Edit Faster! Advanced Video Editing Techniques in Adobe Premiere Pro | Sean Dykink | Skillshare
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Edit Faster! Advanced Video Editing Techniques in Adobe Premiere Pro

teacher avatar Sean Dykink, Story is your guide

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

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.

      Edit Faster!

      1:26

    • 2.

      Class Project

      3:04

    • 3.

      The Fundamentals of Fast Editing

      4:33

    • 4.

      Workspace Efficiency Fast Panel Navigation

      5:54

    • 5.

      The Trifecta of Fast Editing

      7:53

    • 6.

      The Trifecta of Fast Editing Practical Application:

      4:23

    • 7.

      Shortcuts: Best Practices

      7:25

    • 8.

      Fine Tuning Your Sequences and Clips for Editing

      6:24

    • 9.

      Your Introduction to Advanced Selects Editing

      3:53

    • 10.

      Taking Charge of Inserts and Overwrites Through Source Patching

      7:23

    • 11.

      Advanced Selects Editing

      5:59

    • 12.

      Making Quick Trim Adjustments

      6:13

    • 13.

      Tips for Editing to the Beat

      3:06

    • 14.

      Take Control of Your Timeline With Track Targeting

      7:17

    • 15.

      Organizing Your Timeline for Efficient Editing

      4:56

    • 16.

      Using Nests for Future Proof Editing

      9:22

    • 17.

      Batching Effects to Multiple Clips

      3:47

    • 18.

      Maximizing Productivity With Presets

      3:47

    • 19.

      Editing Made Easier With Remove & Copy Paste Atrributes

      2:29

    • 20.

      Quickly Moving Multiple Clips

      4:11

    • 21.

      Fast Fine Editing

      9:05

    • 22.

      Preserving Timeline Sync

      2:55

    • 23.

      Final Thoughts

      2:39

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About This Class

Welcome to Edit Faster! Advanced Video Editing Techniques in Adobe Premiere Pro, where your editing skills will transform from proficient to lightning-fast! This class is designed for intermediate to advanced video editors looking to enhance their speed, confidence, and skillset in Adobe Premiere Pro.

In this class, you will learn advanced techniques designed to streamline your editing process and turbocharge your productivity.

  • Maximize Efficiency: Unlock a ton of shortcuts streamlining your editing process.
  • Precision Editing Mastery: Learn advanced trimming techniques, expertly take control of your timeline using source patching, and track targeting, to achieve top-speed editing.
  • Workflow Optimization: Discover pro editing strategies, batch editing techniques, and workspace navigation, to optimize your workflow and accelerate your editing pace.

By the end of this class, you'll be equipped with the concrete skills needed to edit faster than ever before.

Meet Your Teacher

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Sean Dykink

Story is your guide

Top Teacher

Hi everyone, I'm Sean, a filmmaker and video editor from Canada! I've been working in a number of studio and freelance roles professionally since 2005.

My main focus in teaching is storytelling. I believe that the stories in our lives give us purpose and are the reason to learn all of this technical filmmaking stuff in the first place. We learn technical skills and storytelling craft, to effectively bring creative expression to stories that otherwise remain thoughts in our minds.

Join me in learning more about creative storytelling, filmmaking, and editing techniques. Looking forward to seeing you in class!

I post some additional tips and content on my Instagram account, check it out!

