay, What I want to do is I want to drop in the wide view first. We usually do that because that gives perspective. I guess that is a different size. I'll say keep existing size for this case because I believe this clip is four K. Yeah, it is 38 40 by 21 60. So it's going to be too big for the scenario, right? This is like a real world situation. You have a, you have a 1080 project. You want it to stay 1080, but here you are having this massive four K clip. What do you do? Well, I think we did this previously, but you're going to right click this clip on the timeline scale to frame. And then it should scale it perfectly. If it does not, then you would then go to effect controls. And then move the scale around to get it to match to what works best. Right? If it has black space, which will probably do maybe on one end or two ends, then you'll just zoom in to get it to fit right. And you'll try your best not to cut off any people. It might happen, but if you cut off somebody, try to make it look as balanced as possible. If I cut off her, then I probably want to zoom in to wear. Like I go here we're like she's cut off. This might look a little bit more artistic because you can see that there's somebody here versus me having a shot, like something like that. Where you get like somebody's nose, you know, even though the shop moves into it, probably not the greatest start like on her nose. Just play around with what fits best for you. Obviously everybody's editing style is different, but get what works best. This is the first time, I think unless I ignored it in the last edit that we did, our first edit that we see like a red symbol. Just know that when you see red, this means that it hasn't been rendered. Renders a fancy word. That means that we're going to be letting the computer load up this clip, save little copies of it so that it can play through faster without being slow. Being slow and like glitchy. The first time the computer will see some video or video file. It's going to be brand new to it, right? Most cases, if you have a decent computer, you won't have to render like that. It is best practices to render a clip, but due to Premier being such a good software, I usually don't do it. But because this is a four K clip, it's bigger than normal. I would recommend it. In this case, I would Enter is how we get to the render settings. Press Enter. And let that render out it should just take just a few minutes. If you have a whole clip of four K, it'll probably take longer. If you have a whole clip of six K or something bigger, it may take longer, but just keep that in mind. If you're having clips that are glitchy, it feels like it's buffering almost. It's going forward and backward glitching and moving slowly. Then you would render it by pressing the Enter key on your keyboard. This is almost done, and I'll show you the other way that you can render it's done. As you can see, it is a lot more smooth than it was previously it was jarring before. And then also change this color to green, meaning that this has been rendered. The other way to do this, to go to sequence and then go to Render. And we could render the entire work area or render selection or whatever the case it will most likely be render the entire work area. And then it'll do the exact same thing as pressing Enter, but Enter is just quicker. Once again to reiterate the difference between a beginner editor and a later stage, or a pro editor or even an intermediate editor or something like that, is that they use keyboard shortcuts when they see something like when they hover over this and its V. They'll know in their mind that, okay, I can press V to get there quicker. I could press for the razor tool to get there quicker, things like that. So keep that in mind. O, over these other clips I see they are 1080, so probably doesn't require as much loading or rendering. But it may. I'll drop in this clip right head on, main shot. I see that it's red, meaning that it needs to be rendered. Then I'll drop in this clip afterwards. This is like the regular view and then we have the side view. Okay, cool. I'll play it through, and let's see what we get. Before we play, we have this playback resolution button. Remember that in full quality, it takes more work for your computer to work, or more energy when you have it in full to have it shown. Because it means it wants to show this picture, this playback picture of what we're seeing in the timeline in full quality, right? If you have an older computer or a slower computer, or maybe even a really good computer, but it's buffering a bit, just know that you would bring it down from full to 14 or 12. The lower you go, the less energy it takes on playback. Which means that you'll be able to not have the issues connected that you would probably have if you kept it on full. Because if your computer is slower, it may be where you're trying to go forward but the computer is like freezing the screens. Frozen. It's not moving and you're like, what's going on? It's just because on play back your computer probably doesn't have the energy or the speed to be able to play this back seamlessly. Just keep that in mind. I use full if I can. If I see that it's stuttering, I'll drop it down to two or a fourth. The lower you go, the better it is. But keep that in mind. Okay, I'll play this through to see where we get. That's a slow moving thing. Let me go to the next shot. It's a little quicker pace then I would cut it right here or pull it down to remove that, make it not so long. Then there we go. He's also like in slow motion. Everybody's in slow motion in this clip is super slow. I want to speed it up. I'll right click, I'll go to Speed. Duration. I will probably make the 150 so it's not too fast. Too slow. Let's see, you need to render, there's a little bit of jerking that you're seeing that's happening. Still not fast enough, 50, we can make it faster. There we go. Then we'll move these down and then cut over. In this case, I want to cut it, even those snap to timelines on, which is telling me, hey, you're going to go over a clip. I want that to happen, so I'll put it right there. There we go. I remember snap to time lines, if you turn it off, you don't get these little warnings telling you you're going over something. If you turn it on, it will give you that little warning, telling you, hey, you're going over a clip now. Okay, so I need to render everything. Remember that there's three colors that this gives. Red means that needs to be rendered, green means it's been rendered. And yellow means like, just the default, like you've dropped this in, you haven't done anything with it, but it's in between, let's say. So we press Enter. Looks good. I don't like that. Final shot. Looks slow motion, but I think we're going to do something there with it, which will make this better. First things first, we don't have any music, the client might not want it. Maybe this is just going to be a video that just plays in a shop or plays in a store, that just shows something previous that happened, or plays in a company office. In that case, you won't really need music. Sometimes they do, but most times they'll just put it on screen with no audio. Something to keep in mind, I would definitely put music. In this case, what I'm going to do is I'm going to import music. I have music that I've already downloaded. I'm going to use it inside of this project. It'll be with the project download files. You should have access to it on your end as well. I'm going to choose any option that works best and I'll o in this case, full mix. I will import this, it's too long. What I'll do, obviously you can put it in and then cut it. But I'll just double click it. I'll put it in the source window. Go here, make point. So that's or I could press this and then I go over here, stop, make a outpoint, that's o, we get that little section, I grab that, I paste that. And then I drag it further on. That way you don't get this big long thing. We get just the section we need and we could grab it. Also a quick pro tip. You don't need that endpoint as much. It's good to use it, but you could just go however far you want and then press wherever you press or wherever you press this, it will move that, it'll say that that's the area you want to select. It'll start from the beginning to that point that you mark a little quick way to save some time. Okay, I'm going to drag this down just in case it's too loud. And let's see, I like it Something to also notice that I want to bring to your view is that when you're listening to something, some audio, the practice is that you put the sound in between negative six and negative 12. That's how loud sound should be if you're putting it on TV. These are the barriers, negative six and negative 12. You don't want to go above that. If you do, you'll hit the red, which is what you shouldn't be hitting. You shouldn't be avoiding red because red is like that. Well, you hear distorted sound. We bring that down. I'm laughing because I've used to do that. No, we do not want to do that. We want to stay somewhere over here. If you have somebody talking right, it's going to be different. So if somebody's speaking, you're going to make the music lower and the person speaking to match between the negative six and the negative 12. Right? You play around with it and what fits best. But don't go above negative six and negative 12. That's your barriers. In this case, we don't have anybody talk. If you wanted to, you can record a voice over. Premera allows you to do that by clicking one of these buttons. And if you have a mic you can just talk. Or you could use a different software like an Audacity in the Adobe suite. They give you audition, you could use if you want to pay. It's a little bit of a steeper price, but I think it's worth it. You could use a bunch of things. If you have fancy gear, you can go to logic and all these big expensive things. But audacity is free. Audition is something you could add or pay extra for if you buy the whole Adobe suite. Or I think you could choose it as an option of things that you want to use and you could just pay for premier. Or an audition, I would say. If you're strapped for cash, it's not the best idea. I'd probably just get premier. Probably get premier and get audacity instead, because it'll be cheaper in the long run. But keep that in mind. In this case, we have our thing. It looks like it's working well. What I'm going to do is I'm going to press play. Okay, that sounds pretty good, I think what needs to happen is this right here needs to fade out. Just a little 15 second clip. Just going over what happened in the event. Usually you have more clips than this, but this is just a good testing case and something you could use for your demo. Real, I would go to video transitions, dissolve, cross dissolve, drop it. Or you could click on it, go to effect controls, go to opacity, and then make a key frame. Or you're saying this is where I want to go. Where I want to make this animation over time. Where you're saying I want to start at 100 and then probably fade from 100 to, at the end zero, you go to black. In this case, I just use the cross dissolve. But it's useful sometimes you need to use this. But most cases the cross dissolve works well. Okay, also just in case you guys will worry. Don't worry. I have a lot of other extra get paid for plug ins which gives me a bunch more options like all of these film impact stuff. You don't worry, yours will be different. The film impact stuff will probably be gone and you just have dissolve and then immersive video and these other options down here. It doesn't make a difference. This is just ways that for corporate clients or something, I'll pay for film impact and have more things. Which will help me to save some more time, but it's not needed. Most of it is just little quick things. But you can do the same kind of thing without. It'll just take maybe two or three more steps. Okay, I'm fading out of that. I also need to fade out of the audio because you can't just abruptly end the audio. There's two options. You could use constant power, constant gain, or constant fade. There's three options, but exponential fade is what I'm looking for. Constant power works as well. You can drop it, and I'll just keep it constant and constantly fade out. But I will use exponential fade as I play. That fade out is too short. I will move this here, I dig it. Cool. It's as simple as that edit makes sense. We've gotten the main cut out, the way, this is the time that we're going to start messing with our effects. Now what we need is, I would say we probably need some text. I think here would be a good point. I'll make a marker. You can write click up here and choose Add Chapter marker Aq. Or you could press M and then right click on that. It's a two step. Or