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.