See full profile

Level: Intermediate

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Transcripts

1. Edit Faster!: So you want to edit faster, maybe a little bit faster. How about a whole lot faster? Join me on this journey to learn more about advanced video editing techniques and Adobe your Pro, level up your video editing proficiency, Turbo, charge your workflow and make the entire process not just efficient but also more enjoyable and potentially more financially rewarded. Hi, I'm Sean King, Filmmaker and video editor have been working in the field professionally since 2005. In this class, I'll guide you through editing workflows, share a ton of time saving shortcuts, and provide numerous examples and strategies to expedite your editing journey. We'll delve into advanced techniques for fast editing while tackling a short and dynamic social media edit. This class caters to intermediate to advanced users. So a foundational understanding and hands on experience with Adobe Premier Pro are crucial for success. After completing this class, you will be greed with a comprehensive advanced skill set that will increase your editing speed exponentially, as with almost anything. The more you put in, the more you'll get out of it. Putting in the work will get you to a place where you can become an unstoppable force when editing video, flying through each process. So what are you waiting for? Accelerate your editing skills, confidence and speed. Now join me in the next lesson to get started. 2. Class Project: Nice, I'm excited to have you here. Thank you for joining this class. In this lesson, we're going to talk about the class project. But first, let's go over the reasons why you want to edit fast. The obvious, you'll become a more valuable editor, which means you can make more money on lump sum work. And what do I mean by lump sum? Well, if you get paid 500 bucks for an edit, that means you're going to get paid that No matter how long it takes you to do the work, the faster you get, essentially the more money you make. So a protyp here, if you are editing with an hourly rate, has your skills increase, You need to increase that hourly rate. Otherwise, you're essentially making less money per edit. Let's just say hypothetically that you're making $35 an hour and it takes you 15 hours to complete an edit, you'll get $525 You get better. You still make $35 per hour, but you finish in 12 hours. Now you're making a total of $420 If your rate is not keeping up with your skills, you're going to be doing yourself a disservice. So increase that rate as your skills increase. Faster editing means you can take on more work or you can afford more time for leisure, or spending time with family and friends. Whatever it is, More free time is a nice thing to have. One of my favorite reasons it fast is it's fun. I kind of see editing like playing a video game. The more you understand the rules of the game and how to play it, the better you get at it. The more efficient you are, the faster you are. And I've found in my experience and from hearing other people's experiences, that the better you get at something, the more you enjoy it. And what I think is the most underrated reason to learn how to edit fast is you get more time and energy to improve your current projects with experimentation. A lot of the times when I'm editing a project, a ton of what ifs are going through my head. What if I try it like this? What if I try it like that? And this stream of consciousness type of editing needs to be accompanied by fast editing. So I can see the result of my thinking within the edit as fast as possible. If it doesn't work, I move on to the next. What if And I keep going failing faster and getting to the heart of the story. And of course, story is our guide. It helps us determine what type of edit to create. But spoiler alert, that rarely happens on your first passive editing. Editing is about constantly iterating your work and getting closer to the heart of the story. The faster you do this, the more energy you have to get the best edit possible. Now onto our project. It's a social media short, it's about 1 minute long, and it's specific to filmmaking. It's about one of my favorite vintage lenses. You're going to have lots of fun footage to work with and quite a few interesting macroshots. But of course these core video editing techniques that you applied to this class project can be applied to any kind of project. So completing this class project will get you on the fast track to editing your future projects faster and more effectively. Go ahead and download the project assets and in the next lesson, we'll explore the fundamentals of fast editing, providing a solid foundation to enhance your skills and workflow. 3. The Fundamentals of Fast Editing: To begin, let's start by opening up the main project folder. And you're going to see right away that we have folders numbered 1-10 and that is the very first fundamental of fast editing. Be organized. Effective organization helps you identify, find, and make use of media quickly. Now this doesn't need to be limited to project folder organization. This can also mean using markers or creating labels within Premier Pro to get a better visual representation of your media. Ultimately being able to identify where things are within your project. Now what you're also going to notice is that this is a folder template and that's part of another fundamental of fast editing, which is reducing the amount of actions taken to accomplish a task By creating a project folder template, we no longer have to create one for our next project. What I encourage you to do is take this project folder template, save it on your own hard drive for future projects. And you don't need to follow this folder hierarchy exactly. And you could change things up, but start with something, Let's click on Seven Projects. And you'll see here we've created another template which is our premier pro project template. Go ahead and double click on that to open it up. This fast editing fundamental of reducing the amount of actions taken to accomplish a task isn't limited to project templates or folder templates. This can also be applied to graphic templates, such as lower thirds title overlays or animated transitions. This can even be applied to different Adobe Premier Pro Workspaces. And don't forget about shortcuts. It makes everything faster and in my opinion, makes the editing process more enjoyable, allowing me to save more energy for storytelling. It's time to import our media. There are a number of ways to import media, but my favorite is to make use of the media browser. Now normally you'd click on Window and select media browser. But I've taken another shortcut by creating a custom workspace specifically for importing media, and I've set that to a hockey. Don't get too worried, we're going to go over how to do this in the next lesson. Go ahead and import your media now, or wait for the next lesson to create your own custom work spaces. So now I'm going to switch over to my editing window layout, which is also set to hockey. The next fast editing fundamental is to optimize your footage. What this means is creating proxies or transcoding your source files so that Adobe Premiere Pro can play them back. With ease tied into this is to optimize your software and hardware for editing. For example, this would be making use of your graphics card rather than software rendering or making use of hardware encoding on export. This also might mean running Adobe Premier Pro off of a solid state drive rather than a hard drive. In our case, we don't need to optimize the footage because I've already transcoded all the source files for smooth editing playback for this project. The next fast editing fundamental is process. This means your order of operations when it comes to editing a project from start to finish. Having a solid, consistent process, you'll cut out the guesswork when it comes to where to go next within the project. The last fundamental of fast editing is to know the story you're telling. And this includes the what of the story, the beginning, middle and end, and the why behind the story. What's the point of the video you're editing? So the point of this video is to encourage viewers to click on the link to watch the full video. And then that full video has its own purpose. But knowing the purpose of this one helps me make informed decisions. B role to include the voice over, to include, to get the audience excited to click and watch the full video. Now I'm learning, just like the rest of you here, So this is by no means a perfect project. And creating Youtube videos is an art form in itself. And I'm always learning here. So we'll see how this goes. The faster we can edit, the more time we can put towards crafting this purpose and creating the best video we possibly can. We will be covering some of these fundamentals, but whatever we don't cover, I have other classes that do fill in some of those gaps, so I would encourage you to check those out. Fast editing is a journey. It doesn't happen right away. But the thing that you could get excited about is that each and every time you approach an edit, you can improve your editing efficiency and speed. In the next lesson, work spaces for faster editing. 4. Workspace Efficiency Fast Panel Navigation: Workspaces can be highly under utilized, but don't sleep on them because they can assist in organization process and shorten the amount of actions taken, which is a necessity in fast editing. A workspace is an arrangement of panels or windows. That's it. When we select window workspaces, you can see here that we have a number of prebuilt workspaces that come along with Adobe Premier Pro. And I've also created some of my own custom workspaces. For the longest time, I've avoided using workspaces because the prepackaged workspaces that come along with Adobe Premiere Pro never really resonated with my particular process. And I don't expect it to resonate with a lot of editors out there. Maybe some, but not all. And there's probably going to be a number of things you're going to want to do to your own workspace to make it work for your workflow. But the reason why I encourage you to set up your own workspaces is because, one, it assists in process. For example, in the previous lesson I showed you my import workspace. It's just a 50, 50 split of Windows. This workspace supports importing media, and then I have a number of other workspaces that support other editing tasks which are well organized. I'm cutting out all the clutter and keeping only the windows that I need to use. Helping me stay focused on the task at hand. This also reduces the amount of actions taken because it's a lot faster to switch between each workspace with one keyboard shortcut rather than closing and opening panels. So another reason why you might be avoiding creating your own window layout is because it takes a bit of time to set up at first and you're going to have to tweak as you go. But that's the name of the game. The more of these systems you can create for yourself, the less you'll have to do later on, it's very easy to create your own workspace. What I would suggest is to start thinking about the different processes within your editing workflow. So for example, for me, I start with importing my media, choosing my selects. I don't normally use an assembly workspace layout, so I probably will delete that in the future. Rather, I like to have a general editing workspace for most of my rough to fine edit tasks. And then once I have a closer to finished edit and I want to work on audio, I could switch to an audio layout which prioritizes my audio track mixer. And then we have a color workspace layout which assists in color correction and color grading at any point within the process. If I want to work on sound or color for a bit, I can bounce between my different workspaces to assist in a unique workflow. Let's start with the most basic window layout, which is a general editing layout. For me, I've already chosen the panels that I like to use for most projects. If there's any windows that you don't necessarily use, go ahead and close those panels, move things around if you need to. Maybe you want a bigger timeline on your editing layout. And then once you're happy with your layout, select a window workspaces, save as new workspace. I'll name it one general editing workspace. Name it whatever you want, whatever makes sense to you. I'm going to select, okay. Navigate back to window workspaces and you'll see here my general editing workspace at the very top. And it's very important that you number your workspaces. What that does is it forces alphabetical order. Also, I've numbered my workspaces according to where I might complete the various editing tasks and where they are within the overall editing process. If you want to rename your workspace, simply navigate down to Edit Workspaces. From this menu, You cannot delete workspaces that come along with Adobe Premiere Pro, but you can delete your custom workspaces. Now this general editing workspace that I just created, I don't really need it because I already have the workspaces that I like. So I'm going to delete this. If you want to rename anything, double click on the name. One thing about this edit workspace window that is a bit strange. Down here it says drag workspaces into the order you'd like them to appear. Now you'd think that, well, if I move this up here, that means that this workspace should show up first in my menu. And I'll select okay, and I'll show you. If I go up to Window, you expect that workspace to be at the top? Well, no, actually it's not because Adobe Premiere Pro prioritizes alphabetical order. I'm not sure what exactly is going on with this edited workspace menu, But at this point, that's how it works. So don't be surprised if it doesn't work the way you want it to. The do not show menu right here also does not remove the workspaces from your view within the window workspace menu. And the biggest reason why you want to number your workspaces is so that you can make use of shortcuts. But default Premiere Pro has shortcuts set for the first nine work spaces available. So if you haven't already, go ahead and finish creating your general editing workspace. And if you want to go above and beyond, try creating some additional workspaces that fit your unique editing workflow. Don't worry about being perfect as you work on your projects. This is most likely going to change. And that is why you can save changes to your current workspace if you make those changes. So to recap, using custom workspaces assists in video editing process, helps you stay organized and reduces the amount of actions to complete editing tasks. Think about your own editing processes and start from there. When creating your custom workspaces, remember it's strange, but editing your workspaces is not going to help you get your desired order. Rather, Adobe Premiere Pro prioritizes alphabetical order. So make sure you number your workspaces to make use of the workspace hockeys available. In the next lesson, I'm going to teach you what I think are the three most important shortcuts for fast editing. 