you could also go to Markers. And then a bit of a two step. I'll right click, go to Q or Chapter. Then I will say split screen here. Let's say we want to do a split screen. We want to highlight, there we go. And I'll track this down. I made a little too long. Let's say I want to do a split screen here. By doing the split screen, I'll be able to make use of this space where there's nothing really going on. And he's like looking over there, usually you would have more clips, so it doesn't look like you're just doing a split screen towards the end. But there's a lot that can be done. But I want to just give you an opportunity to be able to learn how to do it. There's two ways to do this. We could make a new item and then go to Black Video. And then press, okay, it gets dropped in here. We grab it, we drop it. Then it took over the whole space. We would move the position so that it's like over here. Something like that. And then maybe put it all the way to the end then and then we could show this. I think he's probably should be moved a little bit over. See like when you have something like this on screen, you could move the clip below it a little bit over because you won't be able to tell that this is missing, right? If we press the toggle to remove the black video for a moment, see it's going to show that. But if we have something covering it, you don't need to see it or you won't see it at all. So I'm going to move him just a little bit so he's not completely cut off. Let's see. Because his hands going to get cut off. But I don't like that that projector screens there. So I can do all kinds of things I can use to rotate and I could rotate it just a little bit so that projector screen looks level more level. Let's say, let's say 1.5 Then what I will do is move him like that or something. It looks a little bit better. We get more of him and he's not getting cut off. Like before we moved it back to where it was, he was getting cut off all over the place because he would move his hand and he would step into it. I'm going to press control Z to get back to where it was. I'll just move the positions. Remember this is to move this left or right, and this is up or down. If you move it to the left, I believe that is up. If you move it to the right, that's down. If you move this to the left, it's left. If you move this to the right, it's right. This is the, I believe x and y axis. The x axis goes left and right and then the y axis goes up and down. Let me see. I dig it on the split screen, we could do all kinds of stuff. You could like add text and this text could be Hello world or whatever. Text makes sense. I'm just putting something here as a default then you could stretch this out. Takes place at the beginning to the end. If it goes to the end, we probably need some fade or something so that it disappears. When this disappears, there we go. Because if this wasn't here, it would still be on screen, even when we go to fade out. I will do that. Then what we could also do is, while this is selected, we can add other texts in the same section. So we could say, great event, obviously I'm just typing things in. It could be nicer, it could be cleaner. But it gets added into the same group, it gets grouped in this, we don't have to have 1 million different things that are just stacked on top of each other, it gets grouped into one. What I could do is open this, could bring this down. Like I said earlier, I'm not a big Tahoma fan. I would go to like Montero or a Calibri or an aerial or a Cambria or something like that and that's just my style. I think it looks a little c. But like you choose whatever works best. I'm going to get out of this. I'm going to go to Hello World And move this to Amante Sera, to medium. Let's say I think it should be bold, probably centered a little bit, mess around with that. I could probably right click on this safe margins. That has really helped too much. But at least you can tell that this is where a line is to maybe keep this even. I'll remove safe margins, which is our little way to center things. It's also something that we use in TV to make sure that something doesn't go outside of it, it stays within the center. This would be like the size of your TV. Whatever comes outside of it might get cut off. So we try to keep stuff, the main things in the center of this, but in this case we're not looking for that. We would right click safe margin and get out of there. Let's say we want to do more great events. We would click it, right click it if we wanted to. And we could copy and then paste. Or we could just control or command C and then control or command V. Then we have 1 million of these. These get stacked, but they're on top of each other, right? We can't see them. What we would do is click and then hold shift so that it, it stays lined up with its previous one. Versus if we didn't hold shift, it would be all over the place. But if we press and hold shift, it keeps it straight. We can't move it to the left. We can't move it to the right. It stays straight with the other one are lined up. I will press that, then I'll go to the next one, and then I'll do the same thing. I will click, it'll be up here. Oh, that's the third one. I moved the second one, still up here. It is not how funny. This one is the first one. This one is the second one. If you want it to be organized, you can. I think you probably could just move them so that way you don't have to do extra work like I just did. Now they're in order. Then I will just make it where the spacing makes sense. This is where you just eyeball it. Just eyeball it to be honest. I'll just eyeball it to something like that. And I'll probably remove Hello World. It's like a default text if you're trying to figure out what's going to go there. And I'll say event review. Let's say this again. Remember that if you're typing something, the rules are different. You have to press this to go to the selection tool. If you press V, it's got to just make your text V. I will go control or command Z to go back or you can edit and then go to undo or redo or whatever. And then I'll press Selection. I will center this into this section, and we could do that then. Since the great events are grouped, I can't just like move the position, because I'll move the position of everything. But to move this a little bit taller, I will select all of these. Then I would probably go down here and try to see if it won't work either. What we'd have to do is we'd have to go to individually all of these and move them up. It's probably quicker because I'm always about saving time here. You could individually open it and then go to moving this. Yeah. Or we could just move it individually like this. Click, press shift and then click it and press Shift, and then click it and press control. Click it and press Shift then now pretty all right, this one looks a little bit lined up. There we are. We could add these as much as we want. This is our split screen. You could use black. I could click this, I can go to a color. I could make a press, okay. I could make this probably white or something like that. You can choose different colors you want by clicking this color picker. And you could choose any color under the sun. Maybe you want to use this blue off of his clothes. You can use this blue. Then I'll just name it Blue Test split screen, just so you remember what it was used for. Then I will take this, put it here, then I will copy this. This is something we haven't covered before. We would click motion control or command C if you're on a Mac control. If you're on a PC, you will take these attributes and you could click on another item, controller command V, to paste those attributes. And see what will happen is it will take the same position from this and move it to this. Okay? Because if I control z, it was taking up the full amount of screen space. But when I pasted the attributes control on a PC, it put that here. Look at that difference. What I'm going to do is I'm going to take the black video out. I'll probably delete it, because you see that this moves based on wherever something is. It gets longer depending on how long do you drop something if I keep moving this. This work area bar will move. I will delete it and then I will put this back where the other one was. I'll probably add fade because this isn't black. So when I get to the end, if I don't add some fade, it's going to just be this weird blue thing at the end. I will cross, dissolve. I get a little fade out. I don't like that. I'm seeing that black that's happening underneath. I probably will need to work something out. Maybe extend, extend that, extend this. Maybe do something where look, I can keep the blue a little longer so that when it fades out, we don't see it. That means the cross alf probably doesn't work. Probably I need to just do something where this speaker fades out before this thing does. Maybe then maybe I do something where I add motion to it. And I move this so it takes up the full screen. Whatever works best. You can do it. You can do it. But I think I need to move all of the text for this. I'll move this whole thing down. It's all up on the ceiling, hitting up on that. Let's pull this out again. You can play with it. In our case, right now, we're just doing like a test, but yeah. But I mean, we could just play around with it. I don't like that. This starts before the section and we could see it. Because look at where it is. We need to pull this. So it starts when this clip starts. I dig it. I don't like that one. That fades out the blue. Still seen. We will work that out. That's one thing. Let me press this toggle button. That's one thing about moving it, is that we will see that black. If we move this back, we won't see that black. We could do that, but he'll get cut off a little bit. You have to play with it. I think I actually like it like that. So when it fades out, you don't see it a little black in the corner. It's just his hand, it's not his whole body. You have to eyeball it. Everything is what fits best. Because after you do this, you have to understand that even though if you're editing for yourself and you want it to be as great as possible, if you're editing for a client, the client might not care. If when this fades out, it has the little corner being black. You have to figure out what works. My strategy is that I do it to the best of my ability the first time, send it to the client. The client might say, I hate 54.3 or whatever. Usually I'll tell them to give me the time codes from the video. That way they're not just saying the whole video is terrible. They'll tell me I don't like 28 second or 28 milliseconds. They won't be able to see that. They'll see by seconds, but they'll say, I hate like 1 second and four second or whatever. And then you'll know, okay, these are the things that I have to fix for this. I dig how this is turned out. Event review, you could put in whatever text you think works best. Another thing that I would probably do is probably add some text at the start to say what. This is. A way that we would do that is we could use this option in the beginning when I was saying there's multiple ways to do split screens, this is another way we can do it. We can just do this. We could make a little square in the middle of the screen. I could make sure that centered by going to the safe margins. You can also find that by going here. Safe margins. There we go. Then what I want to do is make sure this is centered and then open this up and change uniform scale. Probably maybe pull it out a little bit, squish it down a little bit, something like that. I don't necessarily like that color. Blue might be over used, but if that's the company color guidelines and it's fine, I will pull this out a little bit more maybe let's say. Then I'll leave it at the beginning so it doesn't cross over into another clip. And then I'll put text here and then say we welcome to our event, spell welcome wrong. Stay in school kids do that. And then I'll probably like center it. Instead of having to type again and write some more texts. I could just copy this control or command C and then controller, controller command V. And then it just made the same thing on top of each other. It'll always drop it on top of each other and then I will just move this down like that whole shift to make sure I keep it straight. This is where I'll probably say something, November. Conference and then to make a new line, 2022. Then I will center this. You could do it by hand, by clicking this. And then just like moving it over. Or I'll control C, control Z to make sure that I undo what I just did. And then I could just press this button, the center line, boom. It'll be centered, it'll move it off, which is annoying. But then when you move it back, I'll click and then hold shift to make