Edit With Confidence: A Step-by-Step Guide to Adobe Premiere Pro

1. The Video Editing Process, One Step at a Time: When editing your first video, it can be a lot of fun. Wow. Look at all this footage I get to work with. There's endless opportunity. So many ways to edit this and a great simple program to make it all happen. This is going. I'm having fun. Yeah. He does. Hold on a second. You might just not have a proper editing workflow yet. But don't be discouraged because after taking this class, you're gonna learn a proven process that will have you editing with confidence in Adobe Premiere Pro. Hi, I'm Sean Dikink. I've been working professionally since 2005 in both studio and freelance environments. I've spent years streamlining my own editing process, and now I'm here to share those same tips that help me simplify my workflow, boost creativity, and ultimately gain confidence when approaching complex client projects. In this class, we'll walk through an action packed edit for the fingerboard company Barnyard B. Creating a short creative ad in your own style. You'll learn the fundamentals of editing Adobe Premiere Pro from import to export with a strong focus on how process can speed up your workflow and how story can guide your creative decisions. You'll come away with knowing exactly where to begin and edit and how to shape it with intention up until final delivery. This class is built for beginners, and by the end, you'll have a solid foundation to carry into both personal projects and client work. Let's dive in and get you one step closer to becoming a confident client ready editor. Alright, let's go. Ready to go. How do we get the video inside the program? 2. Class Project: Thanks so much for taking this class. I'm super excited to dive into our class project because this one is pretty unique. Your class project is to create a 32nd ad for a fingerboard company called Barnyard Fingerboards. And this toy, I guess you can call it, had its heyday in the 90s and 2000, but it's since grown into kind of an underground sport with pros, ambassadors and influencers. The brand was created by my multi talented friend, Greg Rose. And he has a serious gift for building and creating these dioram as I guess you could say. Has these artistic and visually striking designs, but with these practical dioramas built specifically for fingerboarding. And he creates everything from these custom park pieces to specialized boards for pro level fingerboard. And the goal for this class project is to make a short commercial for Barnyard Boards using the assets provided. When talking through this project with Greg, he was very open to interpretation and creative options for the edit itself. So this is incredibly flexible for you to put your own style or creative touch into your edit. Throughout this class, I'm going to walk you through the post production process, and you'll have tons of footage to work with to craft your own version of the ad. Recommend keeping it short and simple. 30 seconds is great. You can post this on your social media to show off your work and use it as part of your portfolio. Please credit the work where possible. But of course, take credit for all the editing and the hard work you put into this class project. That is entirely yours. A quick technical note. This footage was shot in log format, so it needs to be converted to Rec seven oh nine color space. That probably doesn't make any sense to you, especially if you're a beginner, but don't worry in this class, we're going to cover. Are a lot of options with this project. It's a very much choose your own adventure kind of project. So learn what excites you, follow your creative instincts, and I'll guide you through step by step to keep things approachable for all skill levels. And one more cool thing we recorded custom sound effects and original music tracks that Greg made himself. So you'll have everything you need to create your own project. But by all means, if you have your own track or you have your own sound effects that you want to use for this class project, go ahead and use those. Download the class assets. And let's go ahead and start with creating our class project. 3. Creating a New Premiere Pro Project: This lesson, I'm going to show you the most efficient way to get started with your project in Adobe Premiere Pro. So go ahead and open up Adobe Premiere Pro. You can pretty much ignore 95% of this splash screen and navigate to the new project button in the top left of this window. Click on New Project to begin, the new project window will appear, and here you can name your project. I recommend including the date and the project name and that the project name is concise but descriptive. So you can quickly identify the project or its version at a glance. So the reason for including the date is so that if you need to go back to an earlier version, you can open it up without confusion. Example, if there's errors in your current version or if you've upgraded to a new version of Premiere Pro, having these older versions available can be very helpful, and it's a good habit to copy and paste your project file or save as with a new date whenever you make significant progress. This way, you can access older project files in case of file corruption. So by organizing files alphabetically in your folder, you can see all of the versions by date tracking the project's history easily. You might never need to roll back to older projects, but it's nice to have that redundancy in case a project becomes corrupt or a PC prevents you from opening it, and that's happened to me before. Was a nightmare. So having the backup is great to have. Plus, the latest version of your project is going to be easy to identify within a long list, as it's going to appear at the very bottom if you organize by file name in ascending order. So I'll type in 25 for the year 2025 oh seven for July 1 for July 1. I like to go year, month, date. You can do whatever order you want, whatever makes sense to you. And then I use an underscore to separate this date from the name of the project. I'll name it barn, yard, hyphen, boards. I use the hyphen to connect separate words together rather than using a space, I find there are limits to the characters that you can use when naming projects and files. So this just helps me create a consistent naming convention across the board for different types of media. 4. Choosing a Save Location: So next is to choose where you want to save your project files. And I recommend using a dedicated external hard drive, so this could be an SSD, an internal hard drive, or just whatever you have. The idea is to keep your project and media files on a separate drive from your main system drive, which allows your system to focus on running Premiere Pro, while your external drive, whatever that may be, or an additional internal drive is going to handle your project files and media. If you haven't already download the class project assets and copy that project folder, along with the media, the video, the sound effects to your dedicated drive. Then we're going to select location choose location, navigate to the hard drive that your project is stored on and then scroll down to projects. And you can just highlight projects or double click to open it, and then hit Save. That's where our Premiere Pro project is going to be stored in our projects folder. Next, we have templates, which are really handy because they automatically create organized folders and sequences when you start a new project. I don't actually prefer to use them, though, because I have a pre made template that has already been created within the class project folder, and we're going to dive into that when we begin importing media. Skip Import mode, I leave this checked because we have most of our media ready to be imported within our class project folder. It's all nicely organized. I like to skip Import mode because it's a whole different page and it allows you to create sequences and bins and all of that. But because I've already done all of that in our class project folder template, and it's already well organized, I find it's a bit redundant and the import mode is a bit over engineered for what we need in this project. Let's skip that. And the next lesson, the essential project settings you need for this edit. 5. Choosing Project Settings: Project settings can be quite confusing. But not to worry. For this particular project, I'm going to show you how to keep your editing running faster and your color staying accurate. For this lesson I'm going to show the key settings set up before you start. Let's look at the project settings that we're planning on adjusting. Most of these are going to remain set to defaults. To access the project settings, click on this gear icon. First, video rendering and playback. This is if you have a graphic card. Do and you have this enabled, it allows your graphics card to handle some of the heavy lifting, which improves playback and export speeds rendering. So if you have an video card, that's going to be set to default CUDA. And for AMD or Intel graphics, OpenCL. If you select mercury playback engine software, only it's not going to use your GPU, your graphics card, and it's going to be a lot slower when it comes to rendering, exporting and playback. We want the faster option. Navigate to color. Let's move down to three D t interpolation. That sounds like a hefty amount of words there. Clicking on this, we have trilinear or tetrahedral. Select tetrahedral because it requires a GPU. And with that GPU, we're going to get some benefits which are smoother transitions between colors, more accurate colors, and this is going to be a lot better for us when we start color grading. The only downside of this is that it is a bit slower. It does require a bit more processing power, which can slow things down. This is very important. We want to enable color space aware effects because we're going to be applying what's called the ut. We're going to be altering color. We're going to be using more than one lumitary color effect, probably more effects, that sort of thing. And if this isn't selected, it can cause issues like clipped highlights or strange color shifts. We want everything to be as accurate as possible. Without this checked, we lose some of that accuracy, and we can run into some weird issues with the way things look color wise and effects wise. So enable color space aware effects selected. I don't know why that's not on by default. Who knows? Keep it selected. Alright, that's it for now. So now hit Okay to confirm those options. And then finally, click Create to create your project. And now we have successfully created a new Premiere Pro project and are in the main workspace. This could be completely new to you if you are a complete beginner, but don't worry. We're going to focus on one process at a time following a specific workflow. It's going to make a lot more sense and bring you confidence when you're moving through an edit. So finish creating your project, and in the next lesson, I'll give you an introduction to what's arguably the most important panel within Premiere Pro. 6. Introduction to the Project Panel: The project panel is the brain of Premiere Pro. It's where you import media, preview clips and stay organized. You'll come back to this panel constantly while editing, so it's essential to know how to navigate and control the space so it does not become overwhelming. So at its core, the project panel is where your media lives. Video files, audio files, sequences, images, tiles, and more. You can think of this as the central hub of your project. It's non destructive, just like the media browser. So if I delete it clip here, it doesn't delete the original file from your hard drive. It only removes the references inside of so if I delete all my video here, Oh, no, it's gone. Well, no, it's not. We can always go back to our media browser, right click Import. All of our video intact, non destructive. And if I right click on the file and select Reveal in Explorer, that's referring to Windows Explorer, and this is where all of my original files are stored nicely, safely in the Barnier Boards class project folder. So everything here are my actual files. If I delete it here, then it's gone. So don't delete it here. But the files in the Project panel within Premiere Pro are all references to our project folder in the Windows Explorer or the Mac Finder, whatever you're working on. If you accidentally delete anything, you can just hit Control or Command Z to undo that action. In the next lesson, we're going to dive deeper into project panel basics, organizing and previewing clips, working with panels and their settings, and resetting the workspace. 7. Navigating the Media Browser: We've created a new Premiere Pro project, and now we're ready to move on to the next step in the editing workflow, importing our media, meaning our footage, music and sound effects, graphics, motion effects, animation, whatever it is, that's our media. To avoid getting overwhelmed by Premiere Pro's workspace, let's take this one step at a time, so don't worry about every window or panel you see just yet. We're going to get to most of those in upcoming lessons. There are a few ways to import media in Premiere Pro, but the media browser is technically the best and most reliable option. This is personally what I use over all of the other options. It ensures that clips are imported correctly, handles metadata properly, and metadata is all the information that's attached to your media, like the date it was created, the frame rate, the resolution, dimensions, that sort of thing. And the media browser can deal with spanned clips, which are long takes recorded on certain cameras that need to be broken up into multiple files. We're not going to worry about that in this class, though. You can import using other methods, and I do cover that in other classes. But for this class, we're going to solely be using the media browser. To open up the media browser, go to Window, Media Browser. It opens up in this group of panels in the top left of our Premiere Pro workspace. And this panel kind of looks like your computer file browser like Finder on Mac or file explorer on Windows. But it's different in that it's non destructive. That means you can't accidentally move, delete or rename files here. It's strictly for viewing and importing media, which gives you a nice layer of protection in case you accidentally hit that delete button or move something on acc. Left hand side here, you're going to see a list of storage locations you can access. I'm personally working off of a dedicated SSD just for editing, so I'm going to navigate to that. Some of my folder names are cut off here. So what I'm going to do is navigate to this blue line that shows that this panel is in focus. The media browser is in focus, and you can see how our mouse icon switches to this left and right bracket icon. That allows us to click and open up the panel for a larger view. You can also do this here, the bottom, make this a bit bigger. Can move it back when we're ready to edit. Now, wherever you saved your project files for this class, go ahead and click on that drive. The right hand side is going to show you the folder structure of that drive. I went into my main project folder. I don't want to do that qui yet, so I'll hit the back button to go back. Now, I've located my class project folder, and what I'll do to make this easier to navigate in the future, say I want to reimport media or import new types of media. Can do is right click on this folder and then navigate to add to favorites. Select this. I'll pop up into my favorite section within the media browser. I'll click on these little disclosure triangles to collapse all of this information so it's easier to look at. And then I can always access my project folder directly in my favorites section. Saves you from digging through folders every time you need to import something. If you typically work from the same drive for client projects, you might even want to add the drive itself as a favorite. To get a better view of the media browser, we can hover our mouse over this and then press the Tilda key. That's a shortcut to maximize the panel under your cursor. And I know it can feel like everything else just disappeared, but don't worry. It's just temporarily hidden. You didn't lose anything. If you hit the Tilda key again, it will bring the full ao back. And it's a great shortcut to make better use of your screen space. You can always toggle back and forth as needed or whatever you prefer. Once inside your project folder, open the video folder, and you're going to see a list of your clips. Well, we're going to see our four K folder and our HD folder. Depending on which footage type you downloaded, it's going to look a bit different. I'm going to open up this four K folder. Now, we can see a list of all of the available clips for this project. Yes, it's quite a bit. See it as a list because we're in List View. But if we switch to icon view, which is down here on the bottom of the media browser, thumbnail view, then we get to see a video preview of all of our clips, which is so nice. And seeing at a glance, bird's eye view what we have available to work with. You can hover over any one of these clips and get a video preview. So in the case of some projects, you might have to preview all of your clips before you import them and import only the ones that you want to see. This is a great tool for that. Now you know how to use the media browser to preview and organize your footage before importing. This keeps your project tidy and saves time. Next, we're going to explore one of my favorite features about the media browser. 