5. The Trifecta of Fast Editing: In this lesson, I'm going to show you what I like to refer to as the trifecta of fast editing. And these three editing actions can easily shred through an initial cut. All right, let's go ahead and start editing our project now. The first thing I like to do is decide what type of media I want to start with, and because the voiceover tells the story in its entirety, that's what I want to start with. I want to start with a thing that's going to be the framework for the entire edit. Once I have that voiceover laid down, it's the content, it's the meat of the project. And it's going to help us decide what role we're going to use, what effects we might use, what music we might use. It's going to help inform a lot of our editing decisions and make it faster and easier to put things together. Start with the voice over, go to recorded audio. We'll just select both of these and click and drag them into our timeline. Now let's take a listen to this. Are you looking to capture that? I've included all my mistakes in the voice over, so you actually have something to work with here. Are you looking to capture that dreamy, nostalgic look to your photos or videos? I didn't mind that segment. I think I'd like to keep that. I'm going to keep this when starting out editing. This is how I would cut this. I would go to the toolbar, select the razor tool, then I would go back to my toolbar, select the selection tool, select the clip that I don't want. Delete that clip, and then click and drag these clips back into place. But that's a lot of action, so let's undo that. Now, as I got better at editing, I decided I was going to learn some shortcuts. Okay, cool. Okay, now I know a shortcut. So now I have, oh, I got my razor tool with the shortcut C. And I can select that and I can use the short cut a for my selection tool. Then select the clip I don't want and hey, I even got crafty. And I figured out that you can hit Shift delete to Ripple. Delete the clips. So now I've deleted both the clip that I no longer want and the empty space at the same time. That's pretty fast. Okay, let's undo that. And then I got even faster. I was able to figure out that I didn't even need to select the razor tool. In fact, there's a shortcut called ad edit to make an edit point without even having to select the razor tool in the first place. And then you can select the unwanted to clip ripple, delete. And that's pretty fast too, but let's take a closer look at the ad edit shortcut. I find the ad edit shortcut actually helpful. Go to edit keyboard shortcuts in the search menu, type in add edit, and I've changed the ad edit shortcut to B. By default it's control K. Now select. Okay. Wherever your play head is and you select B, you add an edit. Another way to do this is to use the Ripple Edit Tool. It's going to be important to understand the Ripple Edit Tool for the next part. To make sense, the Ripple Edit Tool in our tool bar is the third tool down. Well, we have the rolling edit tool here, but if you click and hold navigate to the top tool, you have the Ripple Edit Tool. We'll select that now. I'm going to add an edit here to demonstrate this. Move the playhead out of the way when you hover over the edit point with the Ripple Edit tool enabled. You'll see here we have a yellow bracket with an arrow pointing to the left or the right, depending on which side of the edit you're on. What do you think is going to happen if I click and drag the left side of the edit to the left? Well, Ripple Edit Tool, let's see here, huh? Cool. Okay, so what happened there? Everything between the Ripple edit tool itself and the edit point gets deleted along with the gap, all at the same time. That's pretty cool. What happens if we click and drag the left side of the edit point back to where we pulled it from? We retrieve that part of the edit that we originally deleted and pushing all our clips forward. This is why it's called the ripple Edit tool because it creates a ripple effect within the rest of our timeline. All the other clips move along with this tool. Now let's move this back to where we were. If we click and drag the Ripple Edit Tool to the right side, it's going to do the same thing. It's going to delete the portion between the Ripple Edit Tool and the edit point itself. And then if we want to get that portion back, we could simply click and drag to the left and it will bring back that portion. This is also a quick way to delete portions of clips you don't want. So that ends up being only three actions. Add, edit, select Ripple Tool, click and drag. Rather than selecting the ripple edit tool, I would encourage you to use the selection tool. And you can see here, if we have our selection tool enabled and we hover over the edit itself, we have our classic red bracket with arrow pointing left or right, which indicates that we're going to trim that edit point, but it retains the gap itself. Now if we hold the modifier control or command, then you can see it turns yellow, which is showing that we have our ripple edit tool enabled. That's why I don't have a shortcut assigned to my ripple edit tool because I can access it via the selection tool that ends up being even faster Add edit. While you have your selection tool selected, hit your modifier key, click and drag. Now that you understand the ripple edit tool, I'm going to show you the fastest way to edit. Let's navigate back up to edit keyboard shortcuts. Better yet, create a shortcut for your keyboard shortcuts menu. You can see here, I've done so already now in the search bar. Type in ripple trim, ripple trim, Next edit to Playhead, and ripple trim. Previous edit to Playhead are the actions that you're going to want to make use of these actions by default are W and Q. I've switched my shortcuts accordingly in the lesson after. Next, I'm going to give a few best practices on selecting shortcuts. You can use the defaults for now or if you want to change them. Go ahead. Ripple Trim. Next edit to Playhead. What does that mean? It's going to delete the portion between the playhead and the edit itself. We have this ripple trim sandwich. We have the playhead, which is the top slice of bread, and then we have all this meat in between that we want to delete. And then we have the next slice of bread which is the edit itself. What happens if we use the hockey ripple? Next edit to playhead is it's going to delete this portion right here along with the gap. If we move our Playhead to the opposite side of the edit and we use ripple trim, previous edit to playhead, we have a sandwich again, but the top slice of bread is the edit itself that meets the portion we don't want. Then the playhead itself is the bottom slice of bread. And we're going to delete this portion right here. Ripple previous edit to Playhead. Only one action necessary and there you have it. Making use of these actions along with the ad edited action is the fastest way I know to edit. All right, to recap. There are so many different ways to edit this audio. There's the slower ways, which includes a lot of clicking and dragging. And there's faster ways including using shortcuts such as Ad Edit and Ripple Delete. And also making use of the Ripple Edit tool. And the fastest way I know is to use the Ripple trim next edit to Playhead, and ripple trim previous edit to Playhead to dramatically decrease the amount of actions you need to delete unwanted portions of your clips. Next lesson, I'm going to actually show you how I would approach this edit using these shortcuts. 6. The Trifecta of Fast Editing Practical Application:: In this lesson, we're going to actually start to work with the three shortcuts we discussed in the previous lesson. I'd like to refer to these three shortcuts, or three editing actions, as the trifecta of shortcuts for fast editing. And I know this is a bit dramatic, but there is some truth to it, because these are the main actions I use to complete editing tasks fast in the early stages of editing. Let's begin to edit this piece of voice over. Are you looking to capture that dream? You'll notice I'm shuttling through twice as fast. And I think that's fine because all you're really doing is looking for the mistakes. Once you hear a mistake, you know that you're going to have to cut that portion out and seek out the next best take. I'm going to use my ripple trim previous edit to play ahead and I'll keep playing. Are you looking to capture that Dreaming Altic? Okay, that works. I'm going to add an edit here. And the reason why is because this edit is going to act as an anchor for our ripple trim, previous edit. Are you, are you looking to capture, are you looking to capture that dream nostalgic look? Okay, so this works. So you can see here, I don't want this portion here and now I have this edit as an anchor for my ripple trim, previous edit playhead. Are you looking to capture that dream nostalgic look? That's the great thing about ad edit is you could play back your media real time and add edits as you go. Introducing the legendary conduct in on AR 40 meter. Introducing the legendary Conicaxon 40 millar F 1.8 wins. All right, so we want this part, we'll use the ripple trim previous edit to play ahead your F 1.8 wins. Introducing the legendary ConicaxontyiF 1.8 lens, F 1.8 lens. All right, I actually kind of like this portion better, so I'm going to delete this part. And what I'm going to do here is I can select the clip and use my ripple delete shortcut, which is shift delete or shift forward delete on Mac. Introducing the legendary conic action on A R 41. Your F1f1 0.8 lens, F 1.8 lens, F 1.8 lens. All right, I kind of like this last take here, so I'll add an edit and then I will use my Ripple trim. Next edit to play ahead. F F. Okay, you forgot to delete that part. F 1.8 lens. So basically you're just creating these sandwiches that you're deleting. Are you looking after that? Dremysalgiclookst, your pho views. I already know that the rest of this clip is a take that I did all in one go. So if you prefer to use that, go ahead. Not to mention the 40 million length which also has too. So one thing I didn't mention here is actually we have a portion that goes in between this first voiceover and second voice over. And that is a Talking Head portion, which you could find in video scroll all the way to the bottom. And here it is. And you could double click and load this in the source monitor and edit from there. Or you can even click and drag it directly into the timeline itself and edit from here. It doesn't really matter which way you choose to do it. Whatever you feel most comfortable with for now. I'm going to hold control to insert this clip in between these two slabs of voice over there. All right? So now I know that that portion I don't want. So we'll do ripple trim, previous edit to Playhead, and then the rest of this is just me turning the camera off. Ripple trim, Next edits to Playhead. There we go. Now I'm hoping you can kind of see how to use these three shortcuts to quickly delete unwanted portions without having to click and drag and close gaps. Finish editing your project's voice over using your Ad Edit Ripple Trim, Next and previous edit to Playhead shortcuts. This isn't a lot to edit, so keep practicing by re editing this sequence. See how much faster you can complete it each time. Okay, so to recap, I'd like to refer to these three editing actions as the trifecta of fast editing, because you can quickly use these three actions to get through your initial story edit. Think about the ad edit action as the anchor for either ripple trimming the previous edit to playhead or ripple trimming the next edit. And yes, there are other ways of doing this and you may even need to use other techniques or shortcuts to make this happen. But overall, these three actions are incredibly helpful to speed up your editing workflow. Al right. In the next lesson we are going to discuss best practices when creating shortcuts. 7. Shortcuts: Best Practices: Keyboard, shortcuts are essential to fast editing. So in this lesson, I'm going to guide you through creating and using shortcuts, enhancing efficiency in your editing workflow. You can already see in the last few lessons that shortcuts are extremely helpful in reducing the amount of actions necessary to complete an editing task. So it makes things faster. What it also does is it allows us to not use the mouse so much. I'm not against using the mouse, but if you're just using the mouse for every single action, clicking and dragging, that puts a lot of tension on your hand and the tendons in your arm and can cause pain, making it uncomfortable to edit, especially if this is your livelihood, like it is mine. You want to keep your wrists, your hands, as comfortable as possible so you can continue to edit for the long haul. I would also recommend getting one of these mouse pads with the silicone padding on the end. And that keeps your wrist in line with the mouse itself. So you're not cranking your wrist up or down in contorting in unnatural positions. So when do we create shortcuts? Well, it's really anytime you find that you can minimize the amount of actions you need to complete an editing task. So if you think you can do something in less amount of actions and you want to figure it out, do that. Most likely what's going to happen is you're going to start editing and certain actions might become a bit tedious and you're wondering, oh man, this is just frustrating. There's got to be a faster way to do this. When that happens, I strongly recommend that you set a shortcut. Learn that shortcut in the short term. Yes, it's going to take more time, but in the long run you'll become a faster and more effective editor. So that's exactly what I do. I'll open up my shortcuts menu and take a look at what I can adjust to make things faster. But that's only if I have the time on a project. If I'm really crunched for time, I usually won't be working on creating new shortcuts and new processes. I've opened up the keyboard shortcuts menu using my shortcut for that. And if you type in shortcuts within the keyboard shortcuts search bar, you can also create a shortcut for your keyboard shortcuts menu. Otherwise, select Edit Keyboard shortcuts. Let's go into a bit more depth into what exactly is going on here. So we have our main map, which is the first thing that catches our attention. Showing us a visual of all of the mapped keys we have that are active. Under preset, you have a number of different presets that you're probably working under already. And that's great, that's fine. When I started working with Adobe Premier Pro, I selected the Final Cut Pro seven preset because I was used to those shortcuts, but then customized and continued to develop my own shortcuts. Anytime you make a new shortcut or you make a bunch of new shortcuts, you can simply save as name your shortcut preset and hit Save. Underneath commands, we have applications selected. That just means all the shortcuts that are available within the Adobe Premiere Pro application. If you want to hone in on different panels and they're specific shortcuts, you can do that by selecting each panel. When you hover over a specific key, you can see exactly what it's for. So this is to start and stop playback. And you can also see if the shortcut is for the entire application or for a specific panel. And if we navigate down to our legend, we have purple application shortcuts are active regardless of panel focus. That means that if I hit the spacebar, no matter which panel I have selected, it will play back and stop my footage within the timeline. But if we move over to our teal part of this legend panel, shortcuts override application shortcuts when the panel has focus. Since we just use the ad edit shortcut and I showed you that I use ad Edit on the letter B, that means I can add an edit regardless of what Handel is in focus. But let's say I also use the letter B for creating a new bin within the project panel. I already have it set to control B. But for the sake of demonstration, let's change it to B. This warning. At the bottom, it says, the shortcut B is already in use by the application command ad edit, which will be overridden by this panel command when the panel has focus. So that means that when the timeline panel is in focus, it will prioritize the ad edit shortcut. Whereas if the project panel is in focus, it will prioritize creating a new bin After we've created that new bin shortcut and mapped it to the same key as add edit, we now have this teal purple split showing us that we have an application shortcut and a project panel shortcut. If you navigate down to this window here in the bottom right and hold B, you can see all of the shortcuts mapped to B and their modifier keys. What's really cool about that is that you can double up on shortcuts. And I would suggest doing this because you're going to want to use a lot of shortcuts and you might find that some of the more convenient ones are taken already. Doubling up on these shortcuts with different panel focuses I think is not the worst idea. If your right hand is occupied by the mouse, that means your left hand is mainly navigating your keyboard. So it's recommended that you keep most of your shortcuts in one clump. The less hand movements you have to do to switch from one shortcut to the next is going to be a lot more comfortable on your left hand and also quite a bit faster. If you find that you have to contort your hand in a strange way to access a keyboard shortcut, that's probably a good indication that you're going to want to remap it. And I know it's such a pain to do this, but there are no shortcuts when it comes to creating shortcuts. It's a process that you will rework as you go. And one final tip as you're creating your shortcuts. You'll see here again, going back to the key. Most of the shortcuts I have assigned to the B key have to do with making edits. And that's because for me, I associate the razor tool with B for Blade. So I'm using this association to use for different types of edits. Ripple trim, next edit, ripple trim, previous edit, Add edit to all tracks, so it keeps it a lot easier to remember. And when I'm making edits, I don't have to change my hand position quite as much, and I can work a lot more efficiently. So to recap, we use shortcuts because it's faster. It's better on your wrist. You're not using your mouse as much. I'm not against using the mouse. I still use the mouse, and I think it's quite a bit faster for some tasks. But reducing the amount of mouse movement is better on your wrist and your tendons altogether, I would highly recommend getting one of these silicon mouse pads create shortcuts whenever you find that you can reduce the amount of actions necessary. And when you do have time, be proactive. If things get tedious, I would suggest doing it right away to avoid irritation most of your shortcuts within reaching distance of your left hand. If you have to contort too much, it might be time to change that shortcut. Bind multiple shortcuts to the same key, like in this lesson I showed you that can be used for the ad edit shortcut while the sequence panel is in focus and the create in shortcut when the project panel is in focus. And also use the power of association. I use the example B for blade or razor, and I associate that with making cuts on the timeline. And remember, there are not necessarily any shortcuts when it comes to creating shortcuts. So be prepared to get a bit messy, make changes, don't be afraid to make those changes. In the long run, you'll become a more effective editor and level up your editing skills. Overall, we're going to unlock the peak performance of our clips and sequences and set them up for editing. 