sure I keep it aligned. Let's say somewhere there. Let's see what that looks like, that looks disgusting. I'll just click it without shift and move it here. Then I will go from bold to regular or medium. Then I'll shrink this down because I think it's way too big. You shouldn't have too many big elements on the same page. I think it doesn't have to be another line. I probably could just make this just one line. November conference 2022. Let's say. I'll shrink this down some more. Let's say starting to look better. You should only have one big bold text heading, a section. You shouldn't have bold text and another bold text because it doesn't make it super interesting to look at the. You could just do something like that where you do this, the goal is to center, it is like a eyeballing situation where you just have to see what works best. I dig, dig, dig it then I think that's cool. This might need to go up. Just a snitch though, that I dig, dig, dig, dig it. If you don't want it to be like linked to the year you're in, you can just change this and say November conference and then just do this, and then that would be good to go. There we go. That's pretty cool. But you could just say conference. It depends because sometimes they don't want to date it whatever works best. But you can do whatever you want to customize it. Then I go to cross. I use cross it off for everything I take that. Then after the video starts, I'll then have the text fade in. It's also linked to the background. If you see that they're all in just one, it gets grouped automatically because I had the background selected when I click the text. Then now when I press Space Bar, it's glitching. If you can see that, it's going back and forth. Because this needs to be rendered and this needs to be rendered in order to save some time. If I don't want to do that right now, I could go to full and then change this to one fourth then. Now as you can see, I didn't have any glitches because I turned off this playback. So this went to a lower quality when I was playing it, which allowed me not to have to render it right off the bat. It is best practice to render it all the time when you can, but sometimes you're in a pinch, you just bring this down or if your computer is not the most optimum, you bring this down. I'll press Enter just to render this. Okay. Now it's been rendered, everything's green. So I'll press the space part to start, or you can press this. I dig that a lot. I dig that a lot. I think it's really cool we have this another way that we can do that, to be quicker, we can just do, let's say testing text. This is just to show you that you can do this a little quicker. You can just go in your text settings, you can make a background, make this blue. You can click the blue that's on him. Let's say, let's give me that purplish. It's like blue heading towards purple. Then I will pull this out. Then I could ground it if I want to or not. I can make this as big as I want. This allows us to do similar things. It doesn't allow us to make it huge. But if we size up our text, we'll have a bigger background that's on it, size on our text, a smaller background. But it's another way that we can do the same thing. We can just do it directly in text settings and then adjust it however we want if we want to add shadow on the text. But a lot of times I just do the shape first and then I'll put the text on top of it, just because I've been using Premier for a long time. Usually we wouldn't have these shortcuts. We'd have to do it the long way. But that's a couple ways you can do it. So I'm thinking, I think that's a good test video. That's literally the amount of work you put in for an event. Just make sure the clips make sense. You add these things on screen, obviously with real text and not my, like fake texts. But it looks solid. You just have probably about a minute to 2 minutes of this. But I think this is solid. This is good stuff for your demo. Real, I'd probably customize this. Make this something that fits better. Because you don't want to have this on your demo ill and it has like random great effect. But this is just for a test sake. The only other thing I'd probably do is when he pops up for the first time, I would have some name badge come up for him. You can manually type that out like his name could be Bob, and you see it saved the background from before I can turn that background off. His name could be, for example, Bob. Bob Hope, for example. Don't judge me, I've been watching some Bob Hope. But you have Bob Hope, you could say, let's bring this down to like medium head of product. And as you can see, it looks pretty garbage because the whites clashing, you can even make it out. I could move this, but that's why would it be there. But me, you could make that the blue color. Okay. I'll try that. I'll make it the blue color, but it still doesn't work. I could add stroke around it so you could see it better, but that looks like we're from the '70s or you can tastefully do it, but it still looks nasty. We can add a shadow and the shadow is usually your best friend, I'd say I make this white. You could add shadows. You can tell shadow makes it looks a little dated as well. Tally shadow to make it slightly pop. But in this case I wanted to be a little bit more high quality. Is going to introduce us into a section on Mog. In order to get to Mogartz, we can go over to window and essential graphics. It might be already up on the right side of your screen, but I'm opening it up over here. This is our Mogartz. I use Mogert bunch, but there is a bunch that's already sitting here. These are things that I've customly downloaded. Look at all these that I use for all kinds of videos, But let me score down to what yours will probably look like, yours will probably look like something like this. Because these are the defaults that Premier gives us right off the box. What are Gertz are a quicker way to add graphics or motion graphics to a project. Motion graphics are the things that we know and love as we watch TV, as we watch commercials and things like that. Before Gertz, we used to use after effects. After effects was something that allowed us to make motion graphics and animations and all kinds of things. After effects is something that we would typically have to teach with this. But because Premier has opened up Gertz now, which has maybe like been three or four years now. Yeah. Three or four years. It has sped up the workflow, so I don't even have to teach it because Mogertz allow us to do the same thing that we would have to do if we knew after effects. But basically after effects is motion graphics, animation based software where you can do more higher brow stuff. Moritz are a way that instead of you having to get after effects and learn how to use it, you could do similar things easily or more easily, inside of Premier. What we're going to do is we're going to find Agar that we can use for this. Okay, let's go to the browser. Let's go to the browser and I'm going to search on. In voto elements, that's where I get a lot of my stock footage gert, stuff like that. But there's so many you could use motion array, you can use story blocks. I spelled that wrong. Story blocks, There's so many different things. But what it is is these are different sites. On these sites, you're able to buy stock footage, motion graphics, which you can use on after effects or Premier. You can get photos, you can get all things. Story blocks is like top tier, but story blocks, story blocks price. Right now, it's just showing me how much it is per month, per year. But per month if you were to pay for it for the entire year. But this for the most popular plan, you pay 30 bucks a month for 12 months at one time, which is a pretty big spend. I think it's worth it. But if we come out of story blocks and we go to Nvado, which is what I use, the pricing. If we g 8. Fourth Video Editing Project - Learn Color Grading: Hey guys, so we've finished already our second section. You guys have two things you can put on your memorial. At least not including whatever you tested on your own. But let's keep going and let's go into our third example so we can get another thing to add to our demo. Real, we will call this, um, third project teaching. Let's say. I'll press okay for this one. I'm going to import some things. You should have access to it already on your end. I should put it probably be at the page before this or it'll be within this section that you can download. I will import third project. I have these too. I will import them in change sequence settings. Let's say both of these are four K files. I've just now moved to a four sequence. As you can see, this is yellow, meaning that this is playable. But if it was red, that means we need to render it green would mean that it's already been rendered. We have our little teaching clips. This is from a client who they are a teacher. They want us to highlight some of the things that they're saying. Let's say, obviously there's no audio tracks to this, we can tell because it's just clips, no audios. If it was grouped together, we would know there's some audio, but there isn't anything we basically have to make the best out of. Not the greatest, which is the job of a video editor dealing with things that aren't the best. We're going to look through this scrub through this. I see that it's in slow motion. That was such a hard cut, switching to the second shot. I think we should probably shorten this down. Okay, what I'm going to do is I'm going to speed both of these clips up, so I'm going to probably elongate this a little bit more. Speed. The right click, both speed, duration make about 200. Obviously, you'll increase the speed to what works best. You can do time remapping, okay? She's going to make a mega fast. I'm going to click both of these again. Speed, change it to 150. That looks more normal. Okay. The beginning is a shot in the dark because her arm is up here, and then now her arm is down, up again. So I should probably cut that out. I dig, dig, dig it. To dig it. Let's go to about 15 seconds, then I'll stop at about 15 seconds. Okay. I don't like that hard cut. Let's see. I think it needs to be shortened even more, so let's keep going. There we go. Feels a little bit more smooth as he hands are up and we cut to the same position of her hands. It feels more natural then when we move. And it's like it doesn't match what we've previously seen. Look at this here. Look at that here, it feels a little bit more smooth. All right, question here, since you guys are seasoned video editors, should we put a fade in between this, a cross dissolve? Should I go to effects and put a cross dissolve? Let's remove ramp. What do you think? I don't think so. Remember, fades or cross dissolves are emotional and that could be for any of these. This additive fade makes a little brighter, makes a little white light before it switches, which is why I never used to use it. Dip to black will bring it to black before it goes forward, which is weird. Feels like a '90s course. Dip to white does similar to like additive dissolve. It fades to white and then it comes back. That's more accepted nowadays. But look, she's seeing the light and then she's back to Earth again. It's weird. I don't really use too much of these besides cross dissolve. That's why I use some film impact stuff. It's like a pro level thing. You pay some money for it, maybe like 100, 200 bucks or something. But if you find yourself using this all the time or if you're editing all the time, it's a nice little time saver. Basically, I think that it should just hard cut the way it is because we're just switching between cameras, right? It's the same shot, two different angles, two different cameras. In editing, there is a single camera, it a double camera edit or there is like a three camera it if you're shooting for an event or something or if somebody is shooting a course that they give you or something, there's usually multiple angles. There's one that's a main on shot that looks similar to this. Then you'll have something maybe like this switch to the right side of the person. Then you'll usually have another shot of the left side of the person. That way it will switch between something to know is when you're switching between camera angles. In this case it's slow or short. It's not the best test, but I just wanted to get something so you guys could get the brain working and then you could customize in your own experience. Obviously, if you need me to do some bigger level edit, I can find some old footage from some client and use them. But basically the rule is that every five or 6 seconds you'll switch between cameras. Because if not, the mind will get tired of looking at the same shot and then I'll get shocked when all of a sudden the cameras over here, or