8. Importing Media + Metadata Tips: Learn how to quickly find and import new footage using Media Browsers metadata to keep your project organized. I'm going to switch to List View. Now, the media Browser gives you access to extra metadata columns, which can help a lot with organization. So let's say you get new footage partway through your project, maybe from a collaborator or on the other side of the world who's also working on this project, you can use the date created column to sort your clips by the most recently filmed versions, and that makes it super easy to find and import just the new files without guessing which ones they are. The most recent ones would show up at the top. Since all of these files were copy pasted into this project all at the same time, they're going to have basically the same time aside from the milliseconds at the end of this time code. So it's not going to really make much sense in this case. If Date created isn't showing up for you, then navigate to the project folder itself, right click on this and then select Edit columns. This allows you to choose any one of these metadata options to use as additional information about your files and folders, and then select Date Created to apply that type of metadata to your media browser. I highly recommend using this option. I'm going to only import from 01 to oh six. You can select that by clicking on the first folder and then holding Shift and clicking on the final folder in this sequence to select everything in between, right click and then hit Import. I'm not going to actually hit Import quite yet. But what that's going to do is bring in all my folders already organized before I bring them into Premiere Pro. I don't have to organize them in Premiere Pro itself. Everything's pre organized. You probably notice that I break things up in separate folders with numbers, video, audio graphics, music, et cetera. And the reason why I number them is so that force is alphabetical order oh one to ten. Now, once again, let's select the folders we want to import video to photos. Right click Import. And just like that, we have all of our folders imported into our project panel, ready to use in Premiere Pro. We saw the full screen view, so hit the Tilda key again to reveal the rest of the Premiere Pro window layout. Yes, the project panel looks identical to the media browser, but it functions differently. So import the folders oh one to oh six, and in the next lesson, we're going to dive into the project panel. 9. Project Panel Basics: Organize, Preview & Reset: In this lesson, you'll learn how to organize your panels on Premiere Pro, avoid clutter from extra bins, and set custom thumbnails to quickly spot your clips. This will help keep your workspace clean and your editing faster. The media browser is grouped with the project panel right now, but we can also click and drag the panel and reorganize it within this group of panels, depending on how we like it. If we want to move our media browser and we're going to use it more often, we might want to move it to the side here and nestle it to the right of our project panel. If we don't want to move it at all, we want to group it back in. We can click on the tab itself and drag it into the middle of this panel. You can also move it to the bottom, to the left, to the top. If I move it up here, then it also moves it back into this group of panels. Really wanted to, you can also click on the Hamburger icon and then undock the panel to move it around freely, but that's kind of annoying, so I'll just not do that. If I accidentally close this panel, we can always reopen it by navigating to Window, media browser, or any of the other panels that you might be using within Premiere Pro. Now one thing you got to watch out for when you double click a folder or a bin in the project panel, it opens up a new panel with just the contents of that folder. If you do this too many times, then you're going to start having multiple panels created from these bins. That can be overwhelming and then you're going to end up having to close them, and that becomes just a bit tedious. Instead, we can hold command or control. When you double click, the Bin will open up in place. And then to get back to the main project folder, we can click on this Return icon here. Alternatively, if you want to control how this works, select Edit, navigate down to preferences. General, in the Bins section, we have double click Open and New Tab. That's why all these new tabs are being created. If I click on this, then select open in place, then it will act as if I'm using the Control or Command click option, which is set to open in place. Similar to the media browser, you're going to see List View or icon view. Selecting icon view, well, we see icons of our folders, but if I double click into this video folder into four K, then once again, I have the option to hover scrub over all of my clips, previewing them before I bring them into the timeline for editing. You can use a slider at the bottom to resize your thumbnails. If Hover scrubbing isn't working for you, then click the Hamburger icon on that bin panel tab and ensure that Hover Scrub is selected. If you're browsing through a bunch of clips that look similar like these ones right here at the top, they're all the same shot. Here's a trick to differentiate them. You can set a custom thumbnail that makes it easier to recognize them at a glance. I'll find the moment where I can see, okay, that's a kick flip. Right, click. Navigate down to set poster frame. You can use a shortcut Shift P. This will give you a still frame preview to help differentiate between all of these similar looking shots. A right click, set poster frame. What's this one? This is a crooked grind, right click, set poster frame. Now we can easily differentiate between these three shots at a glance instead of having to hover scrub through each. Turn back to the main section of my project folder and switch back to List View. I recognize that the project panel is bigger than everything else in my workspace, and that could be a bit irritating to fix this, select window, workspaces, and then click Reset to saved layout. If you ever move panels around and things become a mess, you can always go to that option to reset everything. So to recap, the project panel is your central hub. Keep it tidy. That helps you stay focused, not overwhelmed. List view is for scanning. Icon view is for preview if you accidentally close a panel, select the window, find a panel and click it to open again, move panels as you like, because the Premiere Pro workspace is modular, meaning that you can move things around and change it for whatever works best for your workflow. And that's it. Keep your workspace tidy and remember you can always reset things if things get messy. I'll see you in the next lesson. 10. File and Folder Organization: Staying organized in the project panel isn't about being fussy. It's not about being particular. It's about working faster, staying focused, and avoiding distraction, maintaining anxiety levels. The more logical your folder structure, the more organized, the easier it is to find what you need and keep your editing brain on task of what's important, which is storytelling. First tip number your folders. Premier organizes folders alphabetically, which can be a mess if you're just naming things like video, audio, and titles. If you want a custom order like video first, audio second, start your folder names with numbers. Each and every time you work on a project, your brain's automatically going to know where that type of media is within this hierarchy. You're training your brain to quickly be able to locate different types of media within your project structure. Quick note that, yes, not all of these folders actually have anything in them, but this is to show you that this is the structure that I prefer, and I'm trying to prepare you for the different types of assets that might come in. So if you do have photos or graphics that you want to create within after effects or something like that or Photoshop, then you can do that, and you can import the media using the media browser into this particular folder. Everything is organized in two folders, all my four K clips and HD clips. But if you find this overwhelming, we can easily manage this with subfolders and even new file names. So if I switch to icon view to be able to see what is in each clip, I done it again. Let's go back here. And I'll scroll down to say these stare clips. They're all the same. We can differentiate them by clicking on the file and then clicking on the title of the file to change the file name. I could change the name to something like Sirail and this was a crooked grind, I think, crooked, crooked grind. And I don't know if this is a Slomo. I can't remember here. Scrubbing doesn't necessarily give me a great idea of what the frame rate is. I can double click it and what happens is it loads up into what's called the source monitor, which is this panel right in the middle. And this source monitor is helpful for getting a larger clip preview and allows for more playback control. I can grab this little blue thing, which is called the playhead and I can click and drag it. I can also hit the play button to play through it, and there you go. I can see that it is indeed a real time playback clip. It's not slow motion. And that's actually kick flip to 50 50. Rename this now to Sir rail, kick flip 50 50. If I wanted to specify that it's real time footage, I could even just write RT if I really wanted to. And once again, this is non destructive. So this is not going to rename the source file on your hard drive. It just updates the name in premiere so you're not breaking anything. And if you ever need to reference the original file, you can right click Select Reveal and Explorer, and we can see that the name has not changed. Important thing to note is don't rename the source files on your drive once they've been imported. That's going to break the link that Premiere Pro has to your explorer, and it's going to cause all sorts of issues. So if you want your file names to be super clean and unique to this project, you have to rename them before you import them. I'll undo this, and I'll have my original file name. What I could do if I really, really wanted to do this is put my original name in parenthesis and then write my new name in front. Now it's Sir rail, kick flip, 50 50 Barnard boards. It's a huge title, but at least now I know what the original file name is, so I can always reference it as needed. When it comes to short projects like this, I might not recommend this option. This is more if you're working with multiple editors or depending on your personal preference, you can do either one of those naming methods. But in the next lesson, I'm going to show you what I prefer when it comes to organization for a project like this. 11. Boosting Organization with Subfolders: As I mentioned, I don't prefer renaming files in the organization phase. Especially for a small project like this. In this lesson, I'm going to show you the preferred method. It's a lot faster, and it doesn't require renaming files. If I need to differentiate all these similar looking clips, I'll use folders or bins and then group similar clips into their corresponding bins. For example, I might have a folder that just has clips of this scene with the big rail and the big staircase. Make a new bin, right click New bin or controller command B, use a number in it because I'm going to have more than one scene. More than one location that I'm going to store these clips in, type in staircase rail. And I can even write maybe big staircase because there's more than one staircase in this park. Big staircase rail. Switch to the icon view, take this down a bit. And I'll find all the big staircase rail shots to select groups of clips. Hold control or command while clicking to add to your selection. Find every clip with that big staircase and rail. Here's another one. Here's another one. Okay, and that's it. Now I have all of those selected, click and drag it to my big staircase rail folder, and there it goes. Then I'll just slowly create more folders, 02 with different locations. So this one could be curved rail. There's one, hold control and click. That's not actually the curve rail. Here's a curve rail trick. Is that the curve rail? Yeah, that's the curve rail. Okay, curve rail trick. Curve rail trick and throw them all in that folder. Switch to list view. We can see that we're starting to create some organization with these bins, and if you need to access that location for your project, you can simply open up the folder and find the clip you're looking for. So, yes, you don't need to follow every one of these tips every time for every project. I might not even create these folders for certain projects, especially if they're really small. Just do what you need to do to make it manageable, to reduce your stress, and based on what you prefer as an editor to do what makes you happy when editing? If you don't want to work on all this organization, do the bare minimum, but make sure you're organized so that you can work quickly. And you're not wasting time looking for files that you don't know where they are. If you're getting to that spot, then you need to start working on creating file names or folder names to organize your media a bit better. So to recap, organization is great for reducing anxiety, overwhelm, to be able to locate files and folders quickly to work faster. Use folders with numbers to effectively organize your clips. You can also rename your clips if you really want to. It's not necessary for a project like this, but it can be helpful. And remember, don't rename your source media unless that is you decide to rename everything and then reimport it using the media browser. But after you've already imported the media, do not rename your source files. Now, this file and folder organization may be already enough for you to be able to feel fine with editing and not anxious or overwhelmed. But if you're finding yourself a bit overwhelmed, maybe you have an idea of how you want to organize this media, I would suggest you do that now, and then the next lesson, we're going to exp powerful technique that ultimately guides all of your editing choices. 12. Discovering the Purpose of Your Edit: Before I even start pulling clips into the timeline, before any music sound or B roll, I always stop and ask, what's the purpose of this edit? Why are we making this video, and the clearer the purpose is from the beginning, the easier it's going to become to make decisions from structure to pacing to music, and to what you decide not to include in your edit. The purpose of this edit, I already discussed this a bit with the client Greg from Barnier Boards, before we some of the purposes we explored were to show off the different kinds of boards that Barnard Board sells, make it easy for people to know where to buy them, highlight what makes Barnard boards different from other brands, reinforce the brand name and identity. And in my own edit, I'm not necessarily trying to accomplish all of these things. Just choose one purpose and try to focus on that purpose. I'm choosing what to include in the edit, I'm always asking, does this shot, does this music, does this sound effect help support the purpose? And if the answer is no, even if it's a beautiful shot or maybe it's a clever graphic, it probably should be cut. And that's where the saying, kill your darlings comes from. You might have a beautiful shot that took a lot of planning and prep, and in the end, unfortunately, it just doesn't make sense to be in the final edit. And I know it's a bummer, but we got to cut that. Stick to the purpose. Lot of the times when you're talking to clients in meetings or emails or texts, they're going to talk to you in terms of results instead of purpose. They might say, Hey, we want this video to go viral. Or I want 100,000 views from this video. Or I want more people to buy the product that you're making and edit for. And these are great goals, but they're not something you can edit. Can't cut a video in a way that guarantees it's going to go viral. That's just not how it works. If that happens, if a client's talking to me in that way, I'll usually steer the conversation back to something that's more actionable. I'll ask, Okay, what do you want the viewer to understand after watching this? What do you hope that they're going to feel after this? What's the main thing that they should take away? These are the kinds of questions that can lead to purpose, and that is something you can actually use when editing. Purpose is not result. The purpose of your edit or your project is not a result. Alright, one last thing, purpose, it's not always something that's delivered in a nice, clean, single sentence times you get a long email, a bunch of random text messages, or you're in a meeting where you get a bunch of different ideas from the client of what they want to include in the project. What I like to do is gather all of these notes and ideas into one place. And usually I use Trelo for this. You can use Notion, Google Doc, whatever it is, just put it somewhere so you can refer to it as your editing and try to consolidate all of these ideas and distill that into an actionable purpose. Don't always need to know what the purpose exactly is. Just start with something that you can actually apply to the edit. Doesn't have to be complicated. You can keep this simple. Just think about it in this way. What are you trying to communicate with the edit? What do you want the viewer to understand or what do you hope that they all feel? What makes this product, service or story When you focus on that, the editing process is going to become a lot clearer, faster and more meaningful. You're going to spend less time second guessing and more time making purposeful decisions. So to recap, a result is not a purpose, but what you hope the purpose will provide. And if your client sends you a bunch of scattered info, pull it all together, sort it, and look for the thread that ties it all to the core purpose. You can even ask clarifying questions if they're not sure what they want. Now that you know the purpose, we can be a lot more efficient. In the next lesson, we're going to show you how to begin the process of choosing selects. 