8. Fine Tuning Your Sequences and Clips for Editing: Let's move to the next part of the editing process, which is choosing Select. Now, normally when choosing selects, you might go to your role, select that role, and move this over so we can see our new item icon, click and drag and create a new sequence. Then you would take that sequence and move it above your main sequence and create a pancake timeline. Finally, choosing your clips, cutting them up in your select sequence and dragging them down to your main sequence. I think this way of doing things is totally fine. But in the next lesson, I'm going to show you an alternative way to choose Select. Taking a look at our B role, we can see that all of the clips are four K clips except this one right here. Because I personally wanted to create digital movements within my edit I've chosen to work with in 1920 by ten ADP sequence. Let's switch our sequence settings. Navigate up to sequence sequence settings. If you haven't already, I would create a shortcut for that. Navigate down to video frame size, and we'll change this to HD, which is 1920 by ten, 80. And we're not going to worry about video previews in this case, because this is just our sequence, we're not going to be rendering this sequence. Video previews aren't necessary to change select. Okay, the warning is basically that we're going to delete all previews for the sequence. That's fine. We're not even going to make use of previews anyway. Select. Okay, now this 1920 by ten 80 clip fits within the 1920 by ten 80 sequence. However, our four K clips now extend beyond the boundaries of these sequence settings because they're four K clips living in an HD sequence. So to fit these four K clips into our ten eightP sequence, we need to scale down each of these clips to half the size. Because 1920 by ten 80 is half the size of 38 40 by 21, 60. Now that does take quite a bit of time to scale each clip down by half. So what you can do is right click and select Set to Frame size. But hold on a second. You're probably thinking why set to frame size? Why not scale to frame size? Well, if we select scale to frame size, the clip now fits within the frame. However, what scale to frame size does is resample the four K clip to fit within the sequence. So now it's essentially taking our four K clip and making it a ten 80 P clip. Basically, what resampling does is it changes the total number of pixels in your image. 38 40 by 21 60 pixels. Resampling it to fit into our HD sequence, now takes those actual pixels and changes them into 1920 pixels by ten 80 pixels. So we're changing the amount of data available. If we want to make use of digital zooms and scale beyond our sequence settings, this is going to result in quality loss, which is not what we want. If we take a look at our effects controls panel at the scale property, you can see it says 100% scale. Meaning if we want to do a digital zoom and go beyond that 100% scale, we're going to be losing sharpness and overall quality. Whereas with our four K clips scaled down to 50% we still have a lot of leeway when creating digital zooms before we hit 100% scale scale to frame size, resamples your clip to fit the sequence settings. We don't want that, rather we want to choose set to frame size, so it actually scales down the clips without re sampling them altogether. Now that you understand the difference between set to frame size and scale to frame size, go ahead and select all your clips. Right click, select Set to Frame Size. I would suggest setting a shortcut for this. Now all of your clips have that 50% scale and we can scale upwards to 100% without losing any quality. Now that we've dealt with this, select sequence, Let's move down to our main sequence. Select that sequence, open up your sequence settings. Navigate to video frame size, and we'll change this to 1920 by ten, 80. Now we'll select okay, well, we can't forget about our photos. Either navigate to photos, select all the photos, rather than clicking and dragging them directly into your select sequence. You can use the insert or overwrite function found in your source monitor. Or shortcut for insert period four, overwrite, to bring media directly into your sequence from your project panel. That should put a little bit less strain on that wrist, since our photos are quite a bit bigger than our sequence settings. Let's select those set to frame size. If you'd like to change the default duration of the photos within your sequence, click on Edit Preferences, Timeline, and it's the third item down. If you do decide to change the default duration, once you select okay, it doesn't change the default duration of photos that have already been imported. You will need to re import your photos to get that default duration set. If you haven't already done so, go ahead and rename your select sequence is something a bit more appropriate. Move that sequence into your sequences folder and now we're just a bit more organized. So to recap, we changed our sequence settings for both our select sequence and our main editing sequence to 1920 by ten 80. And the reason why we did this is so that we can make use of digital movements. We can scale our clips up creating some interesting keyframed animations. And so we can also make use of this one solo HD clip within our B roll selects. Remember, choose set to frame size rather than scale to frame size. Scale to frame size resamples your four K clips into a ten ADP sequence, whereas set to frame size uses the scale property within the effect controls panel, enabling us to make use of that extra scale for digital reframing and interesting digital movements. Now that we have our main sequence set up and our select sequence ready to go, I'm going to show you some exciting techniques to upgrade your select editing. 9. Your Introduction to Advanced Selects Editing: This lesson contains an incredibly effective process for editing selects. In this lesson, you're going to get an introduction. So hold on until the end of Lesson 11, where you get to see the true power of this advanced selects editing technique. If you've taken my other classes or you've been editing for a while, you most likely already know the pancake method, which is to click and drag clips from one sequence to the next. And I even have a window workspace for my Select Pancake editing. But I also have a workspace for selects Source, which is the ability to edit sequences within your source monitor. Also take note that I have my source monitor and my program monitor in separate panels. I have my select sequence open. I'm going to open up my main sequence. And we'll keep our select sequence open for now as well. Navigate up to your select sequence and right click on it. Click on Open in Source Monitor. And better yet, you know what I'm going to say. Create a shortcut for it. Now what this does is it's opening up our sequence within the source monitor. And we can view the sequence in its entirety without having the timeline open. You can see here I have my select sequence open and it's playing back all the footage in the program monitor because the program monitor and our sequence are connected. But in this case, I don't even have to have my timeline open so we have more screen real estate. But what's also really cool about this, we have our overwrite and insert shortcuts available to work with, allowing us to do a lot more work with our keyboard rather than clicking and dragging from our select sequence to our main sequence using the pancake select method, and even navigating the sequence loaded up into our source monitor allows us to make use of the up and down arrow keys to quickly jump from shot to shot. So most of our functionality is still there, but we don't have a select sequence available to see the physical clips. If I'm hopping from one clip to the next, it's as easy as finding the shot I want, playing it back, finding that in and out point, and using my short cut to insert or overwrite directly into my main sequence. And you can see that that would become quite fast if you know exactly what you need. And you can insert these clips into the timeline just by using your keyboard. No mouse needed. Now, one thing to note here is that each of these clips are coming in as nests. And that is because I have this icon disabled, which is insert and overwrite sequences as nests or individual clips. If I toggle this on, it will now insert as individual clips. The green clip indicates that it's a nested sequence, whereas the purple clip indicates that it's an individual piece of video with no audio attached. I'm going to undo all of this right now. This isn't very helpful if we can't insert or overwrite onto video track two. Because as you just saw, we completely dismantled this talking head shot on video track one. I'm going to show you how to deal with this in the next lesson. So to recap, the advanced select method allows you to work with both your select sequence loaded up into the source monitor and play back your main editing sequence in your program monitor. Make sure you have a window layout where both source and program monitors can be opened simultaneously to open a sequence In the source monitor, click on the sequence, select Open Source Monitor. Another big thing to be aware of is the insert and overwrite as nests or individual clips button. With it off, you're going to get nested clips with it on every available individual clip. And the next lesson we're going to go over how exactly to insert and overwrite clips into video track two and some pitfalls to avoid when using the advanced select method. 10. Taking Charge of Inserts and Overwrites Through Source Patching: In this lesson, I'm going to reveal to you how to insert or overwrite on the track of your choice. This solution is vital for the advanced Select editing method and we're going to accomplish this through a highly under utilized editing function called Source patching. Source patching is a way of telling Adobe Premiere pro where to insert or overwrite clips into your sequence. We can overwrite or insert from our project panel and we can overwrite or insert from the source monitor. This isn't just for video, it could be for pictures or audio as well. And what determines where your media lands within your sequence is a leftmost column within your sequence right here. So you can see that we only have V one available. And that's because this source patching is directly connected to whatever is selected within our project panel or load it up into our source monitor. And because all of these bureau clips here have only video available, that is why we only have video available within our source patching column. If we have our playhead here, I can click Insert, and that will push everything over. But it also inserts it into video track one. Or overwrite. And that overwrites everything, not breaking up my sequence at all. But we also don't want that because we don't want it to overwrite anything on video one. So what you can do is click and select your video one from your source monitor or project panel to land into video track two. So that's all that means is video track one from your source monitor or project panel, your source clip, we'll land in video track two of your sequence. So clicking over right lands into track two. I can move it up to track three and it'll land in track three. Watch the source patching column carefully. As I now move from this lens B roll clip and select this talking head clip. Notice that we now have a one available. It's not highlighted, but I can highlight it here. And that's because this talking Head clip contains both video and audio. If I overwrite that into the timeline, it now moves our video on video track one and our audio onto audio track one. If I don't want to overwrite the clips within my sequence, I can again simply readjust my source patching. Video one lands in video track two, and audio one lands in audio track two. And if I select overwrite, that's where it lands. Source patching directly affects the destination of media from your project panel or source monitor within a sequence. We can also deselect either our audio or video, and when clicking overwrite or insert, it will only bring in the video. If we select our video and only have our audio selected, it will only bring in our audio. I've heard this complaint before, which makes a lot of sense, is clicking and dragging into the timeline. You can see here we only have video, no audio. And that's because source patching for our audio is disabled. A lot of students might say there's no audio with this clip. Well, there is audio in the clip. When loading it within our source monitor and selecting our audio, we can see clearly that it has audio. But it has everything to do with source patching being disabled. So what does this have to do with choosing Selects. We're going to open up our select sequence within our source monitor. I'm using my shortcut to do this open in source monitor in case you want to create your own shortcut for this. This is where it might get a bit tricky. With our sequence loaded, take a look at the source patching. Now we have V 3v2v1 and one enabled. All that means is that the select sequence that we loaded into the source monitor contains three video tracks and one audio track. Selecting my select sequence, you can see it right here. We have V1v2, three and one. We don't necessarily need all these empty video tracks. We'll delete them in a second here. Navigating back to our main editing sequence, click on Source, patching V one and drag it to V two. We just flip them around. Now anything within video track one of our select sequence will land in video track two of our main edit sequence. If I click over right, you can see here that the clip successfully loaded into video track two. Okay, but another problem just happened. We have this big gap here. Well, that's because we have source patching for our audio enabled. And what it's doing is it's inserting the empty space from our audio track in our select sequence. So I'll undo this de select audio track one and overwrite our clip. And now we no longer have any issues, but did you just see that there? Yes, we do have another issue. And as we overwrite, it's also taking the empty space from video track two of our select sequence, and overwriting onto video track one of our main edit sequence, creating that empty space. So if I undo that, we can navigate over here and de select video track two, so we no longer have that empty space overwriting clips within our main sequence. To simplify this further, go to your select sequence. Right click delete Tracks and then check Delete Video tracks, all empty tracks. Select Okay. Better yet, in the shortcuts menu, type in delete empty tracks and make a shortcut for this. Moving back to our main sequence now it's a lot simpler. We no longer have video track two and three appearing in our source patching. And we can simply disable our audio track so we're not getting those gaps in our audio. And we can overwrite to our heart's content and it all lands in video track two, which is where we want our B roll to land. Now that did sound like a lot because I had to explain all of the pitfalls that can happen with this method, and that's why it's an advanced method. You need to understand what source patching is to be able to grasp it, but it's really not that complex. Once you understand some of the pitfalls here, it's easy to navigate by deleting tracks and adjusting your source patching so that you don't have any of those empty tracks creating gaps within your main sequence. And now we can use our keyboard completely to choose Select, no more clicking and dragging, and Insert, or overwrite them into our main edit sequence. To recap, Source patching tells Adobe from your pro where to place the available audio and video tracks from your project panel or source monitor into your sequence. It's this column here, not this one. We're going to talk about this column in a later lesson. When inserting or overwriting from one sequence to another, remember to delete empty tracks. You will not be able to delete video track one or audio track one. Deleting empty tracks simplifies source patching and makes for a tidy timeline. Remember to also toggle source patching off for any empty video tracks, or you're going to get empty gaps interfering with your clips. Another big thing to be aware of is the insert and overwrite as nests or individual clips button. With it off, you're going to get nested clips and with it on every available individual clip. In the next lesson, we're going to expand on this advanced select method, making it more user friendly and streamlined. 