let's say we put we have a left shot where she's on the left or the cameras on the left. Just keep in mind when you have multiple cameras that you will be switching between them at time rate so people know that they exist. Because if they forget and all of a sudden you don't switch for a minute, they're like, oh, it's like you just slammed them right. As you're a video editor, you'll see these things and learn these things, but you want to be able to know to follow feeling and match feeling as you go through each project that I think that is smooth. But see that follows the five second rule. Maybe it's a little bit too quick, but if it's a very beginning of something and you want them to get accustomed to a second shot, you might cut a little faster, right? One thing I'm noticing at the gate is that this image is flat. Obviously, I'm one by one fourth. But if you look at this, she looks flat. She looks like she's colored fine. But I think it can be better to more emphasize the colors that's happening here. We're going to enter into the color game or being color correctors or cleaners. I also have this in a bin that's in the second project event. I'll probably make a new bin and say third project for teaching. Then I'll drop all of that into this. Then I'll drop all of this maybe into the main project it sits here, however you want to use it, it's good to keep organized. Then I'll make a new item. I'll get an adjustment layer, press okay, and then I'll drop that adjustment layer over this. Remember, when you're doing color correcting, you don't want to drop it on the main clip. It's better to have something in between. That way, if you need to test between something, you could just do this instead of having to go through so much effort. Then it's also better so you can apply the same color correcting to all the clips instead of just one clip at a time. Okay, what I'm going to do is I'm going to open the color correcting section. You could either go to video Effects and go to Color correction and then go to Lumetri Color. Or in some versions of Premier, you'll see at the top of the page all these different options you could choose. I might be took it off on mine, but let's see if there's an option for it. Yeah, I don't see an option for it, but there might be up here some options where you can choose between different colors, more different work space environments. I think I could probably get around that by going here and then going to color. You could do that if you want. I really don't do it. But if you were to do it, it'll change your whole page to look like this. Which is a lot easier than to just stay in your same old video mode, but choose what works best. But I'm going to reverse back to editing. I'm going to go to dmitri color. Drop it then I just drop it on the adjustment layer. I'm going to drag essential graphics out. Then here I will start messing around with the settings through here. First, I want to know what input lut is a lot, is a lookup table. It's a fancy word that means like this is the styling that you want your thing to look at, look like. That's why all the time you see people selling all over the internet. Oh, this is my let pack. It's just them saying I'm giving you some color saber thing or these are the settings that I like for my color and I'm selling it to you for X amount of price. Usually you don't need it because you can just customize it yourself. But everybody wants to save time. Right? Premier out the box gives us a good amount of lets that we can choose between or we can use our own. Like they have some defaults right here. If you go into the color mode and you go to basic correction, you can see there is. I would assume that there's more, but I guess not will come out of this color section. Okay. You can see that they have some options here. And then you could obviously add a custom one or you could browse to find a custom one that you like. But the first thing that you have to do is you have to understand or know white balance here. This should be white, it looks like cream color. I don't know what that background is, but it should be white. What you would do is use this color picker, find white somewhere. You could find it on the book pad she has or you could find it here. Sometimes if there's no white that you can see readily, you can use the white of somebody's eyeballs. If you were to zoom in 100% go here. You could always like grab this white. But you try to find some level of white just so you can tell the editor like this is what white is. Then after you do that, you will go to input. You could choose one of these defaults or you can just manually change it through. Here you have temperature which changes the temperature of something. If you go all the way to this side, it's cold to the left. If you go all the way to the right side, it should be hot or warm and the image will go orange or probably stay like let's say 30 or something. It's still warm, but you can play around with what fits best. I'm going to leave the temperature to where it was because then the temperature is fine before, so I'll leave it at zero. Then the tint, you can move that around however you want. You have saturation, which I think already adds a bunch of value. But see, saturation is usually what I mess around with, which just adds more color into your picture. Because a lot of times if things are flat, saturation will bring it up. So C already you can see she looks brighter and cleaner. Let's say if I take off V two so I can look at what it looks like underneath. That's the default flat. That's the default flat. Then if I turn this on, I see that she looks more colored. I see more skin tone happening. Even when this gets some more color, remember to make something. Phil Screen is the Tilda key, which is to the left of the one key on your keyboard. You can also mess up some more of these other settings. Exposure, contrast, highlight, shadow, whites, blacks. You have creative here where you can add a look and there's like 1,000,001 looks. You can add sina space, for example, that just looks like some Goth movie or whatever style works best, you just choose that could maybe work, but you can play around with what works best. If you have a flat clip, sometimes people record something in a flat profile, then you'll have to do this. But most times I find myself not doing this for client work, but if you feel like it fits, you can mess around with these settings and if you want me to do a clear, more serious breakdown on color, let me know. The ones that you'll probably need to know right off the bat is you drop lumetri color on adjustment layer. You use saturation to adjust what needs to happen, like adjust the saturation the more detail or not even detail the right word. You adjust the saturation to make it have more, to look more vibrant. Then you could see that if you have a difference, you can toggle between the adjustment layer and the regular footage. You then scroll down and then you have things called curves. If you need to add more light to a picture, you could always click and drag. And that's going to make it probably really bright. That looks really bright. And you can see, we're already like crushing all look at the whites. It's even ruining the detail that's coming off of these things here in the back, I don't know what you would call them, but these little things, this is where you would adjust, obviously, if you move this top part, that's for light. If you move the bottom part, it's for dark. You probably use screen pop up so it'll break down just in case that looks cool, darker than it needs to be. But you move in and adjust it to what fits your style, Then obviously, if anything, the client might tell you, hey, I don't like your style, maybe adjust it and you just become a little flexible to what fits best. But yeah, but we can adjust that, make it good to go. I will minimize this, so I have some more screen real estate in that window. I see that I still have all the details showing reining supreme, no problems. There's some things that we can do to make it nicer. See when we switched cameras it looks a little different, even that coloring looks different. So we may be adjust this when we switch cameras, When we go the first to the second, and I'm going to drop this down to maybe one eighth so that it goes faster so I don't have to render. If you look the skin tone looks different cut between those. I can be able to adjust that adjustment layer so that it works better. Okay. I think we're pretty much good. I think the only thing we need to do is render in here. We know how to do split screen, if we could do one, if we want on the side, we can do a Mogert text pop up that matches. We can do one, I can grab modern lower third number five for example, I don't know what it looks like. Then boom, we'll be able to put something up like this. I think this is really cool. We can scale it down, make sure it's clicked. And scale it down. Move this or just this. I usually keep a lower third in the lower third of the screen. Usually not right next to them. Probably somewhere a little bit below them, about here maybe. And then probably make that about 50. Then I'll just change her title to teacher, but you can change her name as well if you want or the font. Or you could change the font, weight, the style. So you can change it from being italic to bold or whatever. And you can change the positioning if you want. But see like I have all these weighty things on it. I have this four K footage. I have this Ger I'm going to have to render because you can see that it's starting to become very choppy and the rendering will help me a lot to speed up my workflow. Right? So I'll press Enter. All right, everything's rendered in green. It's been played through. It looks all right, obviously we probably want to find some music for this. Let's go look for some music on Nvado or whatever works best for you. I'm going to go to Nvado N Vado, I go to Music and go to royalty free. I can find something that fits. Let's try to type for something upbeat, maybe. I'll probably go for that. Something that feels very corporate. And then I'll download it and then throw it in my section. You'll be able to access this. You probably already have this with your project. Um, or you will have this with your project probably at the start of the section, or I don't know if there's a way to pop it up on screen now. But we have our music. We can choose between which one works best and drop it in. It is too long, but we could always press for the razor, tool cut, go to V for selection, delete. Then of the first thing I do before I even play the thing is I go to effects, I go to audio transitions, I go to exponential fade. I drop that bad boy, I drag this there before I even play anything. That's the number one thing I do. Then let's listen to it. We're hitting like red zone already, so I'm going to drag this down. That's pretty solid right now. We have something going on, we could decide if we want to put some things on the wall, maybe highlighting the things that she's saying. We can put some text up. We know how to do that. We can customize this any way that we want, but we can use this footage as a beginning and then add some things to it. Yeah. We know how to color, we know how to make some changes. If we have a very flat image where everything is just like grayed out, then we know what we could do to be able to restore it and bring some life to it. Yeah, Let's move on to the next section. 