13. Creating a Selects Sequence: Now that we have a rough idea of what the purpose of our project is, we're ready for the next step, which is choosing selects. We can't use everything. There's just too much footage to use, and that's fine. This edits only going to be about 30 seconds. We need to be deliberate about what goes in our final edit. And that means we're going to have to go through all the footage and pick the best clips. The ones that best serve the purpose, we've just identified in the last lesson. Is also the point where we watch through all of the footage at least once. Especially if you weren't involved in the shoot, it's really important to get familiar with what you're working with. Some editors even watch it through multiple times, especially if it's a longer project. Maybe it has actors with multiple takes. In our case, it's a shorter edit, so once might be enough. But the goal is the same, know what's there, so that later, if a client says, I hate this shot, you can just say, Hey, no problem. I got one that's going to work better, and I'm going to go grab it and replace it with this one. Going to do two things here at once, getting familiar with the footage and choosing the best parts of those individual shots. The first thing we want to do is create a sequence that contains all of our raw footage so it's easier to look through and pick select. In the project panel, I've gone ahead and organized most of my footage in folders depending on its location or its function within the your case, you might have all of your clips in one folder. That's fine. To create a sequence in this way, select the first clip in your video folder. Hold Shift, select the last one to select everything in between. Right click and navigate down to new sequence from clip. I'm not going to select this because I have done things slightly differently. I've organized everything into my folders, and this is not going to work in this case, but there is another way you've organized everything into individual folders, you can click the main video folder and drag it down to this new item icon. Once you let go, it creates a sequence. Now we have everything laid out in one place, and we could start reviewing and choosing our selects. In addition to all our clips landing in the timeline, a sequence icon has appeared within our project panel. Because we want to keep things organized, click and drag this sequence. Wait a second. We don't have a sequence folder yet. Let's create one. Control Command B, oh seven because I want my sequences at the bottom of this hierarchy, sequences. We'll have more than one sequence, and I'll click and drag this and move it into my sequences Bn. I'm going to go ahead and rename this sequence to barn yard boards selects because we're going to have multiple sequences, this is a select sequence. It's specific for one task. It's not for editing. What I'm going to do is add another folder in it 01 selects sequences, and then I'll create a new folder and call this 02 main Edits. Move the select sequence into the select sequences folder, and now we have just a bit more hierarchy and organization and preparing ourselves for our main edit, which we'll get to eventually. What exactly is the sequence? We're going to cover that in the next lesson and how it interacts with our different panels. 14. How Sequences, the Timeline, and Source & Program Monitors Work Together: Created a sequence. What exactly is the sequence? Think of it like a container that holds any type of media that you want for your edit. When you double click on a sequence, it opens into the timeline. This one's already open, so when I double clicked it, it just put the timeline in focus. If I do close the sequence, I can double click on it, and it will load it right back up into the timeline once again. The sequence loaded up into the timeline is also directly connected to what's called the program monitor, and that is in the same position that our source monitor is because the source monitor program monitor are grouped within the same panel. Now that we have the source monitor in focus, if I click on the timeline, it automatically puts the program monitor into focus because the program monitor displays all of the footage and cuts and effects, et cetera that are in our timeline. From here, if I double clicked on a clip in my timeline, it would load it up into the source monitor, and you can see that the source monitor is now in focus. The source monitor allows us to preview the original source clip. If you did have cuts in your timeline, I'm going to click and drag this trim point on either side. In the timeline, now you can see I only have this part of the clip here appearing in my program monitor. But if I double click it into the source monitor, an inpoint and an outpoint appear. That shows that that range is currently located in my timeline. But when I load it up into the source monitor, I can see beyond those in and out points and preview the original source clip. This is great for if you need to see which part of the clip you're not using or if you want to slide the in and out points over to feature a different part within your edit. Now, if I navigate down to the timeline again, it's updated to that new segment that I've clicked and dragged those in and out points. Find that the program monitor and the source monitor are easy to confuse, like I do, sometimes it's helpful to avoid grouping these panels, and you can click and drag the source monitor to the left. So you have both the source monitor and the program monitor displaying separately. But what's nice about grouping them together is you have more screen real estate for that. So what I'm going to do is group them together. But you'll start to get comfortable. Once you start editing. I know it can be a bit confusing. To recap, you can create a sequence by right clicking on a clip or a group of clips, then hitting new sequence from clip. Or you can click and drag any one of these folders or a group of folders to the new item icon to create a sequence. Think of a sequence like a container that holds all of your media. You can playback your media within the timeline, which is directly connected to the program monitor. It's easy to get the program monitor and the source monitor confused with each other. Try to remember program monitor is connected to the timeline and is there to help you see how your edits coming together within the timeline, and the source monitor is there to give you a preview of the source clip in its entirety. In the next lesson, essential playback tools to review your select. 15. How to Playback Footage: In this lesson, I'll show you the most efficient way to play back the footage within your timeline when reviewing select. I click on the play stop toggle in the program monitor, we will initiate playback. You will see in the timeline that this blue cursor, the playhead will start moving, and the playhead indicates which frame is being played within the program monitor. If I hit Stop, you can see we land on the frame at the playhead and we see a stillimage preview in the program monitor. Instead of clicking the play button to start and stop playback, I recommend using the spacebar. It's a lot quicker and no need to try to aim and click at this small play stop toggle icon. But what's even more efficient is to use what's known as the shuttle stop shuttle right, shuttle left shortcut. Shuttling simply means it's to move or travel, and by using the shortcut keys JKL, we can perform these functions. Pressing L will shuttle forward so you get regular playback. Pressing K will shuttle stop, stopping playback. And pressing J will shuttle backward, reversing playback. If I tap the J or Algis multiple times, we can speed up playback. There are more variations with JKL, but let's start with these for now. In addition to JKL, I totally recommend just clicking and scrubbing through your timeline. It's tactile, it's responsive. You have a lot of control. It's satisfying when you can quickly move the playhead where you want it to go. Hit the home key on your keyboard to go back to the beginning of your timeline. Using the JKL keys, I'll shuttle forward, shuttle stop, and shuttle reverse through the timeline. And as I watch, I'm constantly asking myself, does this clip serve the purpose of the edit? Definitely. I mean, any one of these clips can serve the purpose of this edit. This one totally does. See this song? This one totally does. This one totally does, because I've already prepped most of these shots for the class project. If I gave you all the raw footage, it would be a bit of a headache to go through. So part of the reason why most of these clips already look really good is because I've prepped them for this class. That doesn't mean you find the best portion of the clip and it cuts within it. And that's what we'll tackle in the next lesson. 16. Making Edits in the Timeline: So here, for example, I have the hand and skateboard trailing off of camera and out of focus. I don't necessarily think I need that. And to keep things concise, what I can do is I'll cut and not include the rest of the clip. To cuto the portions you don't want to include in your select, use the razor tool. Navigate to the tool bar, select the razor tool, line it up with your playhead. It already kind of magnetizes onto the playhead, and you can click near it, and it'll make an edit. J, to shuttle reverse, I'll find the beginning of this clip that I want. I don't need all of this run up, so I can cut this out. Maybe we'll just start right here. And click again to make a cut. If the razor tool isn't snapping to the playhead like this, that's probably because you don't have what's called Snap and timeline turned on. At the top left of the timeline panel, there's this magnet icon. You can click on this to toggle it off, then you don't get snapping, which makes it a lot more difficult to be intentional with our cuts. I do like to have Snap and timeline on and recommend this to be on. Now with this portion that I've just cut out, I can switch back to my selection tool, shortcut V, click and then drag it to the second track. This is my way of visually organizing the timeline. Track one are all the raw clips that I probably won't end up using for my edit, and Track two are the best portions of these clips that I've selected so far. I did skip these clips here, so I'll make some quick cuts. For our next clip, let's speed things up a bit. When using the razor tool, essentially, we're adding edits to our clips. There's a faster way to do this, and that's by using the add Edit shortcut, which is default, control or command K. I'll make an edit directly on the playhead so you no longer have to click on the clip itself to make an edit. Find my outpoint, hit Add Edit, click on the clip and drag it up to Track two. Scrub to my next clip, add Edit, find the outpoint. Add Edit. And here's another nifty shortcut you can use to speed up the process. Instead of clicking and dragging the clip to Track two, holding Alt or option, and hitting the upkey we'll nudge our selected clip upward to Track two. Scrub to my next clip. Add Edit, find Mile point, add Edit, select the clip, nudge selected clip up. If you want to nudge the selected clip back down, hold Option Alt and then press down. Up down, up down, up down. Look how quick that is. I did mention using JKL keys, and you're probably noticing that I don't really use them. And that's because I'm mostly looking at the action. There's no talking, there's no sound that I need to hear. I find that scrubbing is the most efficient in this case. As I'm quickly moving through my clips, what I'm doing is using the scroll wheel to quickly readjust my view from left to right or right to left. Eventually, I've come across a clip that is cropped. It's smaller than the full size of the frame, and that's because this is an HD clip. The sequence I've created by clicking and dragging it to the new item icon chooses the first clip in that sequence to create properties from because the first clip in the sequence was four K, it's a bigger dimension. Therefore, the sequence is larger than this HD clip. Come across this, don't worry too much about it. Make edit points as you normally would, and in a later lesson, I'll show you how to deal with these clips. Because so many of these clips are already short and concise, they can probably all work for your purpose. Take this as an opportunity to make cuts on your clips to practice using the add Edit shortcut, the razor tool, shuttling through your project, and nudging your clips up and down. After you're done, you should have all of your selects nudged up to track two within your select sequence. To recap, shuttle right, shuttle stop, shuttle left in conjunction with scrubbing through your timeline, I find is the most efficient way to navigate. The razor tool is fine for making edits on your timeline, but the add edit shortcut is a lot faster, and in my opinion, is a lot more efficient. The shortcut Option or Alt plus up. Nud your selected clip up to the second track. Track two represents all of your selects. The best portions of the clips on your timeline that you're probably going to use for your edit, and Track one are all the clips that are still available in case you need them, but you're most likely not going to use. Review all of the clips, look at what you have, choose what stands out to you, and trust your gut on what suits the purpose of this piece. I'm going to take you through more ways to distill this footage and to get more specific and clear on the story you're creating. Be discouraged. We have more to come. In the next lesson, we're going to create a main editing sequence, and I'm going to give you some super helpful tips on how to manage those sequences as you progress with your edit. 17. Managing Multiple Sequences: Once you've picked the shots you think it's going to work best, it can still be tricky to know where to begin. That's totally normal. In your Selex sequence, any clip might be a good starting point. Before we jump into editing, we're going to want to get clear on what we're trying to say with the piece, and then start shaping our footage around that. But here's the thing we don't want to just start cutting directly in the SelexTline. That sequence is meant to be a clean space where you've gathered your best options, and you can come back to it if you need to. So you're going to want to hang onto this and not change it dramatically. It's a helpful reference point place where all of your unused shots are still easily accessible if you need them later. What we want to do is create a new sequence for editing together your selects. The fastest way to do this is by duplicating our already created select sequence. Right click and navigate up to duplicate. You can also use the shortcut Control or Command plus Shift plus forward slash. And once that's done, we can give it a clear name like Barnard Board's Underscore Edit. Nothing fancy. And to keep this organized, I'll click and drag it into my main Edits folder. Open that up so we can see it. And now you can see this is why I number these folders. 01 select sequences is first, and it's first in the workflow, and 02 main edits is second in the workflow. And then we will eventually, once the final edit is complete, have an 03 final edits folder. So it's easy to distinguish where each sequence is within the overall editing workflow. Can also date your sequences, especially if you're working across multiple days, months, years. Each day, just duplicate your main edit and add the date. And this gives you a running timeline of your progress. If, say, on 10 July, I decide I want to do another type of edit. I want to try something completely different. Maybe it's an alternate type of edit. I'll duplicate that sequence. And because it's the same date and it's a completely different edit, I'll type in ALT or Alt for alternative. If I decide to continue to work on my regular edit and I've made a lot of progress within the same day, I'm not going to change the number to 11 because it's actually the tenth. Rather, I can add a B on the end. And you can do that as many times B, C, D, wherever you're at, and how much redundancy you want within your day of edits. That way, you don't lose work you've already done, and you can always go back to it if you need to. This is especially helpful when you make large changes to your edit or make a significant amount of progress. This approach gives you a bird's eye view of your project over time, and if you ever need to reference something an earlier version had, whether it's something the client liked or something you lost track of, you're going to have it. This has happened to me on more than one occasion where I need to go back and see what I've done, and that is exactly because a client has a note about an edit that I've made. Maybe I've went too far and I have to revert back to an earlier sequence, or I simply need to cut a segment out of that earlier sequence and paste it into my new edit to retain that portion. Key takeaway is this, your select sequence and your edit sequence, they serve different purposes. The Select sequence is going to help you gather and explore and your editing sequence will help you build your edit. Keeping them separate gives you clarity, flexibility, and a safety net as your edit evolves. Remember to separate all the different stages of your edit within subfolders and make sure you include the date in the name of your sequences and Premiere Pro project files for Extra Rdundancy. Next up, we're going to talk about how to actually begin your edit. 18. Building the Foundation of Your Edit: How do you even know where to start with edit? Which shot should go first. With so much footage, it's easy to feel overwhelmed. And that's exactly the problem we're going to solve in this lesson. By the end of this lesson, you're going to know exactly where to begin and how