11. Advanced Selects Editing: Now it's time to reveal the final form of this advanced selects editing method. Since lesson nine, I've slowly been trying to add new layers to this advanced select method. And I'm going to keep adding layers of complexity, starting with having more control over your source monitor and timeline. So to make this process faster, you do need to navigate between your sequence and your source monitor. You can use the mouse to do this and click Selecting each Panel, or you know it. You can use a shortcut in the search bar, type in window, scroll down all the way to the bottom. In this list, we have a number of windows available. You have the ability to create shortcuts to put each panel in focus, which cuts down on mouse usage and makes things even faster. I like to use my num pad for each window because it's easy to remember. And if my hands are already on the keyboard completing this specific Select editing task, it's a lot easier to make use of these shortcuts. I've used numbers to create that logical connection to each panel. So for my project panel, I have control all shift one, because everything starts with the project panel. That's the brain of my project, where all my media is located. Two for sequences, three for my source monitor, four is for effects, controls, and so on and so forth. So you can create shortcuts for as many or as little windows as you want. Choose shortcuts for these windows now. Then select okay. Using these shortcuts. Rather than clicking on each of these windows to put them in focus, we can now move between each panel very quickly, allowing me to jump into my select sequence, create an in and out point insert, or overwrite that into my main sequence. If I decided I don't like that clip in my sequence, I can use my sequence panel focus shortcut to quickly jump back to that main sequence and replace that clip with something else. Also, if I want to jump back into that main sequence and play my sequence back that week, because you can see some of the voiceover doesn't quite match the B role. Being able to play back the voiceover within my main sequence will then help inform which clip might work best for that segment. And I can quickly jump back in to select a clip that I like and then again insert it directly into my timeline. I understand that some of you may not really enjoy this process of choosing selects directly from your source monitor. You'd prefer to edit from your select sequence directly into your main editing sequence. And that's fine if you want to do the click and drag method, but we can take this method one step further to create that layout. I'm going to show you how right now, once again I'm going to navigate up to select sequence, right click, and then open in source Monitor, or use your shortcut. Now that we have our select sequence open in our source monitor, we can take this one step further by selecting the wrench icon or source monitor settings. Click on that. Now we have a new setting available to us. Open sequence in Timeline. Once we select this, it'll open up the select sequence which is within our source monitor into its own sequence. And you can see here that the playhead has changed. We now have this red line indicating that the source monitor is directly connected to this sequence. The select sequence opened within our source monitor is the same sequence opened in our timeline. So essentially we have this sequence to our source monitor and our main edit sequence gang to our program monitor. So we're making use of both our source monitor and our program monitor with two separate sequences. Now you can stack your select sequence on top of your main edit sequence as you normally would ensure that you select this icon so that you're not nesting your selects within your main edit sequence. Select the shots you want and insert them or overwrite them into your main edit sequence. If you need to go down to your main edit sequence to make some adjustments, you can click on that and drag your clips around. Or you can use a shortcut to toggle between all active timelines that are currently open. So I could bounce from my select sequence overwriting into my main edit sequence. And if I feel like I need to fix something within my main edit sequence, I can use my time lines shortcut to quickly navigate down to my main sequence. I would encourage you to give this a shot and see if you can streamline your select editing process. So recap. This way of editing significantly reduces the amount of mouse usage, reducing strain, Allowing you to quickly make use of shortcuts, streamlining your editing process. Remember the first step is to open up your select sequence in the source monitor. Once you have that opened up in the source monitor, you can select the wrench icon, open sequence in timeline. Now this select sequence opened in the time line is connected to our source monitor, while our main edit sequence, which can be stacked, is connected to our program monitor. Allowing us to make use of both monitors at the same time. To avoid clicking and dragging, selecting in and out points and overwriting into your main editing sequence. Remember to set shortcuts for your project panel, your time line source monitor for quick panel navigation. I know this is quite a bit to take in. This honestly takes a lot of practice. So right now, I want you to go ahead practice a bit, experiment with these techniques. Choose your select and then delete. Try again. Delete. Try again, get a feel for editing in this way. Now you don't have to edit this way. If you hate it, that's fine. Go ahead, you can use the mouse. And I would encourage you to continually do your best to come back to this practice of streamlining your editing process and making the most of keyboard shortcuts. In the next lesson, I'll show you a huge time saving shortcut for fast trimming. 12. Making Quick Trim Adjustments: In this lesson, I'll show you how to use a new shortcut that allows you to quickly trim the length of your clips without clicking and dragging. I've placed all of my clips according to the what. What is the beginning, middle, and end of our story? What happens? What is happening in our story? The beginning, middle, and end? The thing that best tells the story in its entirety is the voiceover. We use that to help determine which clips to use and where to put them. Pretty straightforward. But I've also made some more adjustments to my voice over. I increase the pace of the voiceover just a bit by deleting quite a few gaps between voiceover. I've also decided to take out the introduction bit and go straight to talking about the lens. And this was a creative choice and I'm going to show you on screen what I've already done in the future. But what I wanted it to be is the lens flying up into the frame and then zooming in. And we're talking about the lens. And then at the very end, it zooms out and then drops out of frame so that we have this continuous a loop. Another thing I would like to loop is the music. That's the next thing I want to introduce is the music. Because I want to get a overall sense of vibe of what this edit is going to feel like along with getting the edit to an effective pacing and rhythm. For this type of edit, I've already selected a piece of music for this edit. I appreciate this track because it kind of has that 80s nostalgic vibe to it, which is suitable for this lens, because it's a vintage lens, It also has a good beat, some unique portions within the song that we can cut in if we want to and adjust. And this beat is also going to make it a lot easier to loop now because I don't have audio track two enabled in my timeline. I'm going to go ahead and click and drag this down. And I'm not exactly sure how I would like to edit this music track, but for now, I'm going to have the beat start right before my voice over. I'll open up my music track, and I can see the beat starts here. I'll make an edit, click and drag it back. And there's a reason why I'm clicking and dragging. I'm going to explain that in a later lesson because there's a lot of intricacies to this editing thing. Give a review here. Introducing the lit Okay, that works for now. I'll go to the end of the clip and I'll trim this music for now. Now it's not perfect, doesn't need to be, but we got something on the board now, because we're editing to the music, I want to keep my music track open and for demonstration purposes, I also want to mute my voice over track so we can focus mostly on the music. For now, editing to the beat. First, play the music back, I'll identify the beat, and then I'll step forward and back to find the precise portion of that beat. There it is. If you're not already using the step forward and back, one frame and many frame shortcuts, I strongly urge you to set up these shortcuts. Right now, I found the beat when I first started editing. This is exactly how I would do this. I would find the beat, but what I would do is I would click and drag the outpoint of our first clip and move it to the playhead. And then I'd select the next clips in point and click and drag that as well. To close the gap, we play it back and it's edited to the beat, which is nice. Let's undo that. After a bit of experience, I found the rolling edit tool which allowed me to select the out and in point of the clips that I want to adjust and click and drag those at the same time, and drag it to the playhead and get the same result but faster. And finally, I landed on the extend edit shortcut, which is faster and a lot more satisfying than clicking and dragging. Open up your shortcut menu within the search bar. Type in Extend Selected, We have our shortcut, Extend Selected Edit to playhead. You can use the default shortcut, which is E, or set it to something close to that left side of your keyboard, grouped with all the rest of your hockeys. The extend edit shortcut or more formally, the extend selected edit to Playhead shortcut allows you to do just that. If I move my Playhead over here and I select the point of this clip, then hit the shortcut, extend selected edit to Playhead. It will extend this edit to the playhead, just like that. If I go to the other side of the clip, select the outpoint, extend selected edit to Playhead. It'll move the edit to the playhead, so as long as I have an edit point selected, I can move it to wherever the playhead is. What's really cool about this is you can also use this on selected rolling edits. So going back to the beginning of our timeline, if I select the rolling edit tool, then click on this edit. Here I can use my extend selected edit to Playhead shortcut to quickly adjust the in and out points of both of these clips. So now let's go through this edit using the extend selected edit to Playhead. I'll play it back, identify the beat, step forward and back frame by frame until I find the beat right there. Use my rolling edit tool to select the edit point, then hit. I'll keep moving forward, find the beat, select the edit point, Hit. Similar to the step forward and back one frame shortcut, we have the trim forward or back one frame shortcut, which is great for small frame by frame adjustments. If you ever missed that beat, you can use these shortcuts to nudge your edit in the perfect position. Find the beat, select the edit point, hit E. So as you can see, you can make quick work extending each of these edits directly to the beat. To recap, when trimming edits, the extend selected edit shortcut is your go to. It's fast and avoids having to click and drag. Using the step forward and back shortcuts is essential for pinpointing the beat. Make use of the trim forward and backward shortcuts to adjust as necessary and for general fine trimming. In the next lesson, some essential tips for editing to the beat. 13. Tips for Editing to the Beat: Now here's a few tips for editing to the beat. You don't necessarily want to edit directly to the beat all the time. You want it to feel cohesive. You want it to feel like the clips suit the beat. But you don't necessarily want every single edit to be on the beat. Now what I mean by this is normally I would edit with both the voice over and the music at the same time because we're missing something when we're not hearing the voice over, we're missing the rhythm of my voice. So you want to consider all of the elements, the audible elements, the visual elements, when you're creating an overall rhythm for your piece. So I will unmute my voice now and play this back. Introducing the legendary Conica Hexan on AR 40 millimeter F 1.8 lens. See already. You can see and you can hear that although the edits are to the music, to the beat, they don't really match up with what I'm saying. And I think what I'm saying is more important than the beat. So what I can also do is I can mute my music. Go back to the beginning of the introducing the legendary I stopped right there because I say Conca right here. I might want this clip to start right When I say Conca, what I can do instead is use my rolling edit tool to select the edit point. And hit to extend our edit, aka Hexan on A R. And then when I say AR, I might want to show this clip. So I'll do the same with this edit point. A R 40 millimeter and then F 1.8 lens. I'll do the same here. F 1.8 lens. Okay, now let's play that back with the music on introducing the legendary Ka Hexan on AR 40 millimeter F 1.8 lens. It feels a lot more cohesive even though it's not edited perfectly to the beat. Because I think the voice over is louder, clearer, it's a voice, so the viewer is going to pay more attention to the voice in this case, which is why I think editing to the voice feels better than simply editing directly to the music. Now, zooming out and taking a look at all of my edits, the clips vary quite a bit in length, so that's something to consider as well. You don't necessarily want every single clip to be the same length, because that can become a bit predictable. Take the audience on a journey, try varying the length of your clips. But remember that story trumps the pacing. So if the story dictates a flatter, more predictable pacing, that's fine. Go ahead with that. Once you become more comfortable editing with pasting and rhythm in mind, it's going to be a lot easier to quickly edit rhythmically. Interesting and sensible piece to recap. Don't simply cut to the beat of the music. Cut to the beat of all the elements in your sequence. Try varying up the length of your clips. This will come naturally as you prioritize the story. Story is your guide, so varying the length of clips is meant to be in the back of your mind, but not the priority. Before editing your own project to the beat. Check out the next lesson for some more tips and tricks to put into practice for fast editing. 