9. How To Make Shorts: Hey everybody. Your video editing career has been growing and changing. You've learned some things, you've tested some things. You have videos that you have put together in a demo. Real, which is just you taking the different work that you've done, putting music on it. Right. And you've shared it somewhere so that you can put it on your upwork or wherever you are freelancing platform so you can share with your clients. You've been growing. You've been establishing yourself, but now you're wondering a question. How do I make short, how do I make Tiktok content? It's become so popular. You have all these clients that want it. How do you actually make it? I'm going to show you right now in this project we did teaching. I think it's a cool project. But I want to go to the second project to do this. In order to make a short sequence, I'm going to go down here, click sequence. I'm going to name this second project shorts. Just so I can keep organized. I can see that it put it here. If I want to stay really organized, I will take this and move it into my bin folder. But for right now, I'll leave it the way it is. I see that my project is here and I could see it because it says, this is a sequence. I will grab the sequence itself. Click and drag member. If I double click this, I'll actually just open this up. I'll show you. They'll just open up the main sequence, but I don't want that. Instead, I'll just click, drag drop in here. As you can see, this is the same exact thing that we can see in here. The only difference is, as we mess around with this, this won't actually interfere with this. I like after we've edited something, just grabbing the sequence and dropping it into a new sequence because it makes it a lot safer, We can do things without fear of interfering with the original project that we've already done. All right, in this case we want to turn this into a Tiktok. In order to turn this to a Tiktok, we have to change the sequence size. As you can see, when we were making a new sequence, we're locked in to what we have, right? Usually we just leave it digital SLR, We choose 30 frames a second or 24. We could choose obviously any of these other options, but there's none in here that says Tiktok or Shorts. What we would do is we would keep it the same. I wouldn't change any of that because remember, Premier does do changing for us. When we drop something in, I'll press cancel and you could actually just find a clip on Youtube, download it, drop it in, and then we'll change the aspect ratio of your sequence. And then you could then drop this in. But what I'll do is I'll just leave it with what we have. I'll go into sequence settings, things. I'm going to change this to 1080 and I'm going to change this to 1920. And then I'm going to press, okay. Okay. And then as you can see, it changed this size. This has now become a shorts, right? It's become like a mobile phone size. And we can see there's a problem. Our video is running off the page here. What we can do is we can move the scale. And we could scale this down and put it like this, but we can see that there's still all this space around it. That's not the best we could try zooming into it, but then we're going to lose all of this stuff that pops up as we scrub through the video. We'll see that even the little titles we make and all that gets messed up, even the little sidebar we made gets messed up. What I would probably do in this scenario is I would size this down. It's about here, like how we did just now. Then I would copy this control C and then go over to empty space control V. Then I would unlink this, which will unlink video from the audio right click link, delete that. Then I would lift this video layer up, Not the audio, just the video layer up. Slide this underneath, then you won't see any difference. But then I'll click the underneath version, and then I will zoom into it. That way we have two things happening, but this still looks weird. What we're going to do is we're going to go to effects, we're going to go to blur and we'll use the infamous gauge and blur gauge and blur drop it in, then we can blur that out. Then we have this typical sell which you've probably seen all over the place, right? It's like a picture in a picture, but somebody who's watching on their phone will be able to see this. Sometimes what you could do, it's not a big deal if you just left this black. Because people will understand. You'll see a lot of ads like this when you go on Instagram or something like that. And you'll just see your whole screen will become like this. Or we'll just be black with this little video in between. It's not the worst thing, but if you can, it's always nice to put things around it. You can always get a background. I could take this out actually and I could get blue background. It's convenient, you here for me. But, you know, if you want to make one of these again, you would go to here. Go to color mat, and then you could drop that in. Specify your color. But since we have this, we'll just use this one. Then we'll just size this up. A background will also make it a lot more interesting to look at versus just a flat black environment. Keep that in mind. Another thing that I want you to pay attention to, again, is that you see like the work area bar expands. As far as clips come in, you could always move it to where it should go or you can just delete that clip and then it will automatically just bounce back to where the last one is. After. If you've moved it the first time, it doesn't move. Again, keep that in mind. Once you have hand pulled this, it will just stay wherever it is no matter what you move. This is how you can do shorts style content that blue messes with that. I'd probably switch from that blue and choose a different color. I'll choose, let's say maybe gray. I'd probably choose like a more fancier background, gray background. But in this test case, I'll just put this here. But you can go on and vado or any other platform and find some good stylish background that can fit. And you'll put that here just the same way you did with the background. And then that way you'll be able to still show what's happening. Another thing you could do is you could press Delete. Then we could actually change this sizing because what if the client says, I want to post this onto Facebook as a Facebook post or Instagram post or Twitter post. It'd be a little bit different sizing than this. What you would do is go back to your settings then you would just change this. I would go 1080 by 1080. That would change this from a rectangle to a square, one by one. I'd press Okay. The same warning again. I press okay, and then it makes it square for a square post. As you can see, this looks vastly different. There's less black space and you could probably live with this more. But of course if you can, you could always click, then size this up the best you can, but just know that it's going to crop into it still. This is maybe a place where if you want to make it where it fits perfectly and all the elements fit perfectly, you wouldn't actually use the sequence to make it work. I would delete this sequence. Go back to the original project. If you don't want to change this main project to a short, I would just select it control C. And you could also select by pressing control or command A. Then I would go back here, go to the beginning and then paste that in. I could go to edit and then paste, or I can control or command V to paste that in. Now we have all the main files here, then we could add it and transform it the way we think best. We can always zoom in here. We could always zoom into this here so that we can get it so it fits for this situation better. We could also make sure I'd probably use the same. I'll probably eyeball it. Yeah, it's not the worst we see that he's there. And then we could move this text pop up over. Then we could probably like size the scale and scale it down so that way it's not getting in the way. Make the 25, maybe put it around here, we can play with it till we get where what we want. We might have to change some color things because it's not as easy to see. But we can play with it. Maybe even move this out of the lower third, okay? Then we could take this and maybe even move it out of the lower third, and then put it up here. In this situation, because this is a little different than a normal long form video, maybe we could do that if it fits best, the white being changed. So we can always change the font coloring again. The way we could do that is we just click this. Essential Graphics menu will pop up. We can then change colors on this, so we can change this white to gray. Let's see. Yeah, I just happened to be the right one, I happen to remember. But you'd also know that these connect with these. Then obviously we can just change it to whatever fits best, where it gets the point across. And then we just do that for the whole entire thing. I could see that this is still too big from before. So I'll size this down 25-25 Again, I could also just grab this information. I would probably leave this at 100 since we've nested it. And then double click the nest. Then click this. Then I would, once I select motion control V, and then see now we've changed it so it has the same motion parameters and sizing and positioning as we had on the other clip. I'll go back to shorts. It gets moved over just a little bit, probably because I moved it in the nest. Of course, alas, it doesn't have the black. I would have to click that. There we go. And then I would probably turn text color three into that. Boom. Even though it looks like that here, Don't mind it, it won't look like that over here. Then obviously, we'd make sure that all this stuff matches up because maybe this color that we chose wasn't the same as this. We'll just make sure that we make sure everything matches here. Let's say this color copy, that same as this color change that, cool then this is definitely a big thing. I would then size this. Let's say maybe I can just move it. There we go. And then I could just move this. So it goes over and press and hold shift as I click shift, click and then select all these. Then maybe even center at this time. Then I will then maybe size him down a little bit or move him since it's going to make the black bar show. Then now we have a different thing. This whole thing has changed into a shorts mode that fills up the whole amount of space. There's a lot of stuff that we can do. We can do this exact same thing with the Tiktok format. We would just go back up to sequence. We could change it from a square shape to a rectangle shape, then we could do the same thing that we just did. We have all these things imported here. This doesn't affect this at all because the client might want to make a change to this. Can you imagine if we get into position and also it did change this because we did change the nest. Keep that in mind, but just know that you want to keep these versions. Because when you keep these versions, the client might ask for an update and you have this, but you also have that and you could go back and change as you see fit. Yeah, so just remember that, you know, with this you'll be able to have the project, the main project you had before originally. And then you could also have shorts. So because of that, if a client needs an update, you have both sequences. You don't have to worry about changing one sequence to match what the client wants. So it's good to stay organized because it's going to come back in the future to be something that's very important. When a client might call you two years in, three years in, sometimes five years in. And then say that they love what you did, but they want an update, right? And you don't want to have to restart from the beginning again, because maybe some of the assets might not be available. Assets meaning clips that you've used, the text stylings and all kinds of stuff, maybe that wasn't available anymore. It's good to stay organized and keep these things safe somewhere. That way if a client calls back within a couple of years, you could go back and be able to find this again. You can get some hard drive, you can get a Google Drive or a drop box where you just store all this stuff in over time. Then it's stuff you can access as you see fit. And if you think that the client's not going to call you back, usually a client usually does, if you've done good work and there's been a good experience, they will call you back at some point. But if it's a client you had a tiff with, they had some beef, for lack of better words, then just know that you probably could get rid of that. They probably won't come back to you. Very unlikely, but I would definitely save things over a couple of years just in case because you never know. Yeah, that's how we create shorts and posts. 