to map out your entire 32nd or whatever length video. We do this by understanding the what of our story. When you dump clips onto the timeline without a plan, you're going to end up confused, second guessing every choice. Should the shot come before that one? Do I even need this? There's a bit of that, but the what helps you define happens at the beginning, middle, and end of your story. It gives you a clear roadmap of where to go every step of the way through your edit. Every clip you choose or cut serves a purpose, and you can edit faster because you can simply follow the what of your story as a map. The what is simply what happens in your story from the very first frame to the very last. The easiest way to find the what of your story is by looking at your script. Open the script, and you can see here, I have a beginning, middle, and end. I can simply use this script to locate the clips that I filmed for each section and place them into the timeline accordingly, and that's really it. There's not much to it. But there is something else to keep in mind, which is when using the beginning, middle, and end of this script is to think about taking your audience on a journey. I like to think about it like a roller coaster ride, and I've attempted to do the same with this short script. A roller coaster, it can start with anticipation. A big drop, and you might hit a huge loop right at the beginning, followed by a calm or track that creates anticipation. Then once again, you're thrown into a spiral of tracks back to calm again, and then back into the abyss of track. And much like your roller coaster, the aim is not to be one consistent speed or intensity all the way through. If it's flat and straight the entire way, that's not going to be exciting at all. But if it's full of loops and speed with no slow moments, people are going to throw up and feel dizzy and not know what's going on. Need to have some ebb and flow. This can be different than the script. In a lot of projects, you're not even going to have a script. Don't worry about getting the beginning middle and end. Perfect or right. You're just trying to put something together, and as you start going through the ways to structure the beginning middle and end, your brain will automatically fill in those gaps, and afterward, you can decide if you think it's an engaging way to edit the footage. So as I was writing this lesson, first thing that came to mind is I thought, Well, what if I started with the boards themselves? Maybe I throw them together and show the different colors and styles. And then I had another thought crossed my mind. What if I made the boards swipe onto the screen like it's some character selection screen from a video that was kind of cool. And then maybe I create a motion graphic that shows the board being selected. And after that, I showcase some tricks to get into the loop section of my roller coaster. It gets exciting. Then gets back to calm. We go back into the board selection screen and reveal some unique stats about the board, so we're getting our purpose across. Then we show a huge trick to give some credibility to those stats. And then what if after that, I go back once again to the board select screen, then swipe over to the barnyard bowl character. And we have the logo with the call to action and the Barnard Board's website. So we're covering the beginning mineral and end with this quick brainstorm. It's not perfect, but I got something. I can use this as a map. Just by talking it out, you can let your brain fill in the shot that comes next. Don't judge. Simply talk it out or write it down and move on to the next shot that comes to mind. Really easy to start judging, especially as an editor because we critique the footage we have. We're constantly picking it apart, choosing the best shots, choosing the best moments, trying to figure out what's going to work. And when you're in that phase of working, you're judging whether something is going to work or not. That's an important skill to have. But when you're in the brainstorming phase, it's not helpful at all. So you might also notice when I'm in the brainstorm phase, I'm using the phrase what I? And I find this a powerful phrase to use because it's noncommittal, it's non judgmental, and it's not set in stone, so there's no worry about messing it up. It's purely there to set your imagination on fire. I don't need to stick to this idea, but I've quickly created a beginning middle and end. This beginning middle and end is now your roadmap for which shots to choose and even how you use them. This part of story, the what is part of what I like to say, which is story is your guide. The what is one part of that. You now know which shots to use to fill in your beginning middle and end. So give this a try on your end. Try talking out your beginning, middle, and end, and maybe writing is better. Whatever it is, remember, use the phrase, what if? It's non judgmental, non committal, and engages your imagination. Try this a few times and see how many different beginning, middle, and ends you can create just in your mind. And then choose the one you're most excited to get working on. So to recap, what is what happens from the beginning of your story all the way to the end, keep in mind the roller coaster metaphor to keep your sequence unpredictable and engaging throughout. In the next lesson, we're going to start by placing clips on the main editing timeline. 19. The Pancake Timeline Method: Alright, it's finally time to start editing the main timeline, and honestly, you should feel good about getting to this point because a huge part of editing actually happens before you even touch the main timeline. That prep work, the organization, the selects, the structure, this is what saves you from feeling overwhelmed later on. If you just dumped every clip into the timeline and it started hacking away, it could be messy, confusing and stressful. That's a shocking approach, and it tends to slow everything down. We're doing instead is deliberate. You've already sorted through your footage and built a select sequence with your strongest moments, organize, at least in your head or on paper, a rough beginning, middle, and end, and now we're going to use that in conjunction with what's called a pancake timeline. With your select sequence open, we're going to double click the main edit sequence and open it as well. You can see here we have all our selects in this sequence as well because we duplicated it a couple lessons ago. You can hit Control or Command A to select all of these clips, then hit delete because we don't need these clips and we have them saved in our select sequence still. This is going to be our main edit sequence where we will build our edit. You'll also notice that we have both sequences open within the timeline. But what we want to do is stack them. So click the tab for your select sequence and drag it upwards until you see a highlighted area above your main timeline and drop it there. Now you've got your select sequence on top, your main edit timeline below, like a stack of timeline pancakes. Wait until you see that small thin strip on the top. This is quite a small view of our timeline. So what I'll do is click on this divider on our select sequence and click and drag it up and adjust until I have something that I like. So I can see everything. And I can also click this divider between our video tracks and our audio tracks so I can see more video. We're not working with audio, so we don't even need audio in this part of the post production process. Comes to this pancake setup, it's super easy to click and drag clips from our Select sequence into our editing timeline. Now, we don't have to switch tabs or hunt through bins for footage. This is way faster and way less mentally draining. I'll click on our Select sequence, and what I want to do is zoom in because right now my view is quite small. So I'm constantly having my fingers on the Zoom in and Zoom out shortcuts so I can get a better view of my timeline as I go through it. It's as simple as going through your selects and start building your rough cut. You already know your story structure. So start placing clips in the order you planned, beginning, middle, and end. You're not making any final decisions yet. You're simply assembling the edit. Think of this as your first rough draft. The clips don't have to be perfectly trimmed, and the timeline is going to definitely be longer than your final version. That's fine. What matters is you're laying the foundation. When you drag clips down from the select sequence, Premiere Pro automatically copies them. Your select sequence stays untouched. Also going to notice that the clips snap together as you place them. That's because snap and timeline, in my case, is turned on. Again, you can find Snap and timeline in the top left of each one of these sequences. If it's toggled on, it helps everything fit tightly together, preventing accidental gaps between clips. This sorts out all kinds of problems later on, like blank frames, but it can also get in the way of fine editing. So you can turn it off temporarily, but for now, I definitely recommend you keep it on to avoid any blank frames between your clips, and it makes it a lot easier to snap these select shots together. Don't worry about perfection. Just focus on getting everything in the timeline in the order that you dictated within the what don't second guess it or try to make every creative choice at once. That's going to create burnout and fear of where your edit is going. So when you break it down, you're editing into simple focus steps like this, it becomes way more manageable and, in my opinion, more enjoyable. Now it's your turn to drag your selects down to the main timeline. As you go, follow along with the next four lessons for helpful tips and common challenges to watch out for. 20. Quick Tips for Assembling Selects: Here's some tips for when you're placing your selex. Clicking and dragging this clip down to the timeline. If I ever miss snapping these clips together and I just simply click it down to my edit sequence, instead of clicking and dragging it into place, I can also click on this empty space, hit the delete key to delete that empty space, closing the gap. Another tip here, when you're going through your footage, you might start noticing that some of your selects you've chosen are redundant. Maybe you have three different takes of one trick. You don't need them all. So essentially, you're doing another pass of Selex editing when you're dragging down your select clips to the main editing timeline. Final tip that I find incredibly helpful when you're navigating the select sequence, there are a ton of clips. You might be at the end of your sequence in one moment, the middle of your sequence, the next, in the beginning, another time. You're clicking and dragging clips from all over into your main edit timeline, and it becomes difficult to remember which clips you've actually put into your main editing timeline. You don't want to put duplicates in there. So to get around this, we can click on the wrench icon. Within the main edit timeline and select show duplicate frame markers. What this does is it shows duplicate. So I'll click and drag a clip that I've already clicked and drag in before. I'm pretty sure it's this one. See it's hard to keep track. I'll click and drag it into the main edit timeline. Okay, I haven't used that one yet. So this is why it's helpful to have show duplicate frame markers available. I'll click and drag the same clip again to show you. Now look, this orange strip on the bottom of this clip, and this shows us that all of these frames are duplicated within the same sequence. If I click and drag this one shorter, you'll see now that only this portion is duplicated within the sequence. It's very helpful to see if you have any accidental duplicates within your mean at a timeline. 21. Working with Alpha Channel Clips: One other thing to take note is all of these clips right at the end, these boards. They all have what's called an Alpha channel. An Alpha channel is what controls the transparency or opacity of a pixel. So in this case, all the black footage around these boards are transparent. And you can see this by clicking on this little wrench icon and then navigating down to transparency grid. Licking on that, now we have the transparent checkerboard in the background indicating that all of this is transparent. So what this means is I can take one of these clips and layer it on Track two within my main edit timeline. And then these ones here are actually meant to be backgrounds for these boards. I can select one like this one, click and drag it down to video Track one underneath this board clip. And now all of that invisible space around the board contains our background. This is the intended way of working with these clips. And I'm going to show you in a later lesson how to loop this board spin along with freezing the background. 22. Understanding the 4K vs HD problem: Now, here's where the tricky part comes. We have this HD clip. It says HD on it. I click and drag it down to our main editing timeline. Look at that. It's still too small to fit in this four k sequence. This is where I'm going to go through a bit of technical jargon. Try to follow as best you can here. Our edit sequence and our select sequence are both four K sequences, meaning that they're 38 40 pixels wide by 21 60 pixels tall. Most of our clips are in the same dimensions. But this clip here was filmed in high definition, which is a completely different dimension. It's half the size of four K, 1920 pixels wide by 1080 pixels high. But that 1920 by 1080 HD shot doesn't fit into something that's twice as big as it. The thing is, I can select this clip and then navigate to my Properties panel, which appears in the top right here. If it's not showing up for you, go to Windows Property navigate down to scale. I see that this is 100%. It's already at full scale. It can't go any bigger. Well, it can. I can drag this up to 200% and fill the frame, but then we start to get a degradation in quality of this HD clip because we're blowing it up twice as big. Those are digital pixels. Once you blow them up big enough, then you're going to start to see that, well, things are a bit blurry. They don't look right. So you don't want to go and blow things up past 100%. Typically, you don't want to do that. So I'm going to go ahead and click on the reset icon in the top right of this panel to reset everything back to default. Way around this is not to adjust the HD clips to fill the four K frame, but to take the four K clips and scale them down to HD. And because the final deliverable of this edit is going to be HD, this makes sense. The deliverable just means what we're going to be uploading to the Internet. That final file will be 1920 by 1080, so we don't even need to export a four K 38 40 by 21 60 file. 23. Adjusting Sequence Settings: To make this sequence not four K, but HD, we can adjust our sequence settings. Navigate up to sequence sequence settings. Right away, you're going to see all these settings. Don't be scared. We're only focusing on one thing here, and that is frame size. The frame size of our sequence is four K, as I mentioned, we're going to change this to 1920. By 1080. Now we've changed our four K sequence to HD, which is half the size of four K. I'll navigate down too, delete all previews for this sequence. That's fine. Don't worry about this for now. We're not deleting any important files here. We're not deleting any source files, so hit Okay. Right away, you'll notice that our sequence now is in HD, and the HD clip fills the frame perfectly. But what happens with the four K clips is now they're croupped off because they're too big to fit in this HD sequence. We'll fix this in the next lesson. 24. Fit to Frame: In this lesson, we're going to fit these four K clips into this HD sequence. So you might think, right away, well, we can do this again. We'll click on the clip, navigate to our properties panel, and scale them from 100% down until they fit the frame, which is 50% because half of four K is HD, so 50%, that makes sense, right? Well, yeah, we can do that. We can select every clip and scale it down to 50 or at least click on it and then hit 50. That becomes a lot more time consuming and difficult to work with. So instead, what you want to do is select all the clips by hitting Control or Command A, right clicking on the clips, then navigating to fit to frame. And this automatically fits every clip within the sequence to the frame size of the sequence itself. Some of you may be familiar with an older setting called set to frame size. That is the same as this new setting which is fit to frame. Fit to frame is the same as set to frame. Don't get scale to frame size mixed up with fit to frame. You want fit to frame to not lose any quality and make the most of the quality of the four K clips that you have available. Because I've changed our main editing sequence, now our selexEediting sequence is still in four K. So when I click and drag clips down, our clips are still going to be cropped off. So what we can do and what I should have done in the beginning was change these sequence settings right away. So go ahead, open up sequence settings again under sequence settings, open up the sequence settings for your select sequence, change the frame size 3840-1920. Tab to move over to the horizontal factor and then change 21 60 to 1080. This is HD. Hit Okay. Delete all previews. That's fine. Okay. Now all our four K clips are cropped off. I'll zoom out to show you. Hit Control or Command A is select all. Right click on the highlighted clips. Select Fit to frame. Boom. Now, everything fits to frame perfectly. Now I don't have to worry about new clips coming in cropped into our main editing sequence. Should have done this from the beginning. That's okay. Now you know, and you can take note of this for any new projects you take on. So to recap, HD and four K are different. HD is 1920 pixels wide by 1080 pixels high. Four K is 38 40 pixels wide by 21 60 pixels high. HD is half the size of four K. And that's why it doesn't fit within a four K sequence. Don't blow up your HD clips to 200%. You lose quality on final export with these clips. Because we're delivering this final file as an HD file for web use online, that's what we want to set our sequence settings too. That's the best practice in this case is to set the sequence settings to your final deliverable. If we had to deliver this in four K, be a different story. Then we would either have to navigate around the HD clips we have or we'd have to upscale them to four K. We're not going to cover that in this class right now. Thankfully, we can take this sequence, adjust to settings so that the frame size goes from four K to HD and then select all the clips within the sequence and hit it to frame. Now four K and HD clips can sit in the same timeline, all fitting nicely perfectly in frame. In the next lesson, I'm going to show you how to take this rough assembly at it and turn it into something more polished. 