14. Take Control of Your Timeline With Track Targeting: In this lesson I'm going to show you an advanced alternative and faster way of using the extend edit shortcut. And then we're going to jump into some functionality that not a lot of editors talk about and possibly don't even really use. But it's super important to understand and extremely helpful when it comes to fast editing and knowing how to control your timeline. And that's Track targeting. Before we go into Track targeting, let's talk about these advanced extend edit shortcuts We have available, open up your shortcuts menu in the search bar. Type in extend these three shortcuts. Here we have our extend selected edit to Playhead, but we also have extend next edit to Playhead and extend previous edit to Playhead. Those sound awfully familiar, kind of like ripple trim. Next edit to Playhead and ripple trim previous edit to Playhead. Go ahead and use the default shortcuts or select the ones you think you're going to like most likely. They're going to change the extend next edit to Playhead. It works exactly how it sounds. It's going to extend the next edit to the Playhead. There you go. And just as self explanatory are, extend previous edit to Playhead. It's going to extend the previous edit to the Playhead rather than having to select the edit point. Hitting our extend selected edit to Playhead shortcut, we no longer have to select any edit point at all. Now let's apply these shortcuts to our main edit. Let's say that I want this first shot to cut in right on this beat here, right here. I can extend our previous edit to Playhead what just happened there. Let's try that again. Okay, that was weird. Both our audio and video track edit points are extending to the playhead. That is because of track targeting. Track targeting when activated, determines which tracks certain editing functions will be performed. And track targeting can be activated or deactivated on this column right here. And it looks identical to our source patching column, but they are not the same. These editing functions can be a number of things that includes our extend previous edit to Playhead shortcut, but more commonly track targeting effects. Copy pasting, inserts, overwrites, match frame, ripple edits, the list goes on. So to demonstrate, let's use the copy paste function. With all of my audio and video tracks enabled, I'll select and copy this video clip and paste it. And when I paste it, it lands in video track one. And that's because video track one's track targeting is activated. Adobe Premier Pro prioritizes the lowermost video track when all the tracks are enabled. So if all the tracks are enabled and you copy paste, it will paste into the lowest available activated track. The same goes with audio. The uppermost audio track is prioritized, all the audio tracks are enabled. It will copy paste onto the uppermost activated track. We'll undo that and then deactivate video track one. When we paste it will paste into video track two because video track two is activated. The same goes for audio copy paste into track one. De select audio track one, copy paste, and it pastes into audio track two. Now what happens if both of our video tracks are deactivated? Copy paste, it will paste the clip onto the same track it was copied from if our clip was in video track two. And we copy paste, it will paste into video track two. And the same goes for audio. In order for this to work, when it comes to our extend edit shortcuts, we need to keep track targeting activated only on the track that we are completing this editing task on, which is video track two. We'll de select video track one, audio track one, and audio track two so that none of those tracks are affected by our extend previous and next edit to Playhead shortcuts. So I'll make my way through this edit now and quickly readjust my edits. I'm introducing them so this process can be done without a mouse. With a mouse, really, whatever you feel comfortable with, whatever's faster, vary it up a bit. If you're not feeling like using the mouse and you want to just chill with the keyboard, I suggest you do that if you're in a rush. Probably using the mouse in conjunction with these shortcuts is the best option. And this is also a good example of why process is important. If we're sticking to different processes and editing tasks throughout the entire life of this editing project. You can be extremely effective by using track targeting to complete this task. Specifically, if we're jumping around from one process to the next, we have to activate and deactivate track targeting a number of times. And that can get a bit messy and become less effective. That being said, the editing process is not always straightforward. Every project is different, every editor is different. So sometimes it's just faster using the extend selected edit to playhead shortcut rather than activating and deactivating targeted tracks, especially if it's just for one edit within your sequence. You can also speed up track targeting, activating and deactivating tracks by using shortcuts. My shortcut set up has been to use the Numpad one to eight correspond to track targets one to eight. Selecting one activates and deactivates video track one, two, video track two, and so on. And the same goes for audio, except I use the modifier key control for my audio using the shortcut zero on the Numpad deactivates all video tracks and control zero deactivates all audio tracks. So another quick way to target one track is to simply deselect all of your video and audio tracks, then selecting that video track on your numpad. Now I get it that this can be a bit overwhelming. It's a lot. But what I would encourage you to do is at least try experimenting with track targeting. With these extend edit shortcuts, just experiment, give it a shot. Practice using track targeting so you can get a better idea of how track targeting affects different editing functions. You might also get some ideas of how you can improve certain processes within your editing workflow. After you're done experimenting with these options, I want you to work on making your edit feel cohesive, so the music and the voice over and the clips have an overall sense of rhythm to them and working in harmony together. So to recap, we talked about advanced extend edit shortcuts, Extend next edit to Playhead, and extend previous edit to Playhead. It's a great way to speed up trimming in your timeline. Be careful when using editing functions like these as they are affected by track targeting. Track targeting determines which tracks will be affected when performing certain editing functions. Extend nearest, and previous edit is included in that list. Track targeting is made much easier when making use of shortcuts. The num pad is a great place to start. It's a bit tricky to set up and get used to initially, but the payoff is increased editing speed. In the next lesson, we're going to go over how to organize your timeline for an efficient workflow. 15. Organizing Your Timeline for Efficient Editing: In the last lesson, I asked you to work on making everything coherent, the music, voice over the visuals. That is the foundation of your edit. And now I'm sure you're wondering what is going on with your sequence. Sean? Yes, I have done quite a bit more work to it since the last lesson. Much of what I've done are creative edits. I've worked with the motion first, starting with creating movement, figuring out how each of these shots might transition together in a unique and seamless way. And that's mostly to keep the eyes moving through the frame to keep viewer engagement up. Also, adding some overlays to hide some of my edits, so the edits look a bit smoother in some cases. I've also added flares which give it that kind of 80s vibe which I'm going for here, so you have free rein to use those as well. But all of this creative work comes after already having a solid foundation. And that solid foundation means that the pacing and rhythm is generally working well. The visuals, music and voice over. They're working together. And that means that they're somewhat invisible. They don't demand more attention over another element. All of the elements, they complement each other. So these stylistic choices, they come after the foundation. But also motion creating smooth edits. I've already covered that in another class. So if you want to be able to create the same movements within your project, I highly suggest you check out that class because it covers everything that I've done here. And I want to reiterate how important it is to get that solid foundation first before you start adding motion graphics and other visual effects to your project. Because you're going to waste a lot more time if you try to incorporate all of your amazing ideas right away. There's definitely room for that. I'm not saying don't experiment, but try to contain the experimentation within a different sequence. Work in passes trust that you're going to be able to get the same visual and audible impact that you want without having to do everything all at once because it's going to be a lot less efficient than working in passes. Another thing I've done is kept most of my visual layers and I'm going to do the same for the audio and organized it in separate video layers. It makes it a lot easier to interpret the sequence, to quickly identify visual elements where things are within the sequence. And I've also done the same using labels. On track one, we have our role or Talking head. On track two, I've used some black mats. And that's mostly to accommodate the flare overlays I've used to avoid being able to see the outside edges of the frame. Also in that lavender label is my graphics. I've only included one graphic so far, I might add, I don't know yet. On the third layer, we have most of our B roll lens, B roll outdoor B roll that's inviolet, and those labels also applied to our photos which are higher above. And that's so I can use these flare overlays as a background in this case. And it also shows that you don't need to have all of your clips or your B roll on one layer and it's not going to work out that way for complex projects. But using the consistent label helps me identify where other B roll might be if it's not on my designated B roll layers. The green clips are nested clips and we'll talk a bit more about nested clips in the next lesson. The flare overlays are in yellow. And then finally, I've created these flash mats out of just as simple a mat. And it flashes to white using opacity changes. And that's also an overlay. So I've labeled that yellow for a short project like this. You don't always have to go all out with these labels. But in this class, I want you to begin to get in the habit of using labels and organizing your clips on each track so that you can begin to create your own process for faster and more efficient editing. Which is even more important when it comes to longer form content, new flare, overlays, some things about them to get the full effect of these overlays. There's a few things you might want to do. You might want to change the speed of these clips. And you may want to even reverse some of these clips so they work within your edit a bit better. The other thing I'm going to suggest doing is using masks on top of your flares to get them to look a bit more subtle. Without these masks, they fill the whole frame and are very bright. So the masks with a lot of feathering can help create a more subtle look to these flare overlays. In addition to masking and feathering the masks, I suggest you use the screen blend mode, paired with an opacity adjustment, so the flare feels a lot more integrated into the shot itself. So to recap, have a solid foundation before you move on to text effects, overlays, all of that fun stuff. Don't try to do it all at once. Work in passes. It's a lot more efficient even though, yes, it's not quite as fun all the time. Doing it that way, use different layers and labels to keep your sequence organized and the different elements easily identifiable, making your editing a lot more efficient. And the next lesson, what are nests and what makes them so great for efficient editing. 16. Using Nests for Future Proof Editing: In this lesson, I'm going to show you an editing technique that allows for batch editing, creates organization, and can save you time in the revision process. In this final clip here, scrubbing through, you can see the pink flare appears before the blue one. I don't really like that, but what I've already done is etched in some rough key frames so that the flares move along with the lens. So you could see that the flare is scaled up at 100% here and scaling down to 50% so it matches the movement of the lens, which I like, I just don't like that the pink flare appears before the blue one. I want them to appear at the same time. So what I might do is use my slip tool and slip the clip over so that they hit their full max flare potential at the same time. The only issue with that is once I slipped that clip, we've also moved our key frames. So now we have to match our pink flare overlays keyframes back to where our blue flare keyframes are. But what happens if we want to adjust that again? Well, then we have to do the whole process all over again. This is where nesting these clips can be helpful so that we can accommodate any other changes down the line without having to readjust our keyframes every single time. Nesting in Adobe Premier Pro is the process of combining multiple clips into single nested sequences. And it doesn't only need to be multiple clips, you can also just nest in an individual clip. Once you nest these clips, it treats all the clips as one individual clip. Anything you do to that nested clip will apply to all of the clips within the nest. Nesting is also a great way to manage the amount of clips on your time line, reducing the amount to visual strain, allowing you to also be a little bit more organized. To nest these clips, I'll click and drag a lasso around them. Select them both at the same time. Right click in this menu, select Nest. Right now, I'm not going to worry too much about specifics of the name because I could change it a bit later. But for this nest, I'll just call it flare overlay one. And it's very important to write nest at the end. And I'll show you why. Select. Okay. Because it creates a new sequence within your project panel. I don't want to get confused between my main sequences and my nest. That's why I prefer to label it nest at the end. It's also very important to stay organized. Move these nests into your own nest folder. Yes, the naming here is a bit discombobulated, but I will adjust that later. It's now combined both of those clips into one clip. That clip also by default, appears green. I'm going to change this back to yellow so that I can easily identify that it is an overlay. Now to open nests, you can double click on them. You can also use a shortcut and that shortcut is real nest reveal nested sequence. I've set mine to Alt. Set that to whatever you'd like. Okay, and in order for you to be able to reveal the nest, your playhead needs to be above the clip itself and your track targeting needs to be enabled for that clip. If my track targeting is deactivated for that clip and I hit the reveal nested sequence shortcut, it will reveal the lens bureal nest here because that track targeting is enabled and the playhead is above that clip. But also what's kind of strange is if I highlight the clip and then hit reveal nested sequence shortcut, it will open up that nest. So there's a lot of options there. Now, right away, you can see that the nest also nested these empty tracks. Video one to four, right beneath where those overlays were originally located within our main edit sequence. I don't like seeing those empty tracks below. So I'm going to delete all empty tracks using my delete all empty track shortcut. Now we have a nice clean, easy to look at, nested sequence. What I'm also going to do is delete the key frames on these clips. Because I'm going to animate using my nested sequence, animating both of these flares at the same time. So I'll delete these keyframes. Select this clip. Delete those keyframes. Okay, we no longer have any animation on those clips in my nested sequence. I can now adjust my clips so that I'm happy with the timing of them. Blue comes in a bit late, so what I'll do is I'll slip it back. Let's try that. A pink just ends a bit fast, so I'll just slip that forward. Okay, I think I'm pretty happy with that. That works. The reason why I'm deleting these key frames is because I'm going to re animate on the nested clip itself. So that when I adjust these clips, I no longer have to adjust the key frames on the individual clips themselves. One thing about nests that you need to make sure that you're paying attention to is rasterization. When you nest any clip or clips, it will rasterize that clip based on the sequence