10. How Do I Make Money?: Everybody, So now we're going to move to the section of this course where we're looking at how we actually take these skills we've learned and turn them into paying jobs. Right. We've learned a software. It's premiere. And once you've learned a software, I would work with that software, master it before moving to another software. Because it's different thought processes, there's major differences between Premier and Defen resolve in the workflow that might take you a day, 23 days to really get and then maybe a month or a month and a half to master. So I would say master premiere pro first and then build off of that and move to the next level. But every time you want to learn something, it's best to put into practice to see what you can do. So I would say you should go to local businesses. Let's say you're in the New York area, New York local businesses. And then if you go there, you can look and see, okay, what are some cool small businesses or something like that you could reach out and see, okay, if they need to video made, right, that's the option that you could do. There's a bunch of options. New York is definitely a crowded territory, but you can do this for anything. You could live in New York and you could be scouting for clients in Oregon, right? And Beck Hayes there, any Oregon local businesses. And then in here you can say, okay, well there is a small business directory and you'll find this through search or through linked in or some other source like that. And you could search around and find things and then say, hey, can I do something for you for free or can I do something for you at a discounted rate? I frown on the whole free process. But a lot of times when you do something for free, it helps you to build a portfolio. And the portfolio on this business is how you actually move onto an area where you can do more and be bigger. Because you have a wide portfolio, people will now want to pay you more or give you a shot, right? So keep that in mind. But I would definitely say the first way that I would do it is I would go to a freelancing platform. Freelancing platform, if I type that in more platforms, the first ones that pop up is upwork. I'll open that up. We have fiber, another one, but there's different ones like freelancer, But the top two in the game is upwork and fiber. No questions asked. I've definitely used fiber before. I use it to get talent for jobs that I need done. And I've done one job on fiber, but the person dropped off out of nowhere because of that, I don't use fiber as much, but there's people who are excelling on fiber and doing tons and tons and tons of money every year. Maybe like in the hundreds of thousands of dollars on fiber. I wouldn't lift up my nose and say, oh, that's garbage. The name used to actually mean that the jobs were cheaper. But nowadays, if you put in, let's say video editor, you can get a lot more higher paying jobs. Like there's under 20 bucks starting at ten, let's say. But when you click it, this is something for, it looks like a hip hop video. But when you click it, all of a sudden there's different plans. They're like for under a minute I'll do this for you, but if you go to Standard, it's 40 bucks. If you go to premium, it's 65 bucks. Let's say a lot of people want the two to three minute plan at 40 bucks. And let's open up a calculator real quick. But if we're doing 40 bucks a job and then we have dirty clients, we're doing $1,200 Definitely money in the game. Don't think that because there's a small number that you can't do something with it. But if you're doing 40 jobs and each week you're hitting 15, 20 clients a week. Which like they'll come to you because they think your prices are low. Then you'll be able to get a bunch of different clients coming into the gate saying, oh, you know, I want somebody you work, I want some things that you've done, I want this done, right? So don't snuff your nose in that. 1,200 bucks. You do that twice. Let's say you do that every week, that's a lot of money. 1,200 times four is 4,800 bucks. If you do 1,200 every two weeks and you times it by two, that is 2,400 bucks. And that's definitely some good money for getting started and getting moving, right. Don't lift up your nose. But for me personally, I have a huge affinity for upwork. I've been on upwork from before it even existed in the old days of Lance and O Desk. And then they had a merger, and during that merger, I believe Lance and O Desk merged together to make upwork. Upwork is a really good solution for being able to find high paying gigs and being able to make a and a lot of money. If I do a quick search and I just say I'm looking, not just for let's say talent, I'd be an individual who is doing whatever job you need would be the talent. So I'll look for a video editor. There's clients. 60,000 Guy had made 10500003000020000100000, 20,000 6,000 70,000 7,000 That's just the first page. If they've made this money, it's telling you, hey, there's money potential here. The fact that everybody's not making the same amount probably means that everybody's been on upwork the same amount of time. Upwork doesn't show you who's been on the longest, but I'm sure if you click some of these numbers, let's say 50,000 here with Mary K. She has a really cool looking profile. If we go to Mary K, yeah, it doesn't say when she started. You can probably go back to her older levels of work to see when she started, but not everybody's starting the same time. I've been on upwork since it launched in probably, like I want to say that 2014, 2015 time. But before then, I wasn't a big O desk user of those days. I just used Elance until they had the merger where they merged together. But I mean, there is people who are on work, they have made millions of dollars. As a video editor, if I could put earned amount, let's say over ten K. I wish it was like 100 K option. But there's people on here who have made hundreds of millions of dollars just working as a video editor with no more better skills than what you have right now. And you were just a beginner. So I think that tells you there's a lot of options. A lot of opportunity to be able to make a bag of money. And that money will help you to get off of the things you don't like doing and start doing the things that make more sense to you that you actually care about. Getting out of a bad job relationship, a bad boss relationship, being able to pay bills because you're down. You recently could have been homeless, but now you have opportunity somewhere and now you have a computer. And you've learned that you through this course, how to be editor. And you want to get out like it's possible within a month, your first month starting, you can make five $6,000 And I'm not just saying it out the gate. You really can. There's enough jobs in order to get started and get in the game. The first thing you have to do is make an account. You can either go to the front page and make an account, or we can just click sign up here. I'll just go to the front page. Let me go to the front page and I will go to sign up. And then they give you some options. They say, okay, I'm a client hiring for a project or I am a freelancer. You're a freelancer, right? If you were somebody who was looking for people to hire, you would then select, I'm a client. But since you're looking to use your skills to make some money, you go to, I am a freelancer. You can apply as a freelancer, and then you could use your Apple ID or you can use your Google. If you have a Google e mail, feel like most people have a Google e mail. Or you can just type in all the goodies. You can say your name is whatever your name is, John Smith. And I would say, do not put in a fake name because Upwork does need to have your Social Security number to combine everything. Because when you're making all this money, you can't make all this money and not pay taxes. I wish, but you have to make sure you're using your name as it's listed on your social or whatever, because they're going to merge those two things together. Not a complicated process. You just put your name in your information, you also have to put your address in. It won't be visible to your clients, but it will tell them what area you're in. Right? So keep that in mind for a long, long time. I just used the PO Box for all upwork stuff and it worked really well. So you don't have to have a home address if you're afraid of that, you can do whatever you need to do to get to where you need to go. I would say you should put in your name. Let's say your name is James. I'll say Bond. And then let's say your E mail just happens to be James Bond. Did It seems like he's a jailer. And then you could use a password, whatever your password is going to be. We can say whatever country you're in, US, Canada, third world countries of any sort. People don't not give you jobs because you're not in the states. Don't be worried about that. You can choose Uruguay, Venezuela, Wallace and Fu. Tana. I don't think I'm saying that right. Wallace and Fun, a cool name. But you can go anywhere from my case, I'm in the US. So I'll click US. You can say send me e mails with tips. I like upwork, but I don't like spam. I understand and agree. Yes, of course you should read this. I am not that great on reading them, but I would say definitely read them so you know what you're getting into. And then press Create my account. Once you do that, you'll have this screen that pops up that's loading. It says it's redirecting you. Then I'll say verify your e mail to proceed. And you'll verify your e mail. Then you'll get this. Congratulations, your account is being verified. Pop up. Then it will take you into this screen where it says, hey, with your name ready for your next big opportunity. Then you'll say yes. You'll fill out all of this. A few quick questions. I've tried it now. You can say, no, I'm new here or whatever fits, I can skip for now. And then you'll fill all of their info out to a recruiter. I'd like to find opportunities myself. I'm open to hiring opportunities then here you could always import your linked in upload, your resume fill out manually. I wouldn't get caught in the weeds, but I would totally say something like, I am a video editor. You could say that you're a video editor or filmmaker. I would just say a video editor, make it easier. Or video editing, then you could say if you have relevant work experience at it here, and then you could add that in and say, hey, you're video editor. Then you could say that your company is self employed. You can use your location. I'm in the US, I'd say United. Who? I could say I'm in New York City. I'm currently working in this role and I've been working in this role. I would totally say your whole life, I would say that you've been working in this role from when you started this thing. You could say you started in whatever month it is. In my case it is November, you could say. I have worked as I worked as a video editor doing work for clients over the last. I would make it super wordy. I would say I've worked as a video editor or make it more personal. You can say I am a video editor. A video editor who is excited to clients and look forward to you. Videos that you and your viewers will love, something like that. Make it more crisp and clear, but that is something you can definitely fill out. Boom, now you're listed. You're official. You're a video editor, You've been in this game, you've been doing your thing. Clients like to know what you know. Add your education. You can add it, or you could say, no. I don't think it really makes any difference. People don't hire you based off your education. The people who do, I would be wary about it because if they need a video editor, why would they need somebody with a Harvard MBA to be a video editor? Keep that in mind. But I definitely say that most people will hire you based on what they have seen that you've done, the things that we have gone through through this course. Definitely upload it. Do some one or two different projects on your own just maybe highlighting a brand, using their logo, putting some clips together that really put together what you're trying to highlight and show it off. You could say here, whatever languages work best for you. English is mine. I say I'm fluent, which has fluent and other things. But you can add whatever languages apply. They say narrowly there. What work are you here to do? And you could say video editing, video post editing. I would probably say Premier Pro. Because it doesn't hurt. It helps rank you higher. I believe it connects you with more things because not everybody will put video editor in the post or in their job post when they're trying to find freelancers. You just want to make sure you use as many words as you can that it helps you to get connected to when that work comes in. Post editing, video editing, and production. Why not? That should be good. Then we'll say, now write your bio. I will have the bio somewhere on screen which you can look at and then just type in the same thing. But I would probably say something on the lines. I'm a video editor that is looking to help clients make better videos and share more with their audience. You could also add in any skills that you have any experience, if you have a journalism degree, if you have any other degree, if you have a photography degree, if you have a GED, maybe you wouldn't like praise the GED on the thing. But I would say like, hey, have been schooled. Whatever you can add to make yourself look better added in. But most people don't care. They just want to know what you can do. And they want to see that you're willing to do it and that you have a good response from the people you've worked with before. Let's keep it moving. What are the main services you offer? I said video, They're still confused, I suppose. Video animations. Fine. Now let's sit your hourly rate. For hourly rate, I would probably say something, $15-30 If you decide you want to go higher, you can. But remember, upwork, like any other freelancing platform is a game that scales right. There's