25. Using Music to Cut Your Edit to Length: By now, your timeline should be pretty full with lots of selects. Maybe you have more, maybe you have less. Either way, that's totally fine. At this stage, it's not about getting it perfect. What we're doing now is shaping all the raw footage into something more focused and intentional. And we're doing this in stages so it's not overwhelming and we can make clear, thoughtful choices along the way. I have about 3 minutes of footage in here, and at this point, I prefer to drop in some music. Why do we do this? Because music has structure. It has a defined length, a rhythm, and it can act like an anchor for your edit. So it gives you a framework to work with especially if you're not sure yet how all your clips are going to come together. Now, I'm not saying you got to cut to the beat or anything like that. I don't love just cutting strictly to the beat and trying to be overly trendy per se, because the music is not necessarily the story, but it contributes to it. So there is that balance. We want to let the music guide the pace of the edit in some way. So we want to be able to use it to our advantage, but we also don't want to overly rely on it. Or allow it to take away from the purpose of our edit. Now, go into your music folder and pick the track that you like and drag it into Audio one on your timeline. I edited down a track that I appreciated into about 40 seconds. So I'll click and drag this to Audio Track one, and Wow, that is a lot shorter than the clips in my timeline, but that's okay. Now, you can see exactly what you need to do to get your clips down to the set length. 26. Adjusting Track Heights: We're going to get to this edit. Another thing, though, that gets in the way are these track heights. They're all different. You can control track height by clicking on these empty spaces within each track row. Double clicking on it, opens it up, double clicking on it again, closes it up. Double clicking on the video track, opens it up, double clicking on it again, closes it. But when you double click it to close it, it doesn't close all the way. And what gets very frustrating is when you try to click and drag a clip or move it, you hit this effects bar instead of the clip itself, and that can get very frustrating when you're trying to just move a clip out of the way. What I prefer to do is shrink these tracks a little bit more, and you can do that by holding shift and using the mouse wheel to scroll to close it. It just needs to be hovering in this empty space for video or this empty space for audio. Here, it's not going to work. It's going to act as a left to right scroll. The same goes for clicking. Double clicking on these tracks doesn't actually open these up. You have to double click in these empty spaces within the video and audio sections. 27. How to Trim Clips in the Timeline: I'm going to begin by editing these three initial clips. I'll zoom in to get where I need to go. The plan here, I had imagined that this introsection, it's very short introsection, about 4 seconds would create this feeling of calm. You get natural park sounds, birds chirping. And then in the distance, you hear some skateboarding noises. After that moment, we crash into the first clip, which lands on this beat here. You can see it within the waveform of this audio. These little peaks and valleys of visualized audio is called a waveform, and it helps you see where the beats are within the music clip. This might be helpful to open up so you can see what's going on with your waveforms. If I play it back, you can see and hear that initial beat right here. I need to fit these first three clips. Oh, first four clips. I might get rid of one. Oh, five. Oh, my goodness. I got five clips here. I need to get rid of some of these to be able to fit it into 4 seconds. But that's okay. This is why the music is great to place because it forces you to make decisions. I'm going to start by showing you how to trim clips. First way to do this is using the selection tool. What we have toggle on right now, it's the first tool within the toolbar, default shortcut V. With the selection tool enabled, I can click and drag the outpoint of a clip or the point of a clip. When you're moving the outpoint or the in point, that's what's called trimming. You're trimming a clip. So I'll click and drag this clip closer to the beginning. Maybe I'll have it end right here and then trim this clip to the playhead, and it snaps into place. One thing to try out with an edit point selected is to use your left and right arrow keys. Using them allows you to trim the edit point frame by frame for ultimate precision. And next, I'll move these two other clips into place and trim them down to roughly the same length for now, just so we're keeping these clips balanced. Trim. Instead of trimming, you could also make a cut using the addited shortcut, selecting the clip, and then hitting delete. Click and Drag this clip into place. I do love this shot of the cat of Henry. He doesn't really know what's going on, so it's perfect. This could be a great reaction shot as well. I might lose this clip. I find that it doesn't have any branding in it. It's kind of interesting because I have five other clips I'm going to delete. Click on the empty space and hit delete again. I'll move this clip. Yes, the barnyard Bowl. We like this. Perfect. Now we'll click and drag this clip. We'll trim these clips to roughly the same sizes. There is a better way to do this, and that's what I'm going to show you next here. This might go well with some bird chirping, so I'm going to place this. Actually, I'm going to place this on track, too, and the reason why I do that is because sometimes it's nice to addition clips. I'm not sure I want to use this or not, so I'll just place it there for now, and I can replace it. I could delete it. But I'm not sure yet, so I'll just leave it there. Sometimes the selection tool works really well for these small little edits, but there's a more efficient tool to use, especially when you want to adjust the edits of two different clips at the same time. 28. The Rolling Edit Tool: Thinking about the roller coaster metaphor, this is the part where we add energy, some big tricks, fast movement, quicker cuts. I'll drag in this big trick clip with lots of movement, and I want to have it happen right on this big musical beat. Now, what I can do is I can click and drag these trim points and make them meet in the middle. But that's not quite precise. And to make it precise and do this, it clunky. So what I actually prefer instead, if I undo all this is I know this isn't going to be on the beat perfectly, but I can click and drag this into place. And now I'll make use of the rolling Edit tool to adjust this edit point. Navigate to the toolbar and select the third tool down. And if you don't see it like I do, you can click and hold on the tool to bring up the sub menu and select the rolling Edit tool. It's the icon with the two arrows pointing in opposite directions, Rolling Edit tool. That's default shortcut N. The rolling edit tool allows you to adjust the outpoint of one clip and the in point of the next clip simultaneously. And this is perfect for fine tuning transitions. You can drag the edit point, left or right, or nudge it frame by frame with the arrow keys. You'll see previews in the program monitor. Left preview shows the end of the first clip. The right shows the start of the second, and that's super helpful for visualizing how your edit will flow before committing to the change. Our case, we want the cut to land right on the main beat of the music. So I'll drag it as close as I can, and then I'll let go, zoom in as far as I can, select the edit point using the rolling edit tool, and use my left and right arrow keys to nudge it into place. One other extremely helpful thing to do here is to make use of stepping forward or backward one frame at a time. And you can do that using the arrow keys on the keyboard to find the edit. But another really cool kind of hack with the shuttle shortcuts is to hold K and then tap L, move forward frame by frame or tap J to move backward one frame at a time. So you're making use of your shuttle keys while also being able to navigate your timeline frame by frame. And we also have the good old scrub. Whichever playback choice you choose, choose the one that helps you identify where the beat is. Now that I have that in place, I'm going to play this back. That's pretty good. And actually, the landing of the board is in sync, as well, which I kind of like. 29. The Slip Tool: The rolling edit tool changes where the cut happens between two clips, but it doesn't change the content within those clips. So if I wanted the trick itself, the action where the board lands on the rail. What if I want that to come in sooner? Well, you might say, okay, well, you could just move the clip back and find okay, it lands there. But we're kind of guessing where it's going to land, and then we have to adjust these trim points again. And this is not the best way to do this. What I'm going to do is undo this, and I'm going to access the slip tool within our toolbar. Is the fifth tool down. If it's not visible, click and hold again to access the sub menu and locate the icon with two arrows inside a pair of brackets, the slip tool. And that's default shortcut Y. The slip tool allows you to shift the content of a clip left or right while keeping its in and out points in the timeline. Fixed. As long as your source clip has enough extra footage, you can slide the internal content until it lands exactly where you want it. So a great way to think of this is when you double click a clip in the timeline, we can load it into the source monitor, and we can manually adjust the in and out points by clicking on the middle of the in and out points. And when we let go, it commits to that new in and out point within the program monitor. Slip tool is doing the same thing just faster and right inside the timeline. This is where those previews are extremely handy. I see that the board on the left here is coming up and onto the rail. Maybe I want it to start right here, right before it lands on the rail. Let's try that out. Well, I might want to see a bit more of that, so let's try it again. Start with it just right in the air. That's okay. I might I actually kind of liked where it was initially. I don't know where that was. I'll have to work on this a bit more. Yeah, somewhere around there. I think that's pretty good. So between the selection tool for basic trimming, the rolling Edit tool for shifting cut points, and the slip tool for adjusting clip content, you've now got a solid tool kit to start shaping your story. So one last thing, well, I don't recommend cutting directly to every beat of the music, using the rhythm as a guide can be super helpful, especially early on. And you can think of it as a map to help place your clips and shape your pacing. Now it's your turn. Go through your timeline and start trimming down your clips, get rid of what isn't needed, and begin shaping the rough cut so that it fits within the length of your music. 30. Adjusting Clip Speed: As you work through your edit, you are eventually going to come across a bunch of slow motion clips. And if you just leave them as they are, they're going to stay in slow motion the entire time, which is probably not going to work for a short ad where you need to fit in a lot of clips. Plus, if everything's in slow motion, the edit can start to feel a bit flat in one note. Luckily, we can fix this by adjusting speed and duration. When you preview a clip, you can usually tell it's slow motion just by looking at the movement. In this case, it's not because of the frame rate and the metadata. Everything in this project was filmed in slow motion but saved at 24 FPS. If I locate this clip within my project panel, you can see that the frame right under this metadata column, they're all 23.976 frames per second, regardless of whether they're real time or slow motion. They're all saved at 24 frames per second. And that's why even if some clips were shot at 61 20 or 240 frames per second, they all show up as 24 FPS in premiere. Keeps things simple and consistent for editing, especially if you're using proxies, which we're not covering in this class. Even though they all say 24 FPS, here's what we really have. We have 24 60, 12240 FPS footage, all playing back at 24 frames per second within the timeline. To adjust the clip speed, right click on it in the timeline and choose speed duration. This opens a box where you'll see the current speed percentage, and changing the percentage changes how long the clip is. So, for example, if I type in 200%, it becomes twice as fast, which makes the clip half as long. Here's something important because all our clips are set to play back at 24 frames per second.'s the limit for smooth playback. So if I slow down a 24 frame per second clip below 100%, say 10%, I'll hit Okay. Notice the duration of the clip is 25 seconds, and I play it back in the timeline. I'll slip the clip so you can see the action. So it's choppy. It's very, very choppy. It's not smooth playback. So unless you're going for that kind of effect, don't go below 100%. It's totally fine to go for a look like this as long as it's intentional and adds to your story. Just know that slow motion only works when the original clip was filmed at a higher frame rate. 31. Working With 60, 120, and 240 fps Footage: So let's walk through a few examples here. We have this clip within our timeline. This clip was filmed in 60 frames per second, and I can't tell based on the metadata that it was filmed in that frame rate. I just have to trust my eye in this case. So if I play it back, that's slow motion, but it's not 120 frames per second, and you'll see the difference in a minute here. So to play this slow motion, 60 frame per second clip in real time, 24 frames per second, we have to figure out how many times 24 goes into 60. So 60/24, that gives us 2.5. In the context of speed, 24 frames per second is 2.5 times faster than 60 frames per second. I open up my speed and duration once again. If it's 2.5 times 100, I can actually hold Shift and then press eight to use the multiplication symbol that's times and then type in 2.5 that gives us 250%. You could do that in your head, but I wanted to show you that method in case you come across more challenging equations. So Premiere Pro calculated that for me, 250%. Now when I hit Okay, this will play back this 60 frame per second shot in real time. Extend that. So the motion is quite fast, and that's why we filmed a lot of these shots in slow motion so you can really see what's going on with each trick. Now, I'm gonna move over to a 120 FPS shot. Take a look at this one. Can see the difference. 121 is quite a bit slower. And the same idea applies here. If I want to take this 120 FPS clip and turn it to real time, we need to divide 120 by 24. That's five. 24 frames per second is five times faster than 120 frames per second. Instead of right clicking on this clip to find speed slash duration, I'll use the default shortcut Control or Command R to access this window quickly. I can do 100 times five in my head. That's 500. So 500% should give us real time playback. Extend that so we get a full view. It'll go by quick. Watch. Now, the motion does look a bit funny. It looks very what people like to say detailed in this case. We have very little motion blur going on, so it makes the clip look ultra detailed. There's a lot of reasons for that that we're not going to get into this class, but I do cover it in my other class on filmmaking techniques. If you're interested in shutter speed and motion blur. That's what's happening here. So now let's go to our 240 frame per second clip. I'll play this back. So you can see how much slower that is than everything else. But the same thing goes for here. If we want to change this 240 frame per second clip to real time, you can do the math. Pause the video and try to figure this one out on your own. Okay, did you get it? Let's see. I'll open up clip speed slash RE and I'm going to change the speed from a 100% to 1,000%. 24 frames per second is ten times the speed of 240 FPS. I'll hit Okay and play it back. And that just flies by. Again, you get these ultra sharp, no motion blur on this movement because of the way it was filmed. So now it's your turn. Try converting a few more clips like this. And just remember in this project, real time means 24 frames per second. So any slow motion clips that you want to convert to real time will be done so in this way. Take a look at the graphic on the screen to know exactly how to convert each speed that the footage was recorded in to real time playback on the timeline. Remember, don't go below 100% speed unless you're intentionally creating a choppy or dreamy effect. That's up to you, and this is your foundation for working with speed changes. And the next lesson, we're going to learn how to adjust something called time remapping. 