settings. Because we're in a ten eight P sequence, it's rasterizing any nest at 19:20 by ten 80. I'll show you using these two identical frames. One of these clips is nested, one of these clips is not. If I select this unnested clip, and I want to make use of the extra scale we have available with this four K clip embedded in our ten DP sequence, I can go from 50% all the way up to 100% Now if I move to our next clip and select it. You can see here that we're already at 100% scale because it's rasterized that clip into a 1920 by ten 80 sequence. Meaning that if I scale this up to match our first clip, we no longer have full quality in our nested clip. So this is something that's easy to overlook with nested sequences, and that's an easy fix. All we need to do is hop into our nest and adjust the sequence settings so that they make full use of our four K clips. I'll change this to 38 40 by 21, 64 K, hit Ok. And then we'll scale these up to 100100100. Boom hopping back into our main editing sequence. The overlays are a lot bigger. But we can also take this nested clip and set to frame size. Now we can make use of that additional scale without worrying about losing any quality. You may have also noticed that I've switched between sequences quite a bit. And yes, you can pancake these sequences so that you can see both sequences at the same time. But then you're working with one program monitor that switches each time you switch sequences. Anyway, so one way to see both our nested sequence and our main sequence at the same time is to use the same method we use in our advanced select lesson. First, I'm going to go to Window and select my custom select Source workspace. And again, this workspace shows a full source monitor and a full program monitor allowing us to make full use at the same time, again showing why it's a very good idea to create custom window layouts for each of these processes. I'm going to close this nest and locate it within my project panel because I want to open it into my source monitor and do this whole process again. So I'll find the flare overlay one nest. That's what I named it. And I'll open it in my source monitor. You can also right click open. In Source monitor we have the nested sequence here. Clicking on the Wrench, Open sequence in Timeline. And then we'll create that pancake timeline. Again, we can make use of our nest within our source monitor and our main edit within our program monitor. At the same time, anything we adjust within our nest, we can see right away within our program monitor, So I can move things around without having to switch between each sequence. If you can nail down these steps in an efficient way, it becomes a lot easier to work with nested sequences. Once I'm happy with the results, I can switch back to my essentials editing window layout and now I can work on key framing the scale Here I'll just quickly keyframe the scale and make these adjustments. Let's go up to 100 there now. I mean, it doesn't match perfectly, but you could see that I'm adding a bit more visual interest to your own market. Now you get the gist of what we're trying to do here. Our key frames are in a fixed position. If we need to adjust our overlays for any reason, we can open up that nest and adjust them right here without having to adjust the keyframing itself. And this is one small example of nests being useful. And again, this is a smaller project, so you might not need to nest any of your clips, because you're going to get this imported and exported very quickly. But when it comes to bigger projects, it's very important to think about what's going to stay the same, what might change, and how can I use nests to accommodate those changes, while also organizing my sequence in a way that's manageable. So to recap, use the nest function to keep your timeline organized and tidy while also having the ability to make multiple clip adjustments at the same time. And avoiding any issues, such as having to readjust key frames as you readjust clips. If you want to be able to see what your nests are doing real time within your main editing sequence, use the advanced select method. Open your nested sequence within the source monitor. Click the wrench, open in time line, and then you can make use of both your source monitor and your program monitor simultaneously. Over the next few lessons, I'm going to show you some quick tips and tricks that you can use to increase your editing efficiency, starting with an alternative way to batch effects to multiple clips. 17. Batching Effects to Multiple Clips: In the next few lessons, I'm going to show you some quick tips for fast editing. They don't really fit anywhere else within the class, so I've clumped them all here. My first tip, and you're probably already using this to some capacity, is adjustment layers. Now typically people use adjustment layers to make color adjustments to multiple clips in the timeline. But that's not what we're going to use it for in this case. To create an adjustment layer, they'll have to select this new item icon and select adjustment Layer. Click Okay. We'll move this into my Mats and Adjustments folder. Selecting it. I can overwrite it into my sequence because track one has nothing on it. So I'll click and drag this above these three clips here. Because what I wanted with these clips is some movement right now, X on R 40 mid one point. The only movement that we're getting is really from the lighting. What you could do is you can go into each one of these little clips and adjust the position and scale and key frame it. But then you wouldn't really be able to get a consistent movement throughout this group of three clips. And that's why this adjustment layer comes in. Because an adjustment layer allows you to make adjustments to anything beneath it. So we should be able to just adjust our scale and position and key frame it to create one consistent movement. But when we adjust our scale or position, nothing happens. But there is a way around this. And that is to use one of my favorite effects, the transform effect. Under your Effects tab, type in transform, under video Effects, distort transform, and click and drag it right onto your adjustment layer. Using this effect allows us to make any adjustments we couldn't make in our motion controls. Now I can create one consistent move. I'll start with scale and position, and I'll move to the end here and select two more keyframes. Getting a bit of a weird overlay there. So I got to move that and create another key frame. I'll move these key frames into place once the movement is complete. One thing to keep in mind here with scale, you have to be aware of what the clips beneath it are already at, so that we're not losing any quality. We're at 70% scale. This is going to be a very subtle effect, so I'm not too worried about going over 100% scale. Even though it says 100% scale here. You shouldn't lose any quality if you're going up to say, 110 scale. Because the clips beneath this adjustment layer are in the realm of 60 to 70 scale. So let's take a look at this. A Hexan on AR 40 millimeter F. Now one thing to keep in mind with movement is you want to be very subtle. You don't want huge movements unless you're meaning to make them huge and draw attention to the movement. In this case, I want it to be subtle. I don't want it to be noticeable, but I want it to be felt. A felt presence. So I'll change this to one oh five scale. Maybe I'll do a very subtle left to right movement. And again, this is getting all messed up. So let's just move that there. Let's take a look at this. The Hexan on AR 40 millimeter F 1.8 Okay. That's pretty good. Now, I'll move these keyframes at the in and out points of my adjustment layer so it covers the entirety of the adjustment layer itself. To be able to preview what this is actually going to look like, I need to render it Conca Hexan on AR 40 millimeter F 1.8 lens. Okay. Awesome. It's super subtle. I don't want it to be distracting. I like this movement and that is just another way you can use adjustment layers to quickly adjust multiple clips all at the same time. So to recap, you can use adjustment layers not only for lumetri effect, but also making motion adjustments to multiple clips using the transform effect in the next lesson. A faster way to use custom effects. 18. Maximizing Productivity With Presets: This next editing tip makes use of presets to reduce necessary editing actions and streamline process. Coming back to our main time line, you can see I've created these flash mats for lack of better term. All that is, is a mat with an opacity change and the overlay blend mode. And this gives us this interesting flash transition. And it's a nice way to cut from one shot to the next. But it's also practically used to hide the different compositions from this shot to the next. Now that I've already created this flash mat, I might want to save it as a preset. Because let's say I have another project I'm working on. And I think it could be interesting to use this similar effect in that project, because this effect is based on opacity alone. What I can do is I can write click on the opacity attribute and then select Save Preset. Essentially, we're saving the key frames and the opacity data that I've used. For this Matt, I can name this flash maat again, for lack of better term. Something about it doesn't sound right for now. I'll keep the type to scale and what's great is you can write a description for this so that I remember what I want to use this for. Flash to white transition, just so I have more context or someone else who's using this preset has more context. Select. Okay. And that will appear within your effects panel. Under presets, I'm going to duplicate this matt itself, delete all the key frames associated with it, and I'll change this to normal. Now we have a plain white matt. If I click and drag this flash mat preset over top of this matt, it'll apply the opacity adjustments that I used on the previous flash mat, including the blend mode and the key frames. Now let's talk about the type. We have scale, anchor to point, and anchor to outpoint. When I save the preset, I set the type to scale. And what that does is scales the opacity keyframes to fit the length of the clip. If I create another flash mat beside it and make it longer, and I click and drag the flash mat down to this clip. It scales the effect to the length of the clip itself. If you want a loyal recreation of the preset that's not going to scale to match the length of any other clip, we can write, click on this flash preset, come down to preset properties, and rather than using type scale, we can use anchor to point or anchor to outpoint. Select anchor to point and okay, now I'm going to select the flash mat and click and drag it onto this longer clip. Now we no longer have our key frames scaling to the length of the clip, but they are anchoring to the point of the clip. And yes, you've guessed it. When you write click and preset properties, adjust anchor to outpoint, and you click and drag this. It will now anchor the preset to the outpoint of this clip. Creating presets can take a bit of work and a bit of time up front, But in the long run can really save you time and help you stay visually consistent through different projects. So to recap, presets are very under utilized, but if you can take the time to create them up front, it'll save you a lot of time down the line and provide you that stylistic consistency throughout multiple projects. When saving your preset using the scale type scales the effect to the length of the clip. Anchor to point, places the exact effects and their duration at the point of your clip regardless of the length. And anchor to outpoint does the same, except at the outpoint of the clip. In the next lesson, we're going to delve into how to quickly remove and copy paste attributes. 19. Editing Made Easier With Remove & Copy Paste Atrributes: This next fast editing tip reduces necessary editing actions and is copy paste and remove attributes. Let's start with remove attributes. You probably noticed when I wanted to reset this Matt back to normal, I had to manually delete all of the key frames and readjust my opacity with remove attributes. I can do this in one step. I'll right click the clip, select Remove Attributes. And I can choose all the attributes I wish to remove. I didn't change the motion effect, so I don't need to have this selected. But I did adjust the opacity, so I'll select Okay. And what that does is it resets all the effects I applied to my opacity effect on this clip. And it also works for position and scale or motion effects where this attributes function really shines is copy paste attributes. Now let's say that I wanted to add another photo. I would navigate to my photos and select one. I'll just bring it down to my timeline. I'm kind of doing it a bit messy here, but when I bring it down to my time line doesn't fit, it doesn't look good. I want it to match this style, and I have a lot of effects here that would be a pain to copy paste everything. Instead, I can use the copy paste attributes function. I would select the clip, right click copy or command or control C, and then right click on the new clip that I want to apply all these attributes to, and then paste attributes. So I'm taking all the attributes from one clip and applying them to another. Again, we have this familiar window from the remove attributes, except now we're pasting attributes. Yes, we want to paste Motion, Opacity doesn't have any change, no time remapping. And then all of these effects we also want to apply to this new photo. And I'll select okay. And now we have this clip that has all the same attributes, the same movements as this one. Now all I have to do is make a few minor adjustments to get this photo looking as good as possible. So to recap, making use of removing attributes will allow you to remove any unwanted adjustments quickly. And copy pasting attributes allows you to take attributes from one clip and paste any number of them to another without having to copy paste individual effects. Don't forget to set shortcuts for your remove attributes and copy paste attributes functions. In the next lesson, I'm going to show you how to deal with editing multiple clips. 20. Quickly Moving Multiple Clips: One of the biggest annoyances for the majority of editors is when they have to change the structure of their edit. Either adding extra content in or taking it away. This can be a major pain, but in this lesson I'm going to teach you how to deal with this. All right, so let's say that for whatever reason I decide this edit's going to look a lot better if I include an additional clip right smack dab in the middle of our sequence. Now how would I deal with this? So the first thing is I'm going to choose the clip that I want to use. And I found it right here. And I need this shot where I'm lifting a camera up to my face. I don't know why, it's just important. I don't really need this clip. I'm just using this as an example. I set my in and out points when I hit Insert on the keyboard. The problem is, is it cuts right in the middle of my sequence. I don't necessarily want to overwrite it into my timeline because that's not going to do me any good. I need to create a new space for this clip to fit into this edit. Now you'd probably say okay, well the best way to do this, Sean is just to click and drag your clips and move them over, right? Well, yeah, you can do that for short projects like this, that's fine. But when you have a project that keeps going on and on in the timeline and you need to move hundreds of clips, that becomes a lot more challenging. And I also forgot to bring my voice over along with it. Instead, I prefer to use the Track select Forward tool. The Track select Forward tool is located in your tool bar right here. Track select Forward Tool. And by default, you actually have two arrows that appear, which means you're going to select all the tracks in front of the icon. When you hold shift that allows you to select all the clips in front of your cursor on that specific track. So I could switch between each track selecting all the clips, which is awesome because then I can move each individual track. But when you have the two arrows, which is the default for the track select forward tool, it will select all of the clips in front of the cursor. Now you might have noticed that, well, the problem is here. Now we have our audio selected. If we click and drag everything forward, well then our music gets all messed up to deal with that. Well, yeah, I guess I'm going to have to shift click all of these individual music tracks and that kind of becomes a bit of a pain. But at least this is maybe a bit of a better way to do it than lassoing all my clips. So when it comes to things that need to stay in sync, such as your audio, you don't want to mess up your audio, it's locked. In this case, I would toggle our audio track locks where our music is situated on two and three. This way when they're locked and I select the Track Select Forward tool, I can click and drag all of the clips I intend to move while keeping my music unselected and locked in place. Now that I have that gap, I can move back up to my source monitor and overwrite this clip into my time line. Once I decide, hey, I like this timing of my clip. I'll set to frame size, nudge this clip up to land in my B roll track. And then I'll use my Track select forward tool to select all the clips and move them back into place. And not done in my round town. And not to mention the 40 millimeter length, which also, I mean, that's not terrible. I could keep that clip right there if I wanted to. Now, the only other challenge might be that you would have to readjust your audio. Either adding a small portion of the audio in to extend the audio, or if you're cutting a shot out to reconnect the audio at a matching beat within the song, which is its own challenge. In my class on visually appealing edits, I talk about some strategies to deal with connecting two portions of the same music track within the same sequence. If you haven't checked that out, I would suggest doing that. So to recap, the Track select forward tool is an awesome way to select multiple clips, either on individual tracks or all of your tracks. If you're dealing with a similar situation where you need to keep your music or your audio intact, you can toggle track locks on video or audio to keep them locked in place while you move the rest of your clips. And when you're done with those locked tracks, use some shortcuts to quickly unlock those tracks and get back to editing. All right, and the next lesson we are going to discuss some strategies on fast, fine editing. 