a bunch of different people looking for the job. So you need to make sure that you stand out in some way. Because even though you come in and say like you want to be priced at 12, I wouldn't say 12, 15, 20, $30 It doesn't mean that when you're doing the actual selling to get the job that you're going to be locked at that. It just means that when you talk to them, you say, hey, what you've told me sounds like will be more work. So we'll increase the price. You maybe go from 30 or 15 or 20 to like 60. It just depends as you work, but don't be constrained by this. But I would say to start, you probably start at like 15. If you really want to add some more, start at 20. Because Pk is already telling you that they're going to take some money out. If you're making 20, you're really taking home 16 an hour. That's above the minimum wage. What's the minimum wage right now? Minimum wage in New York, let's say, or somewhere 14 an hour. We're definitely above minimum wage. But remember, this is just all like a mental game because at the end of the day, you'll still be making bigger money than you think you'll be making. I just don't be super constrained by this. Outside of that, we're going to go down. Before we do, I just want to make this known. Pk is letting you know that the fee is 20% When you begin to contract with a new client, you've spent over 500 bucks. They will feed you at 10% If you're making 20 an hour, they'll give you 16. If you're making 30 an hour, they'll give you 24. Stuff like that. And then obviously if you work with a client longer then you'll take out less. I guess I understand it. They need to make a business as well. We'll say lastly photo and location. And then we'll put in our photo. Then we'll also say where were from and this is what we put in our street address and stuff. Fill all this stuff. After you fill it all this, then click Check your Profile. And then we'll get to the main screen. Now you're here. That's my ugly mug and my name. Here we are, the main page. This is what it looks like. Once you come in, you'll probably have some more prompts that you have to do because they'll be like a profile completeness thing. And this is where you'll put in all your information, socials and all that stuff. Here you are. This is what the page looks like. I have multiple things that I've selected here just so that I can personalize the job opportunities that I have. Right. I'm personally out of Atlanta. So then I have Video Atlanta and then I also have other skills. So then I have other skills that are here for you. The default would probably be like video editing. And then as you can see, I've already applied to things because I got a system in place which we'll talk about in a minute. But basically overall, you will have a bunch of different things on your page. I'll go over here just so you don't see some of the things that we selected. And then you'll have all these job posts. Some of these job posts aren't hourly, right? Look at the default. 20 to 38 an hour for that case, but this is just 500 fixed rate. Fixed rate is a fancy word that just means you're going to get that money as a fixed rate. It's going to be that amount of money if it's 500 bucks. Just know up works in the game of taking money. If you press that so we can see it and you get into this, you will see that Upwork is in the game of making money. As you go down and you go to, you buy project, Upwork takes their 20% or however much they said they take, out of your 500, you get 400. That's still money. Obviously, the question is how long it takes for you to get that money. But for a 62nd video, probably means you could get it done in a day, make 400 a day, which is good, 400 a day. You do that three times a week, four times a week. We open the calculator tool again. If it's 400 times it by four, you could very well make 1,600 a week, 1,600 a week, and you times that by four, making 6,400 a month, you're hitting those goals, right? Believe me, there's enough work that if you're on here and you're applying, you will get jobs and you will make that 6,400 I've been out here for a good minute, I know this stays steady. There's always steady work coming in of stuff that people needs. I have some other stuff that aren't video related because I do code and things like that, but there's definitely steady work all the time for video that just keeps on coming all the time. Main things to recognize besides this job screen is that you have these things here. You have an availability batch which upwork lets you pay for how kind you will have this option where people who find you can see how available you are to do long term work and then they'll charge you six connections per week. Connections are the fancy tokens like Chuckie Cheese or Dave and Busters or whatever system that you know, basically it's like their token system that allows you to be able to apply to a job up doesn't just make money out of the money you make. Brook makes money also by the token system. By you applying, you have to buy tokens. And tokens cost money. This badge, I think it might be useful. I haven't really checked to see if it's super officially useful, but upwork as you do jobs raises you in the ranks. And then people might want to choose somebody who's longer term. And if you pay six connects a week, then they'll take that money out. Or not that money, but they'll, that connects out of the amount of tokens Right. That you have. And then they'll present this badge that says, I'm available to work right now. Let's go here. First, let's look at the connect system. They have your connects right here. I have 56 left in here. They have plans. You can buy a plan for connects. I think at the start you started. I think at the beginning you start a Freelancer Basic, but then you could choose different plans that you can use. Right? If I click here, there is two plans you can do this, 14 99 plan or just free. In the 14 99 plan, they give you 80 connects a month out of the gate. Then they also do some other things like customize your profile URL, which I don't think matters. They said your profile will never be set to hidden. I don't think that matters. Extended reports and functionality includes grouping and sorting view competitor bids for any job. That doesn't really matter. Me personally, I've been on it for a long minute. I just do the free plan because you're going to make money out of you whichever way you turn. I just went back to this previous screen of membership in connects. Either way, they give me ten connects per month for free. And they give you a billing cycle which lasts a certain amount of time every month. On a certain day, they will give you that new ten tokens. Right? Which means that you get technically free money. Because if you have ten tokens and each job is $1 then that means that you have ten chances or not $1.01 token. That means you have ten chances of getting jobs. If you get five jobs off that ten tokens, you might very well make 1,000 bucks off of the free tokens they give you. It happens, but what I do is every week I go to this connect I buy, then here they have some options. They have ten for $1.50 they have 20 for $3.40 for $6.60 for $9.80 for $12 So just keep that in mind. Usually I just buy the 80, there's usually more than 80. Maybe I'm just having a glitch right now. But usually where you can go all the way up to $20 of tokens, where you can pay, I believe it's like 100 tokens, you pay 21 bucks, 22 bucks or something like that. Super useful because in a week I apply to like every job that exists on the platform. And then after that, then I really look at who I really want to work with. So I'll pay 20 bucks a week. I'll get 150, I pay 20 bucks a week. I get 150 connects. And then in that connect list, I then just apply to every job and then sort through which one I want. It is more worth it because you don't want to ever run out of connects and you find this really cool job, everybody's trying to run to get this job. I've gotten crazy opportunities through here. I got connected through here to get my job for PBS. I got connected through here to get my job for Big Tube clients, for corporate companies, for weddings, for everything. And then it leads to longer term work which happens out of the platform. So keep that in mind. You don't want to run out of connects. Obviously you can bite at the drop of a hat, but with people bidding, you don't want to be in a situation where you're like, oh man, I missed out on my chance, right? I usually come in by the highest plan of connects. In this case it's just 80. But I believe there's another one that's like 150 that you can get a 120. Know that once you do it, you press by connects. It'll literally take it right out of your card immediately because Upwork is not playing around. They want your money. Then after that, when you go back to your front screen again, that shows your job post or the jobs that people have posted. Then I'll show you here how many connects you have. If you have a job post, you've run out of connects, upwork will let you know when you're applying, like hey, guess what? You've run out of connects, you will still be able to apply, but it's good to have it on set so you don't have to lose time for it to charge you for that token. Keep that in mind. For upwork jobs, they give you a description, it's usually brief. Sometimes it isn't the best spelling because it's like somebody is coming on here, they're just excited to get somebody. It's like not written the best way. I skim it really quickly personally. Then I go down, I choose milestone or project. Milestone is exactly what it says. It divides the project into smaller segments called milestones and you'll be paid for each milestone. You can set as many milestones as you want, and then you can get paid at the start of the project a certain amount of money. And then at the next level of the project, you'll get paid at the end of the project or the middle of the project, however you define it. Then you also have project which allows you to get paid just all at one time, which is what I usually do. They ask you, how long will this project take? I usually say less than a month, even if it's like something that will take a long time because the client will see it and they're like, oh, less than a month, I want to choose the Sky. And then when you guys talk, usually you'll get on some Skype call, hang out, call, something like that. And I set a portion of my day where I just do them in bulk. I set them like for a four or five hour peak, or four or five hour time slot. I have a separate room where I live and I just we'll just have them back to back to back to back and then get them over with. Then I'll put in my cover letter, which I will show you. I'll give you like a template or something that you can throw in there if you want to send them attachments, you can't. I almost never do it. I think it's a waste. When you talk to them, you'll send the attachments, then you'll send it off. By clicking Send, Once you click Send up will indeed send it out to the person. It doesn't mean you'll get a response. Something to know is that upwork also doesn't charge every job the same. Like some just take one token, one connect, some take three, take four. I don't think I've seen anything over six, but wouldn't be shocked. Upwork knows that this client is going to be paying money because they've spent money before up in fact, tax like the IRS, I'm being a little funny with that. They literally will charge you based on how much they think is coming in. The number is never really match. If it's a first time client, it might be just one connect, a client who's been spending millions of dollars, they might charge you six. So just keep that in mind. Yeah. But basically my strategy, I'll go back to this page. My strategy is I'll go to my video editing page. I apply to every video editing job that exists on the face of the Earth. Most times I don't even think, I just apply, apply, apply, then afterwards when they message me back. Because remember, it's just like a game. Sorry to say it, but it is a game. People will apply and then they might not be serious and the job will just shut off and you just like wasted your tokens. What I do is I just plan to waste half of my tokens or something. But I know that if I get 2030 jobs, then it's going to end up working. And then out of those 20 or 30 I like then choose which one I like the best. Then that way I can keep there. Or I can tell the client, hey, I'm busy now. I'll be available next week. And then we can set up some kind of plan in action to keep the money flowing in. Because you could only probably do two or three videos a week. If you do more, that's great. But I think two to three or four videos, depending on the size of the level, is what you can mostly