32. Time Remapping Basics: Now that you know how speed and duration works for clips, it's time to level things up with time remapping. This tool lets you ramp your footage, either speeding it up or slowing it down. This can add interest, variation to your edit, adjust the pacing and rhythm, and draw attention to specific moments if done right. We got to make some room to work with this clip, so I'll double click in this empty space on video track one to expand the track height. I can move things around. Give yourself plenty of room to work with. So clicking and dragging the divider line between these tracks to increase the height as much as you want. Each clip by default has an effects line across it. That line controls certain properties, and by default, it's set to opacity, which controls how transparent the clip is. But we want to control speed. So what we'll do is right click on this little effects badge, navigate down to time remapping. Speed. Selecting this, the effects line adjusts slightly, but now it controls the speed percentage. And also take note of the percentage next to the clip name. This clip is currently set to 500%. This is now playing back in real time. To make this a little bit easier to work with, I would suggest opening up clip speed and duration and changing this back to 100%. Now we have a longer clip, and it's all playing back in slow motion, but now we can actually adjust the effects line back to 500% to change this clip back to real time. So this is playing back at real time, and we've adjusted the speed using the the reason for doing this is so now the effects line is easier to read what the speed of the clip is actually at. If you have the clip duration percentage changed, then you're dealing with two percentages, one for the clip itself, and one for the effects line. In this case, we're just simplifying it and only paying attention to the ex line and what percentage it's at. So if I drag this line up past 500%, then the clip gets shorter and the speed increases. If I drag it down below 500%, the clip slows and gets longer. So I'm going to change this back to 500%. There, now I got it back to real time. And here's where it gets fun. Navigate to the toolbar and select the Pen tool or default shortcut P. Now, click on the effects line where you want the speed change to begin or anywhere, really for now. And then you'll see two little blue speed ramp handles appear, and when clicking and dragging these apart from each other, creating the in and out of our speed ramp. It doesn't look like much right now. Switching back to my selection tool using default shortcut V. Click on this line and change it from 500% down to say, real time if I want, or doesn't need to be real time. It could just be 250%, for example. Now, what this is showing is we have our clip playing in real time here, and it slows down to 250% or half of that speed. I can play it back to show you. That doesn't really show you the best part of the action. So what I can do is click and drag these handles over, pay attention to my previews, find the moment where the action is at the height. What I can also do is click and drag the little in and out points to make the speed ramp smaller. I'll find where that goes. Let's play this back. So you can see how it slows down right at the height of the action there. It really makes that trick pop. To increase the contrast of movement, I could even take this percentage line down further, say to 100%. So I don't want to go beneath 100% because then I get choppy playback. So I'll stick it to 100%. Full slow motion for this clip, which is 120 frames per second, and let's play it back. And if I want to create even more contrast, I can move these handles in and sharpen the ramp. Hank change. Ak you change. So with some work to it, you can really create some unique looking speed ramps. 33. Advanced Time Remapping Techniques: You're not bound to just one speed ramp. Selecting the Pen tool, I can click and add as many speed ramps as I'd like to this clip. I'll just keep it to one for now, and then I'll open up these handles, and on this side, I'll have it speed up back to real time playback at 500%. Now let's play back. So now what this is doing is really highlights the flip of the board and the main action itself. Well, also, in some ways, if I manipulate this even more, I can get it to match the music, which can also be very satisfying to watch. So here's a few tips with working with speed ramps. Use them as intentionally as you can. They pull focus to a specific moment, especially when you slow it down. So you got to choose wisely where you place them. So, for example, if I have this clip here, notice that at the beginning, there's a bit of a stop right before. If I play it back in slow motion, you can see that better. There's a bit of a stop. Where Greg flicks his hand back. So it stops a bit. So if I slow it down right there, then you're seeing that stop, and it might look like a mistake. Same with at the end of this clip, move things around here so we can see it. Well, that was pretty clean, and the bounce is really interesting. But if you didn't want to see that bounce, and you found it distracting or maybe it doesn't look perfect enough for your taste, rather than displaying this portion in slow motion, instead, we can adjust the speed ramp. So it's happening during that moment or right after the speed ramps back up to 100%. So playing it back, we don't see the bauble quite as much when it's sped up. And I could even increase the speed past 500% if I wanted to to really hide that and create a very unique look. Throw up to 800%. Then it really takes away from any mistakes that might have happened in a trick. Maybe you want smoother transitions. Right now, you can see in the look of the ramp itself, the angle is very sharp. But we can actually smooth this out by clicking in between the two handles. And then what that does is it reveals a little icon with a pair of what's called ease handles. Click and Drag it left or right. You can control how much ease there is to soften the transition. If I soften this up a bit, it'll ease out to ease in, let's play it back. So you can see that. It eases in, eases out. Sometimes with that smooth motion, you get something that looks a bit more natural and less mechanical, but that doesn't mean you can't create sharper cuts between speeds. If we click and drag these handles until we get a 90 degree angle, you get these sharp edges, then it will abruptly change in speed. And that's great for high impact moments, and you get this very unique look to your motion and movement. Alright, so now it's your turn. Try out time remapping on your own clips, add some speed ramps, experiment with easing, and see what feels good and looks good to you. And once you've played around with that, go ahead and finish your assembly edit. And next up, we're diving into one of the most important parts of storytelling and editing tone. 34. Using Tone to Emotionally Connect: By now, your selects are trimmed to roughly the final length of your edit, and as soon as you drop in music, something magical happens. You feel that rush of excitement, like the edit is finally alive. And that's awesome because it pays off all the work that you put in up until this point, you've created something that's starting to look cool. But here's where we have to stay sharp. It's easy to get swept up by the excitement and lose perspective on whether the piece actually works without the music. If you're riding purely on the adrenaline, that feeling, you might overlook timing issues, weak transitions or moments that might drag. Feel that char feel that excitement. Let that motivate you, but also let that push you forward to making smarter choices rather than fool you into thinking that everything is perfect. And that is what leads me into the next topic, which is tone. Tone is the how of story, how you make your audience feel. You know how you can talk to a friend whose voice or body language leaves you feeling maybe great. Maybe you feel empowered. Maybe on the other side, you end up feeling deflated because something about their delivery just rubbed you the wrong way. Even if their facial reactions didn't match up with that, maybe they looked happy, but the way they said it just sounded rude. And your edit works the same way. When music cuts, color and sound effects, all of these things, they come together with a specific attitude. They can create a mood that resonates with your audience. That's the feeling you're getting. By watching your rough edit back with music, you're starting to feel that tone. So depending on what kind of track you picked, maybe certain sound effects or cuts you make, your viewers going to pick up on that tension you create. Or when adding gentle bird chirps or soft transitions, you can wrap your audience in this calm and peaceful vibe. The point here is to be conscious of those choices and use them intentionally rather than just letting them happen unintentionally by accident. We want to have control over this. This might be a good time to play back your rough cut without music. And you can do this by hitting the mute button on the music track, and it won't play the music back. Have a look at your cut without music and see how these edits might be affecting you now. When you enable music, it could get you excited again, but it can also hide, say, a rough patch in your edit. When you play back your edit without the music, it can help you identify problems with the edit. If there's any clip in your sequence that feels like it doesn't fit with the vibe or the world you're creating, it feels off, or maybe it's a specific cut, it's too abrupt or the clip itself plays out too long, and the rest of the clips are all faster paced. You might have mismatched tone in your sequence. And if you can catch that early, it's a bit easier to fix than once you've layered graphics and sound effects and all of these other things together. Maybe you've created an edit where each shot feels like it belongs with the other, and they're all working together to support that tone that you're trying to communicate to the audience. Vt is to inject this energy and excitement into the audience as they watch it. Or maybe you are trying to create a super slow paced, dramatic thought piece about fingerboards. I don't know what it is. But the more specific you can get, the easier it is for the viewer to understand what it is they're actually watching. In infinite ways to shape tone. You can do it through music, sound effects pacing, framing, lighting, overlay graphics, the speed of motion within a shot, time remapping, all of these things, but we can't cover it all here, but nearly every one of my other classes dives into some of these techniques. So I'd recommend checking some of those out. Tone is what makes your story land, and if your audience feel it, the rest of the work loses some of its power. Tone is also very tricky to learn. It takes practice, it takes experience. You're not going to be able to identify it right away. It's something that you feel. So if you feel a certain way when watching something, take note of that. There's always been those movies that have been very exciting to watch or inspirational or moving in some way. And that's the goal, really, at the end of the video or at the end of the ad or whatever it is, is that you're moved in some way to take action. What we're trying to do. We're trying to get the viewer interested in this brand and excited about it. Hey, maybe I'm going to pick up a fingerboard after watching this ad. So the next step is simple. Just keep in mind tone. You don't have to overhaul your edit right now unless maybe you already have an idea of what you want to test. If you do, go ahead, try it out and watch how it changes your emotional response. If you really want to be objective, close the project for a while, maybe a few hours, maybe a day, and come back later and watch it cold. And then you can see whether you feel the same way or something else entirely. So pay attention to what sticks and what's working and what the overall tone is of your edit. And in the next lesson, we're going to begin to build this board spine. 35. Add Frame Hold: This lesson, I'm going to show you how to build a short fingerboard sequence using these Alpha channel clips. Before we even look at these boards, I want to create a background. And that's what these blurred shots are for to be used as backgrounds. If I locate them within the project panel, you'll notice you have a number of backgrounds that are available to you. Only issue with these backgrounds is that they move slightly. You'll see that there is some movement. But we can easily fix that in post. I've already chosen my background. This one here. I like it because it has the barnyard bowl blurred out in the background, the big rail with that final trick and some nice color here, which is going to pop even more once we color grade it. So that's my reasoning for choosing this clip. This also moves very slightly. You can see it. But this is very simple to fix. What you can do is choose the part of the clip you like. It's all pretty much the same, so it doesn't really matter. Right, click on the clip and then select addFramehold, and that's it. Anything to the right of our play is now frozen. So you can delete this portion here because that's still video, but everything to the right, it's just a freeze frame. It doesn't move. And I can even extend this frozen frame even further indefinitely, actually, as far as I want to, and it's still going to remain frozen all the way through the clip. I could even move the other side of the clip, as well. And now I have a background that I can use for these board shots. 36. The Properties Panel: The goal here is to make all the boards look like they belong together. And that's kind of tricky because they weren't all shot the same. Some have different sizes, speeds, positions, but that's real life. When working with footage, things are rarely perfect. And part of the process of editing is cleaning that up behind the scenes, the stuff that the viewer never sees. Let's start with one board, and we're going to dial in the look, speed, scale, and position, and that will become your reference for everything else. First, I'm going to adjust the position. It's not quite center. I don't like that. I'd rather center it or totally not center. It's just a little bit off of center, it's very noticeable and it looks like a mistake because it's the product. I want it to be the center of our attention, I'm going to center this as perfectly as I can. And to do that, we can actually enable what's called safe Margins, and you can find that by clicking on the button Editor, and it's right here, safe Margin. So you can click and drag it down. I've already clicked and dragged it down to my button Editor. Button Editor just gives you a bunch of these different buttons that each do different things and gives you quick access within this blue bounding box down below. Once you have your safe Margins button available, click it to enable it. And safe Margins, it's meant for older TVs that crop off the edges of the content that's being broadcast. For web, nothing gets cropped off. You don't really have to worry about anything extending beyond these edges. What I like to use this for now is to help me have a quick reference of what the center of the frame is. Doesn't need to be perfect. I'll click on this clip, and what we're going to do now is navigate to what's called the Properties panel. Properties panel allows you to adjust a number of properties like position, anchor point, scale, rotation. You can crop it. You can change the opacity. There's so much you can do here. When it comes to making quick adjustments without having to keyframe or create animations of anything, I like to stick to the properties panel because it's quick and easy. I'll navigate up to the position property, and I can click and drag the exposition and move it until it's centered on these little safe margin markings in the center of our horizontal axis, and then I'll adjust the Y position and do the same. And that looks pretty good. I could probably scale it up as well if I want to. So now I'll adjust the scale I want this to fill most of the frame but not be too close to the edges. If your subject gets too big, that it's infringing on the edges of the frame, it can create a bit of tension and it doesn't feel good to look at. And then it starts feeling like it's not intentional and a bit messy sloppy. I want to ensure that I have some negative space to create some breathing room for our board. That's also changed our position, so I'll go back to our position and change that and adjust that until we have what looks like a centered shot. The scale and position look relatively good to me. I'm going to toggle off our safe margins so I get a better view of what it actually looks like. You know, I still feel like this board is just too big. I'm going to scale this back down. It might have been actually perfect the way it was, maybe 54%. Turn on my safe margins again, make some subtle adjustments until I'm happy. Okay, that looks pretty good. Let's turn off safe margins. Play it back. Nice. Now, we have our reference. This is what I want to match all my other board shots too. 37. How to Hide Cuts with Time Remapping: Let's navigate to our next shot. I'm going to click on the barnyard boards clip number two, nudge it up to track three and click and drag it so it overlaps our other shot. Because there's transparency, you can see the board beneath it. It's a bit trippy. The boards don't match up in speed, and we'll deal with that in a second here. First, we're going to start with position. With this board clip highlighted, I'm going to move the position using our properties panel. Now, it gets a bit tricky here because the rotation