21. Fast Fine Editing: Fine editing doesn't need to be a time consuming task. In this lesson, I'm going to show you some strategies to quickly get to a locked edit. At this point, the edit is pretty much there. We might need to just make a few fine editing adjustments and of course, add some sound effects. Now, adding sound effects at the end is a bit more desirable because if you're still in the mode of making big adjustments, you're going to be readjusting that audio, those sound effects quite a bit along with it. And that's just extra work that you don't really need to do. That's really just going to take up a lot more of your time. Remember process work in passes to be more efficient. Fine edit also includes perhaps nudging some clips around or frames around until you get the clip working a lot better with the edit overall. I'm going to start by moving the music edit down using the clip selection down shortcut so we could make some room for these sound effects. Navigating to the sound effects folder, I have some sound effects available for you to use. I recorded these myself, so they're not the best. If you have your own sound effects library, I would suggest you use that. But you could use this too. It's totally fine. I'll be using these sound effects just to demonstrate. I kind of thought it would be interesting to use a woh sound effect here with this lens zooming in. I'm trying to create some soundscape to draw our audience in. And to make this edit just a bit more interesting, I'll start with woh sound effect one from here you can click and drag the audio in, that's totally fine. But I also want to show you one interesting source, patching shortcut you can use here when you're overwriting or inserting video or audio clips into your timeline. We'll open up the shortcuts menu and type in move all sources. Move all sources up and down applies to your video and audio. This is quite advanced, so if you don't want to do this, that's totally fine. As I mentioned, I love to use the Numpad for track targeting and I also use the Numpad for source patching. So you could set these hockeys right now or continue watching to see how this works. Now, because I want my audio to land into audio track two or three or four. I need to set my source patching for any one of those tracks. Remember, because our audio is selected and it only has one source, that's why we only see audio one in our source patching. So we can't select audio track two, audio track three to target, because there is no audio track two or three within this audio file. But we can click and drag the audio one source in our source patching column to our target track. Or you can simply move all sources down or up using your shortcut, which is really awesome. So now I can move the source down to track two and then overwrite my sound effect directly into the time line. I'll zoom in so I can see what's going on here now. I can't really hear the sound effect right now, so I'll solo it. Yeah. So see this is quite a basic sound effect and we have a lot of bass in the background music and even in my voice, so it's incredibly difficult to hear this sound effect. In order to make this sound effect a bit easier to hear, what I'm going to do first is open up my audio track mixer. If your effects aren't open, you can click on this triangle in the upper left corner of the audio track mixer. And because we want this effect to apply to track two, we'll navigate to track two. Effect selection filter, an parametric equalizer. And I've already went over this in another class, but we'll quickly go over it here as well. Right click to edit the effect. The goal here is to increase the upper frequencies and decrease the lower base frequencies right away. I can just click and drag these points, and because we have these sharp waves here, I can click and expand the width so we can get a more gradual curve. And I'll increase the upper frequencies, also opening up the width a bit. And we'll take a listen to this quick featuring quite a bit more of the upper frequencies. Play around with this effect until you get something that you like. All right. I think I'm okay with that for now. Now comes the point where we're going to talk about fast, fine editing because this is such a precise movement, we want the sound effect to match exactly with the movement. And I place the sound effect into the timeline without knowing this, but it's almost perfectly timed, which doesn't really help for my demonstration. Okay, but we're going to do this anyway. You're free to click and drag, But what happens is you have to turn snapping off to get that frame by frame precision. And it's a bit clunky. I don't really like that. I like to keep snapping on mostly all the time. I'd rather use these shortcuts to nudge our clip left and right, and if you're an advanced user, I'm sure you're already using these shortcuts. Let's open up the shortcuts menu in the search menu. Type in nudge selection. You have nudged clip selection. Left one frame, right one frame, left five frames, and right five frames. If you don't have shortcuts assigned for these already, do that now, unless you prefer to use the default shortcuts when your clip is selected, it does just that. We can move our clip frame by frame or five frames at a time. In conjunction with our step forward and backward frame by frame, we can now find the perfect timing for this clip to be nudging the sound effect into a frame perfect position. Great, that looks pretty good. I know that there's more zooms at other points within the edit right here, we'll add a sound effect to this lens zoom as well. Navigating back to our sound effects, I'll use a different Wh sound effect variation. Cool, and because our source patching is still in the correct position, that means we can just overwrite into our timeline. Here's another little extra shortcut that I think is amazing. So first I'm going to de select my track targeting for video and audio, and then I'm going to select track targeting for just audio two. So that this shortcut is only applied to audio track two. This shortcut is Select Clip at Playhead. Go ahead and set a shortcut for that. Okay, and that's all it does is you can select the clip at the playhead. So instead of having to use my mouse, I could select the clip at Playhead, nudge my clip around, finding that frame perfect position. And because we have the same frequency effects applied to track two, we don't have to do anything to this clip to make it stand out. Yes, I know that track targeting and source patching can feel very clunky at first. And it is slower than using the mouse, especially when you're starting out, But after a while you get used to it. In some cases it's faster and more enjoyable to use these source patching and track targeting shortcuts. So keep practicing, keep at it. Don't be discouraged. I know it's not easy. Takes a lot of time and practice. Now let's say I decided I want to do a bit of fine editing at the end here with these three clips. I want to vary up the length just a bit on this clip in the middle so that these clips aren't all the same length. Using track targeting, we have a few different options, deselecting our video, deselecting our audio, and then only selecting video three. We can now do some fine editing work on this clip. Another one of my favorite shortcuts is the select nearest edit point shortcut. And there's a number of options here. You could select nearest edit point as ripple in, ripple out, roll trim in, trim out, but I typically stick to these three here. Select the nearest edit as role, we'll do that. It will simply select the nearest edits role and then I can fine tune from here using my trim forward or back shortcuts. I highly recommend using the select nearest edit point as shortcut. I do recommend using the select nearest edit point as ripple in or out. But there is something you need to be aware of when it comes to these ripple tools, especially when you're editing multiple tracks all at the same time. And we'll discuss that in the next lesson. So to recap, when in the process of fine editing to edit fast and to be precise, make sure you're using the nudge clip selection shortcuts, and don't forget about those nudge clip selection up and down shortcuts, select Mirrors, Edit Point as roll, ripple in and out are a great way to speed up fast trimming the Select clip at playhead. Shortcut can increase your speed as well. Toggling, source patching and track targeting can be a bit of a pain. So practice incorporating these functions as you work through future projects. Remember that process is important when trying to be as efficient as possible. In the next lesson, we're going to talk about keeping your timeline in sync. 22. Preserving Timeline Sync: I love ripple trimming, but mostly in the early stages of editing. The reason why is this. If I select our nearest edit as ripple trim in and then I make adjustments to this edit, you'll notice that all of the clips to the right of the playhead are affected. The clips that intersect at the playhead or are to the left of the playhead, don't move at all. Now, this is a bit of a problem, because on audio tracks three and four, that's where my music sits. And that was already perfectly edited together, and I wanted that to stay in sync. So ripple trimming in this case doesn't really do me any favors here. But what I can do is to toggle the track locks where my music is situated and not worry about it going out of sync. Another option is to toggle sync locks. Sync locks are on by default, and they ensure that all of the clips remain in sync when you're ripple trimming. Now you know that when ripple trimming, because the sync locks are on, the clips to the right of the playhead are maintaining sync. The clips that intersect the playhead aren't moving because they are maintaining sync with the clips to the left of the playhead. So instead of using our track locks, I'll turn these off and I'll toggle our sync locks for tracks three and four, and with our edit point selected as ripple trim in Now I can adjust this edit without our music tracks attempting to stay in sync with these video clips. The music doesn't move along with the clips because the toggle sync locks are off. And we're essentially telling the music, hey, don't worry about staying in sync with the rest of the clips on the timeline. This might be the only time I would recommend deactivating toggle sync locks, because sometimes you don't need your music to be in perfect sync. But you do need your music there in the timeline to help set the tone of your edit, to help inform some of the pacing. And you don't want your music moving around as you're ripple trimming. But you also need to be able to make adjustments to your music as you go. Whereas if you have your track locks on, you can't make adjustments to your music without toggling them off. Now, it's not a lot of work to toggle your track locks, so I don't even mind that option. But the goal of the section is to give you a general idea of what they are and what they do. But make sure to be careful when you're using sync locks, because things can be made a mess without you even knowing until it's too late. They are there to protect the sync of your edit. So to recap, ripple trimming is straightforward with clips that aren't staggered. When ripple trimming, all of the clips to the right of the playhead will stay in sync with each other, and all of the clips that intersect the playhead or to the left of the playhead, will stay in sync with each other. Toggling sync locks allows you to override this, but remember they are there to protect the sync of your edit, so be careful when using this function. Toggling track locks can be a safer alternative because it's a lot easier to see when your track locks are on as opposed to your sync locks. Okay, well now it's time to move on to the final recap and finish up this project. 23. Final Thoughts: Congratulations, you've completed this class, it's time for a final recap. Fast editing starts with knowing your story, Understanding what that story is and why it exists in the first place. Fast editing isn't just about technical skill, it's also about organization. Help keeping things neat and tidy allows you to quickly find assets in your folders and on your time line. Premiate templates can be super helpful in boosting your productivity. Any task that is repeated through multiple projects can be made into a template to reuse and save time. Remember that custom work spaces are included in this. Following a tried and true editing process creates a path forward. Fast editing happens when you don't have to spend time questioning what to do next or having to redo work that may have been better saved for later on. Remember to work in passes. Using practical processes such as advanced select editing can increase your productivity. Every project will differ slightly, so being able to swiftly bounce from one process to the next will help you stay agile and maintain speed. This is especially true when it comes to source patching, and track targeting. Using and readjusting keyboard shortcuts is vital in speeding up your editing while also placing less pressure on your mouse hand. Using your mouse is necessary, especially in some processes like when you're using the track forward tool or dealing with sync issues. But always do your best to come back to working on finding ways where shortcuts can speed up each editing process and readjust your shortcuts as much as necessary. Finally, finding ways to batch processes such as movement, color, and copy pasting clip attributes will save you tons of time. Being able to edit fast is an advantageous skill to have. Remember too, that we edit fast so we can spend more time on story, improving our craft, and enjoying the process. If you have a project ready to go, please submit it so I can give you some feedback. I'd be curious to hear your thoughts on what you've learned in this class, so you can include that in your project submission if you'd like to as well. I would also love to get your feedback on this class, so please leave a review. I greatly appreciate your time here. This helps me improve my teaching skills and serve you better. Follow my profile for new classes, updates, and occasional giveaways. If you'd like to learn more about filmmaking and video editing, you can take a look at my skillshare profile page for more classes. And I also have some things that you learn off of my Youtube and Instagram channels. Thanks so much for watching and remember story is your guide. I'll see you soon.