do. You can work seven days a week. Great. I usually only work about three or four days a week. Out of those three or four days a week that I work, there's usually updates that they might hit me with on a random day, but it's not like a full day. I just will come in and do like an hour or do a 30 minutes maximum. Do like two, 3 hours max. And then after that I'll be Pt and they'll be all do. It's never usually like a full day of edits. But something that I want you to understand is on upwork, it's also like a game because people will apply just like I do on every job that comes up that says video editing. Then they will outsource through upwork. They will also find other freelancers because you could go find work. Well, if you have a client account. So I have a client account and I have a regular upwork account, so you would go into a client account. Once you go into the client account, upwork will allow you to message or put up a job post yourself. So I would put up a job post and say like, hey, I'm looking for editors. I have a list of editors in my job posts. And then as I have a job that I can't do, I'll reach out to them and see if they're available and then I'll just outsource it to them to do. Hopefully that makes sense. The way that I do it is I do three or four jobs a week. If I want to do more, maybe I'll do five if I can. But it's really stretching it because usually, like a client will have you work one day and then they'll want to update Tuesday, and then they might have a update on Wednesday. And then you'll always be in this update update update bubble all the time. Obviously, you want to make sure that you don't overbook yourself because if you have an update, you might be in a bad position. You can be like, hey client, I'm putting my foot down. There's no more updates. But the way that this upwork game works is there's a ranking system. I'll show you that right now. Because we're going to come back to the home page in a minute because there's a couple options I haven't gone over yet. But there's like a rating game. I've been up on upwork for years. If you look at some of my ratings, look at that. I have a five here. I have a 460 there. Why why is that different from the five to the four? Just because when the client was rating me, they maybe said, hey, there was one area that he could have been better in, right? I have a five, I have a five, I have a five. But then if you go back to some of my older work, okay? This client, for example, this client gave me a 1.75 The reason they did that in this case, I remember this client. This client showed up and then disappeared for like two months. And then appeared again. And then still wanted me to do work. And then I was occupied. So I said, hey, I can try to but I'm occupied They weren't happy about that because they wanted me to be a full time person for them whenever they dropped the hat. Even though they were still figuring out things on their own, they wanted me to accommodate their schedule. That's not just me saying it's factual because the job was from February in April and the job post was that they needed a video for a 62nd long app product demo. That should take on two days, maybe three days. It took months. Keep that in mind that you'll have some clients and if you just try to put your foot down, be realistic. They're just going to be like, oh, I hate you because why are you telling me I can't get my money's worth? They only paid me 55 bucks. Keep that in mind. Then you'll have some clients like this client. I did a job for somebody. The agreement was like they were supposed to pay me 2000 bucks. And I said, oh, this is my first time, 2018, I started doing this thing where like I would start doing half the job on Upwork, half the job on Paypal. I did 500 on upwork, and then they're supposed to pay me like 2000 on Paypal. What happened is they paid me on upwork, that 500 on Paypal, They paid me $2,000 And then what happened was their pay pal didn't have their social on it. All of a sudden my pay pal got blocked and I was like, Paypal, what's going on? They said, hey, that person that sent you money didn't have their social in, he gave them back the money. So now you owe us $2,000 Yeah, it wasn't a fun time. So basically you can be put in a situation where all of a sudden you were working so great, so wonderfully, but now you're messed up. So when I told the client, I said, hey, you know, like can you just make sure you put your social in there? The client then said no. And then I was like, what do you mean like you need to put your social? Because I didn't get paid and they're like, I don't care. Then when I put my foot down, they gave me a three. And this was back to back how fun. February to April and then May to July. Right. And then they literally just gave me a 310 after I gave them the work because I was like, you know what, you're not going to help And I was like, I'm going to keep your work They were like, no, I'm going to give you a bad review. So I gave them their work and they still gave me a bad review. Moral of the story. Clients aren't the best kind of people all the time. They want what they want, when they want it. And you got to understand that, yes, in order to make money, you could make ten K a month, you can make 20 K a month on work. It's possible. But you have to understand that it's like a favoritism game. And they also just want somebody who they can just get to do stuff whenever they want. And they don't care about you having a life they want when they call that you come, that's the way that it works and you have to kind of no one to accommodate that. I don't want to say accommodate it, but you have to know it in advance. And that's why a lot of people in the upwork game outsource. And that's why a lot of jobs that you'll find on upwork, they will literally have a network. Like they'll be like an agency and they'll have multiple people who all work, right? Or a lot of people will have a face like me, right? And they'll say that I'm the person doing your stuff and they'll outsource it to someone somewhere else. So let's look at it. If you get somebody in the states and you pay them, let's look at this. Let's say average job on upwork, I think the average job on upwork is 200 bucks. If it's a $200 job on upwork, you outsource it. Can you outsource it for 200 bucks? No, because that means you make no money. If you're outsourcing the outsourcing game that you have to have a profit. I used to work out of a co working space and there was really big agency in the co working space. The agency liked to outsource and I never knew anything about our outsourcing. When I was sitting next to them, I was listening in and I heard what they said. It wasn't like I was trying to be nosy or anything, but I was listening. When I was listening in, I heard, oh, we need to call people I decided to go to fiber and pay somebody on Fi $20 in the Philippines and they think it's so much money and that's how I'm able to make millions with my business. I thought it was dirty, I thought it was disgusting. But that's life. That's how people do it. So people outsource and that's how they make their money. I try to be very fair in my outsourcing because even if you're in India or Pakistan or Thailand, Malaysia, any other place, usually those are the places people outsource most of their stuff to or Ukraine or Belarus or whatever. Even though your money is more helpful than their money, make sure that it's like a win win for them. If they say they want 40, but you know you're making 200 and you can afford it, Give them 60, because they'll work harder for you in the long term. And I'll make them happier. Which will mean you will build a friendship that will turn into a more profitable business versus trying to cut them off. I don't say cheat them, but like belittle them. And then they're working with you, but they have five other clients and when you need something they're like three days late, you know, what I would do is if a job is 200, let's say they'll do it for 40, which is normal, or 60, I'll give them 80. Or if they're doing above and beyond, I'll give them like 100, 120. Let's say I give them 120 and it's $80 job and the client loves to edit that, they did. The client then gives me five more jobs I've just made. If I keep paying the same amount, 400 bucks out of not doing the work, right, 400 bucks. Profit. Imagine up work. You might get ten clients. You outsource six of them, pocket four of them. The four of them that you pocket, I would say what's smarter is to pocket the higher paying ones, outsource the lower paying ones. If you do it, you will make money because you will make money without making money. You'll have to check in with people, but you'll have a life. And then like if a client wants update, you send it back to them, so on and so on. And just make sure that you know the proper way to do the outsourcing business. Let me go back to the calculator. The proper way is that you find somebody who edits in the same software as you, so that they can share the project files, 11. Create A Portfolio: Hey guys. Well another key thing that is very important, remember that you want to be able to have a portfolio. A portfolio is a list of the work you've done. If I type in video editor, demo real, what I'll do is I'll go and look at this list. There's a bunch of demo reals you can look at. There's wedding demo reels, there's normal demo reels, but you want to have a reel of something. You can take some of the things that we've done, move it together, and make it into some example of some things that you've done. But you could even do little logos, different screen. You don't have to have anything fancy. It could be something that you just barely manipulated. You could have put like a text on a page. It just shows that you're capable of doing something. Definitely have some demo real that you can use and host it on Vimeo or hosted on Youtube. You can say demo, real video editor. You'll find all of these examples of things that you can use or you can do yourself and then just add it and use it into your work. It doesn't have to be fancy, it doesn't have to have a bunch of different company names, like, oh, I've worked with PPS and Nickelodeon, a cartoon network, and Lifetime, and it doesn't have to have that. It just needs to be like clips that you have downloaded probably off of Youtube. You can download clips off of Youtube using a Tuli Love called Four K download. If you go to Four K downloader, you download it, puts like a little app on your computer. You put in that link, it downloads it out for you. And then you could like edit that and turn it into something you use in your demo reel. But don't be afraid to manipulate stuff. A lot of the people that you see posting stuff on like fancy professional demo reels really never did the work they said they did. They basically didn't. All they did was like grab the clip from Nickelodeon and then just like moved it a little bit, put their name on it or something, and that was it. Like most people don't. But I want to have some honest videographers, obviously, You know, everybody has their own moral code. But I would definitely say that you want to have something that highlights your work. Two things. Three things, four things. And then each client that you work with a little itty bitty piece of something you've done and then put it together. Put it together, put it together. Eventually you have this massive demo reel, which when people see it, they'll be like, oh, snap, Like you've done some crazy stuff, right? Obviously if you have a phone or something, you could always record different test things. You want to understand what's going on. Keep that in mind. The reason why is that when you go to upwork, they will have a space for you to put your demo real. Also, when you do your little proposal, you write this write up of who you are. People are going to want to see a link, they don't care. If you say, I'm going to make your videos amazing, some might most are going to be like, hey, I want to see what you've done. If you can put in something, you could do two or three little things, you've put together like another ad spot, a little commercial of some video that shows fast moving you messing around with clips. That's all it takes. Then you'll be shocked when you look at the numbers of the watches on your stuff. It'll be like 6,000 people watched your stuff. Imagine you were just a video editor out of nowhere, and now you have 6,000 people watching your stuff. Keep that in mind. Obviously not everybody wants to be a video editor video. You might take this course because you want to know how to outsource. Keep that in mind. But you want to have some level of demo real, to have trust move around some clips, put them together, let people see what you've done.