is somewhat off. It's not perfect, but that's okay. We can make do with this. We've mostly matched the position of the board, and I think that's going to work right. The speeds are different. We're not going to worry about that quite yet. I'm going to click and drag this clip to match the end of our initial one, and I'm just going to play through the outpoint and the in point. So it's not bad. Another thing to take note of is you need to decide where exactly you want to make the cut. Here, we just have a natural cut on the grip tape itself, and that works well because it's a darker surface. There's less detail happening there. So even though it varies, the dark tone stays pretty consistent across clips and it ends up hiding the cut. It's a bit slow. It cuts okay together, but we want this sequence to move quickly while still looking clean, we can do that by using speed ramps. Not only will speed ramps make this feel smoother, it's also going to help hide the cut. The faster the motion, the harder it is for our eyes to notice small differences between shots. So what we want to do is have enough time to see the artwork on the bottom of the board, but then at this moment where we cut from this shot to this shot, speed it up. Create a speed ramp. And we'll do this by first adjusting our initial clip and using it as a reference. Right click on the effects badge in the top right of the clip, navigates the time remapping speed. I'll select the Pen tool, shortcut P, create a set of speed ramp time remap handles at the end of the clip, and at the beginning of the clip, then I'll open these in and out points out on each part of the clip. Okay, and now I'm going to speed up the end of this clip. So it goes nice and fast. I'm going to speed it up really fast. 800%. How about that? Now, if I play this through, extend the end of this clip. It's a bit fast. Okay, make some adjustments until it feels and looks like how you want it. I'm losing a bit of the end of this clip, so I think 800% might have been too much. I'm going to drag this down to 650. There. Can I get a little bit more out of it? No. That's okay. I think this is going to work. I'm just adjusting it so that I have enough time to see the graphic on the bottom of the board and speed it up for the transition. I'll do the same at the beginning of the shot because we don't need to really see the grip tape. It's not really the most interesting part. I'll speed through that portion as well. 650 Okay? Now it's just trying to find the part that is most interesting to reveal, and I'll match the in and out points of these speed ramps so that they are generally the same. Now, it goes by pretty quick, but that's okay. I think this looks pretty good. It's enough to tease the design without giving everything away, I think. Cool. Now, I think we have a pretty good base motion that we can match to the rest of our clips. 38. Matching Speed and Timing Across Clips: I'll take this second clip here and I'll do the same. Navigate to the effects badge, right click time remapping, speed, use the Pen tool, create time remap handles at the point, and you're the outpoint. Open up these handles so we have some room to work with. The speed of this clip is quite a bit slower. So I might have to adjust the middle portion of this time remap. But let's start with the NML points. I'm going to match 650% and see where that gets me. Not bad. This just slows down a bit too fast, so I'll click and drag these in and out points until we slow down on what's the most important part of the board, which is the design. Nice. And then the same goes for the end. Increase that to 650. I think we can move this just a bit closer. By looking at these clips, you can see that clip one is quite a bit faster than Clip two. So that means we need to speed up the middle portion of this time map. I'm going to speed this up to 200% and see where that gets us. It's still a bit too slow. My goal here is to match this clip length to this one here. Doesn't need to be perfect, but I want to create as close as equal screen time as possible for these clips. Also matching the ramp itself so that has a similar shape and timing to it. You can see it's just a lot of experimentation and trial and error and seeing how it looks and feels. Might just do a bit more work with this, but it really does take a lot of trial and error. But the speed ramps do hide that edit quite a bit. So to recap. To freeze frame a background, right click on the clip, select Add frame hold. Anything to the right of the playhead is now frozen. You can go ahead and delete that video portion of the clip to the left of the playhead and click and drag the in and out points of this frozen background to create as much of a background as you need for these fingerboard clips. Boards themselves, they're all quite a bit different in size, speed, rotation and position. The goal here is to match those things up. You can use the properties panel to quickly do this, make use of the safe margins to help with the positioning of these clips. The tricky part here is to create these speed ramps between clips. It just takes a lot of practice and massaging. Keep trying. Do your best. With practice, you'll eventually get it. 39. Adding Text: Adding titles is a great way to quickly communicate the key features of these boards, the benefits, and also the branding, like the Barnier Boards logo. This adds visual interest without needing a voice over. We don't actually have a Barnier Boards logo, so you can create whatever you want here. And I'm leaving it to you to pick a font and style that fits the tone of your edit. For mine, I'm kind of leaning into this whole country dubstep vibe, so I found a font that I think is going to work well for this style. To create text, head up to the graphics and titles menu, new layer text. Now a text layer will appear at your playhead within the timeline. And you'll notice that the text layer is a different color than your video clips in the timeline, and it's super helpful for keeping things organized. It makes it really easy to visually separate text from the footage in your timeline. You'll notice that all the clips within my timeline are blue. I also have some adjustment layers here on track two, which is a completely different thing that I'm not covering along with nests. These are more advanced topics that you can find in some of my other classes. What this does is it helps visually separate things within timeline. So for staying organized, I recommend keeping different assets on different tracks. For instance, video tracks one to three might be all your video. In our case, we have text now. So I would recommend keeping text and graphics, special effects, all of that stuff on a different layer than your video. This is going to change, and you need to be flexible depending on how much assets are included within your timeline, how complex it is. In this case, I would suggest keeping it simple. But I'm going to nudge my text clip up to track four, and any other text I add is going to be added onto Track four. So anytime I go to my main edit timeline, maybe a week from now, a month from now, and I have to make adjustments, I quickly can identify where all my text is if I need to make any changes. 40. Styling Text: To customize your text, select the text layer and the timeline, then head over to the Properties panel. If you don't see, you can go to Window Properties. After selecting the text layer within your timeline, you'll see the text layer appear at the top of the Properties panel. Selecting the layer itself, now you can choose the font that you prefer for your project. Chosen Kiln Serif. It's part of the Adobe Fonts library. So it's got this kind of distressed look kind of rustic. It's a serif text and kind of gives off that country vibe to me. And with the text selected, you'll notice that I can click and drag it around, and it's snapping in the program monitor to these red dashed lines. And that's because I have snapping enabled, and that feature is really helpful for when you want to perfectly censor your text. And if you don't see the snapping icon, you can click on the little Plus button, the button Editor, navigate to this snap in program monitor icon and click and drag it down into the toolbar, select Okay. And with Enable, do you have snapping toggled on. And if it ever feels like it's getting in the way, you can just turn it off and get a bit more control over your text. Now, as you resize the font using the font slider, you might notice something a little bit weird. As I'm resizing the font, the text is expanding from the left side, and that's because we have our text aligned to the left side. If I center align the text, our text will now scale up from its center. And it also moves it over to the left, so I'll just click and drag it. To place. You'll notice, too, that this little icon in the middle, which is called the anchor point has moved to the center as well, and that controls things like scale, rotation, position. And basically, what it's saying is, this is the central point where I want all of my transformations like scaling and rotation to be affected by. So, for example, if I navigate down a little bit within the properties panel, you'll locate the align and transform section. I can adjust the rotation, and now our rotation is spinning around that point. I move the anchor point over to the left side and I adjust rotation, it will now rotate around the left side of the text. So you have a lot of control over these properties when adjusting the anchor point. I want to revert all this back to default settings, so I'll navigate up to the reset icon in the top right of this section. There. And it's kind of nudged my text up a bit further. I don't like that too much, so I'll click and drag it down into the center. I can also move the anchor point into the center of my text. So any scaling or positioning or rotating or whatever I decide to do is going to be more predictable. With your text selected, you've also got a bunch of styling options available. Scrolling up a little bit, we'll have the appearance section. The fill color is the main color of the text. I want something that's high contrast, something that's easy to read. Keeping it simple is a great choice. For stroke, if I enable this, Wow, I got a huge stroke width happening here. I can decrease this, increase it. This kind of gives it an interesting look, though, doesn't it? You get this really unique look to the text. It treats even more contrast. Adjust that to the taste that you like. For now, I'm just going to toggle stroke off. I'm not sure exactly what I'm going to do yet here. For background, this creates a box behind the text, and you can tweak the opacity, meaning the transparency of it, the size, and the roundness of the corners. Shadow is super helpful to create more separation between text and potentially busy backgrounds. Again, we have opacity, angle, distance, size, and blur. None of this needs to be fancy unless you want it to be. So sometimes simple is the best. The goal is readability, making sure the text stands out against the background footage. When you're designing your own text, think about these two things, the tone of your edit. For me, it's that rustic country kind of gritty vibe. And that's why I'm using a Serafont. It's distressed. That makes me think country. The other thing to keep in mind is legibility. Always make sure that your text is easy to read. So it's high contrast. Simple placement. You don't have to get too crazy. You can just center the text. Clean design, it goes a long way, especially for fast paced ads like this one, where you need to be able to communicate to the audience quickly. So don't overthink it. Just stick to the tone of the brand, make it readable, and you're good to go. 41. The Type Tool: One other thing to keep in mind, when you're editing your text, it's going to be a bit frustrating because we now have the type tool highlighted in the toolbar. And what happens when you click somewhere else to try to click off of your highlighted text is you'll create another text box, and that's not something you're going to want unless you're creating more text to delete the text, right click Clear. Now, I still have the type tool enabled. You're going to have to switch back to the selection tool. So make sure you're using your shortcuts for that. Problem is, though, if you're trying to use your shortcut, you will most likely end up changing your text to the shortcut you have enabled. You can just undo that. Click off the program monitor. Click on the Properties panel, for instance, use your shortcut to switch to the selection tool, and then you'll once again be able to control the text without editing it. 42. Timeline Organization for Audio: Normally, you're going to want your edit to be locked before diving into sound effects. Locked means all your cuts are final, but for the most part, and realistically, that mostly never happens, especially if you're the one doing everything, the editing music sound, graphics. And the beauty of working solo is that the timeline can stay flexible. So don't stress about it being completely locked. Aim to get it as close as you can to a final cut before you start adding sound effects. And when I mean final cut, it's mostly the position of the cuts, how long each clip is, and not necessarily things like special effects or text or overlays or anything like that. Those are things that you can add later if you need to. But before you drag anything into the timeline, we got to talk a bit more about timeline organization. We already touched on this with video a little bit. But for audio, it's a bit more complex because normally, you'll have a lot more tracks going on for audio than for video. So here's how I like to set things up for audio. Music, I will normally nudge this all the way down to the bottom. And as I'm nudging it down, it will add more tracks. And that's helpful because I need a lot of tracks for the audio, the sound effects that I'm going to add in. One or two tracks above that, I usually like to place ambience, and above that, layer in sound effects, sound design elements like cinematic hits, risers, woohes, all of those stylized sounds that you might hear in movie trailers that add to the tone or create impact tension, but they're not really tied to real world. We've got Nat sounds or natural sounds, things like skateboard wheels, grinds, other skateboard sounds, et cetera. I also like to group sounds by type and frequency. Low frequency sounds like deep hits or rumbles, go on lower tracks, high frequency stuff like sharp clicks or metal scrapes. They go higher. And this just makes it easier to control the mix later, but also visually give you an idea. Lower basi sounds are on lower tracks and higher treble sounds are on higher tracks. It just makes a bit more sense. These are just some things to keep in mind as you're adding sound effects to your project. Know what you're working with, you can right click on the Audio Track area and select Add tracks. You can add as many tracks that you plan to be using. A lot of times you don't know what you're working with. If you have an idea of how many tracks you're going to need for your audio, you can add them in now. You can always delete them later. Just make sure you're not adding additional video tracks as well. Just hit zero for that, and you can add as many tracks as you need for your sound effects. I'm actually going to hit Cancel on this. The way I like to create new tracks is not by using the add tracks. Feature, I'll simply just nudge my music down until I have as many tracks is I N. This is a lot of tracks. I don't need all these tracks, so I can right click Delete tracks. And you can delete all empty tracks or select the ones you want to delete. And make sure that you tag on this checkbox, okay. And now our music is now once again on Audio Track one. 43. Working with Labels: This part's optional, but it's kind of fun and super helpful for organization color coding. Head to the Project panel, open up sound effects. I'm actually going to click and drag the Project panel bigger so I can see what's going on. And now we can group all the different sounds. So I'll find all the board slides here. I'm noticing board slide, board slide, boardslide. I can click on all these board slides and group these audio clips, but I'm also noticing that these are also concrete and rail. So I'm considering maybe I organize by material, maybe I will organize by the trick style. Board slide. See, and this is the thing is I've never really worked with these kinds of sound effects before, so I'm learning right alongside with you. I think for now, I'm going to organize them according to the type of grind, not the material. I'll probably regret this, but that's okay. We'll right click on this group of selected clips, navigate down to label, and then you can choose whatever color you want to organize these clips. If it's a board slide, let's just stick to violet. How about Violet? There. And you'll notice here to the left of these clips, the label color changes. And now, when I click and drag this down to the timeline, the colored label is already assigned, so it will appear in that color type within the timeline right away instead of having to change it later on. So it's better to do this upfront, if possible. I always appreciate seeing a well labeled tidy timeline. So if you appreciate that, too, take a screenshot and share it along with your project or share it right now. As you're progressing through your project edit, I'd love to see it. 44. How to Add Sound Effects Using the Source Monitor: As you add sound effects I'm going to suggest this a systematic approach where you work through each sound effect type in passes, and this is going to help you keep things focused on process and not get overwhelmed by placing every sound effect at once. Let's start with board sounds, Allis and landings. First, I'm going to expand my timeline, so there's a lot more room to work with, and I'll click and drag this divider line up. We're not really working on video, just audio. And then I'm going to select my music and nudge it down. That creates more audio tracks for me to work with. Now let's locate skateboard Ollie. And I don't want to click and drag this down to the timeline right away. I'll show you why because if I do, you'll notice the wave forms, there's four different Allies and landings within this clip. We want to only edit one at a time. So I'll delete that. We want to pre edit the clip before we drag it into the timeline, and we can do this by loading it into the source monitor. I'll double click on skateboard Ollie, loads up into the source monitor. And again, the source monitor is a great place to preview clips, to pre edit them for the timeline. You can hear this. Yeah, so there's the allies and landings. Perfect. So we got the landing. And they're all very similar, so it doesn't really matter which one we choose. We just want to create enough variation so that it's not noticeable that we're using the exact same sound effect twice in a row immediately. If the audience notices that you're using the same sound effect two times in a row, it's going to sound cheap and it will take them out of the experience. If I want to use this first Allie sound in this clip recording, I can see the audio waveforms. This Allie is right here and the landing. I only want the lie for now, so to isolate just this part of this audio, you can use the Mark in bracket, move to the right side of this audio waveform and Mark out. And now when I click and drag the audio only down to the timeline, it will only bring in that in and out point from that source clip. Well, I also need to find out where that Ollie is, so I'm going to nudge through timeline right here, and I'll place this clip, zoom in so I can see what's going on a bit more there. And it's also really difficult to hear the sound effects when this music is blaring. So when I'm designing sounds, I like to mute the music temporarily to do that, navigate down to the music track, hit mute track. And now I can just focus on the sound effects. That's a bit early, so I'll nudge this over. Good. Okay. Because we're working with the same sound effects, I'm going to locate the landing of this trick. Boom, and right here. Great. Now I will once again, load the skateboard Ollie dot wave into the source monitor. I'll locate the landing. Instead of using these brackets, I'll use shortcuts I for in and O for out. And now, clicking and dragging, I only bring down that portion of the clip. Place this. Great. Okay, that's pretty well timed up. Now that you know how to use the source monitor to add sound effects to your timeline, I'll show you a quicker alternative. 45. How to Work with Sound Effects in the Timeline: Doing this every time, loading it into the source monitor and then setting in and out points can take a bit of time here, and it might not be that efficient. I just want to make sure you know how to use the source monitor to pre edit your clips before clicking and dragging them into the timeline. So it's probably going to make more sense to copy paste these sound effects in the timeline. A hold option, click and drag. Now we have the exact same clip within our timeline, and now I can click on the Trim points with our selection tool to open up this clip. And then we have our original skateboard alli sound effect in our timeline info. You're working with audio, make sure that your tracks are opened up as much as you need to be able to see the waveforms. Being able to see the waveforms makes it so much easier to edit audio. And without these, you're going to be lost. I have four different Allies and landings that I can basically cut from here and copy paste where needed. For this, I could even just click and drag this to a second audio track to get it out of the way. And I'll just find every instance where there's an Allie. And what I can do is cut out the Ollie of the second one to keep the variation notice I'm also selecting the clip using the ad Edit shortcut to cut this segment out. And instead of clicking and dragging it, I then lose this part of the edit. I'll undo that. I can option click to copy it from within the timeline quickly and then line it up with this next shot. I'll find the landing, and I can take this landing right here. Click drag to copy it. And when editing sound, it can be very precise. So it's important to have precision when it comes to making sure that the sound effects are in sync with the video. So make sure you're using the nudge forward and backward one frame after selecting the clip to nudge the audio into frame perfect position. Step forward and back, finding frame perfect landing, and with the clip selected, I can nudge the clip one frame and backward into place until it matches up with the action. This is a bit early. Nunge forward. There. And if you find that your sound is getting cut off, you can use the selection tool to open up that trim point. Another useful thing when editing audio is to adjust the fades of the in and out points. You'll notice these little gray icons on the Ipoint and the outpoint of this audio, clicking and dragging the icon will create an audio fade, which visually shows that the audio fades out to nothing. This allows for a gradual transition and avoids any jarring sounds. We can also add a fade in on this clip. Nice. Because I have this audio clip extended further out, it's going to overlap with this next Ollie. So for my next sound effect, I'll keep it on Audio Track two. So now I'll just systematically go through every Ollie and landing, and then I'll go through every skateboard role. Then I'll go through every grind, et cetera, until I am completely finished placing every sound effect to match the action. Prefer to use this option by clicking and dragging the full clip into the timeline and then cutting it up from here and copy pasting because it's a lot faster than loading it into the source monitor each and every time. One kind of cool thing about this shot is that the landing is more like the board is on its side, so it might not make this exact sound. Thankfully, we have a sound effect that might work for this. Navigating to the project panel, we have Power slide, skateboard Power slide. I'm going to click and drag this down into the timeline. What I'll do instead, actually, is globle click and load it into the source monitor a preview in and out, click and drag it down to the timeline. So you can see that sometimes using the source monitor to preview and edit a clip is the way to go. In this case, this clip is way too long. So in the next lesson, I'm going to show you how to deal with this, and I'm going to show you how to quickly apply cross fades. 46. Working With Audio Crossfades: This sound effect is way too long for this action. What I like to do when trying to reduce the length of a sound effect is to find the end of the sound effect, make a cut, and then click and drag it into place. Let's play that back. That might still be too long. Shorten it even more. But basically, what we're doing is we're using the beginning of the sound effect and the end of the sound effect, and we're cutting everything out in between to shorten it. Now I'll add fades on the in and out points. What I'm also going to do is select my rolling edit tool, highlight the edit between these two audio chunks, navigate up to effects, audio transitions, cross fade, constant power cross fade. I've just found that constant power is the most natural sounding, and I'll click and drag that down to this edit point so it smooths it out a bit better. Now playing it back. Clicking and dragging the cross fade effect from the Effects panel can be a bit cumbersome. So to do this quicker, you can use the shortcut Control or Command Shift plus D to apply an audio transition. The audio transition length is set to a certain amount of frames. Now, I'm going to show you if I delete this audio transition in the middle, select this edit and I hit Shift D, it will create an audio transition that is really small. It's only one frame on the left side of this edit and one frame on the other side, and that's because I've customized it. By default, it's a lot longer, which isn't always ideal for your situation. So to change this navigate up to edit preferences, timeline, and the second item down audio transition default duration. I've set this to two frames, meaning that you have one frame on the left side of the edit and one frame on the right side of the edit. This is just enough to create a very subtle audio transition. So I'd suggest that you switch this to frames, a two frame audio transition default duration. Also experiment with this on your own and see what sounds best for you. But the goal here is to make this cut up sound effect sound seamless. So you want it to be subtle because if you extend this audio transition to include too much of each sound effect, it's not going to blend well, and you're going to hear both sound effects at the same time. Now that I've used every single instance of this Allie sound effect, I can simply option click and drag the already cut up Ollie and landing sound effects and click and drag them into place. It is also helpful to add these audio transitions right away so that when you copy and paste them from within the timeline, you're not having to reapply those transitions each and every time. And what's great, too, about this default audio transition is you can select any edit point and use the shortcut to create that default audio transition. Now I've created a quick two frame fade rather than having to manually create each and every one. Great. Now that I've set all of my Allies and landings in place, I can delete this original source clip that's all cut up from my timeline. Now all my landings and allies are in place, and I can move on to the next sound effect type. 47. Adding Track Names: To further organize this, you can add track names. Double click on Audio Track one, and then right click Be Name. And because I know that all of my Allies and landings are on this track, I could type Allie and Landing. And I'll even type 01 because we also have Ali and Landings on Track two. We'll open up Track two, do the same Allie and Landing 02, and there we go. And you can do this with every single track, and again, only do as much as you feel like you need to to be able to communicate to your future self or to another editor who's working on this project. 48. Matching Sound Effects to Motion: Another thing to keep in mind is that this clip we speed ramped it right in the middle here to slow it down. I could potentially match that by slowing down the sound effect at this part right here. To do that quickly, I can add a cut at the beginning of the slow down movement, find out where it ends. I can even open up the original clip and find out where the speed ramp happens. So Ri is pretty slow all the way through here, actually. So what I'll do is adjust as necessary. I'll make a cut at the beginning of the speed ramp here. So this is where it's going to speed up. Mell just move that right there. Then add a cross fade between these two segments, open up the clip speed settings and change this to say 60%. Now that will sound a bit slower, hopefully match the movement of this time remap portion. And I can use this transition point. With some leveling, I think I can get the sounding a bit better. The rail sound doesn't quite match the rail type, but I think it's okay. Let's listen to a short bit of our edit so far. Oh Alright, right away, you'll notice that all the sound effects, they sound great when the music's off, but the music is now competing with the sound effects, and we have to deal with that. Along with this, if we're looking at our audio meters to the right here, you'll see these red icon indicators that shows that the audio is peaking. It means it's going beyond zero, and that's a no no when it comes to this. When it peaks, then you get distorted audio, and it degrades the audio. It sounds unprofessional, so we want to make sure that we're not peaking as well. That means we need to adjust the volume of some of these clips, which is what we're going to tackle in the next lesson. Oh 49. Basic Audio Mixing Techniques Part 1: Most of these sound effects that you're working with that I've recorded are around the same level. You shouldn't have to worry too much about mixing the different sound effects together. But if you're adding additional sound effects, then it can become a bit trickier with the different types of audio levels. I did mention in the last lesson that things were peaking already. We need to work with our audio so that it's not peaking, it's not distorting. I'll hit home to go back to the beginning. I'm going to just show you what I'm trying to do here. I have this riser. It's a sound effect that builds up to a climax and then just completely dies. So it's meant to build up to an emotional impact or cinematic impact to create that tension or anticipation. And then upon that impact or the initial beat of the music, we have that release or that payoff. Assisting in what I'm already trying to do, start with this slow ambient buildup to the main edit. So it is suitable in this place to add a riser. The problem is the riser is so loud. So what we need to do is turn it down. One way to adjust audio is to simply open up the audio track itself, and we can click and drag this audio level. And when I'm placing sound effects, I'm just trying to adjust the levels so that I can hear what's going on without it overpowering everything else. We also have this volume slider available if you prefer to use a slider instead of the volume line on our clip. I'll place this around -12, and let's give it a listen. Now, the riser, it works audio level wise, but I'm not sure it works completely yet. Maybe it'll work better once I add a cinematic impact. I'll add a cinematic impact at the end. Let's take a look at some of these. Oh, that's pretty good. Click and drag it down to our timeline. Sometimes it's hard to hear how the sound effect is working timing wise. So a great way to deal with this is to solo the clip by clicking on this S, and all that does is mutes every other track in the timeline. With a bit of leveling, I can get this to not peak so loud. And that's what we're going to explore in the next lesson is how to determine the peaks of each individual audio track and some more audio mixing techniques to deal with this. 50. Basic Audio Mixing Techniques Part 2: Now let's move on to the music. The music is sounding quite loud, still. I'm going to solo this. So take a look at the peaks of the audio. To be able to see the peaks a bit easier, we can right click on our audio meters and select static peaks instead of dynamic peaks. What static Peaks does is it shows us where the highest point of this music is, and it stays there until the next highest point happens within the music. Let's play back. So you can see there how those yellow lines, they stay in place, whereas dynamic peaks, they move along with the volume of the audio. Static peaks helps us determine what the loudest point of the music is. It's super loud. We're going to want to adjust our music to fit with the sound effects we have within our timeline, drag this down to around -12 so that it's not blaring. But another thing we can do to finas this audio is to make use of the pen tool and add some keyframes to our music. The Pen tool or shortcut P, add keyframes on our volume line and adjust as necessary. I want the beginning to be a bit quieter anyway, and then it will pop in. So let's take a listen to that. Yeah, I like that, how it comes in really high energy. What I can do, too, is slowly bring the music level back down to something more reasonable so it doesn't overtake the entire edit. Click again for another key frame and then select the keyframe somewhere down here, bring it back down to -12. And sometimes when you make these really gradual changes, a lot of viewers will I didn't even notice that there was cuts, and sometimes that could be the highest praise because you as an editor are trying to hide these changes and adjustments and keep things subtle so that the viewer is affected emotionally without actually knowing that they're being affected emotionally, if that makes any sense. Now let's take another listen to this. That is noticeable. So what I'll do is I'll bring this up. -12 might just be too quiet. Let's bring this up to, like, minus six. It's a lot of experimentation and tinkering until you get things right. This is sounding way better. But there's still a lot more that needs to be done. I still need to place the rest of my sound effects and adjust more key frames so that everything sounds cohesive and in harmony with each other. Remember, there's moments where you might want the music to overpower or maybe you want to totally feature the sound effects. Do your best to work with all of the sounds within your soundscape so that they complement each other and they're not battling against each other or drowning each other out. Unless that's your intention, maybe you can make that sound good. I'd be interested to see what you come up with. If you're seeing the peak indicators in your audiometers, that means you're getting distorted audio. You want to avoid that. So adjust your levels as necessary. If you have more sound effects to place, do that now, and in the next lesson, I'm going to show you how to make these skateboard sounds, work within this environment just a bit better so they sound more realistic. Right now, they're just a bit dead. And we can liven them up a bit with this special technique in the next lesson. 51. Applying Reverb to the Audio Track Mixer: Great. I've done some more work on this soundscape. But one thing that still sounds really off is the board sounds. They sound just a bit dead. But they were filmed in an open space. There's no reverbs, so the sound dies out quickly within its environment. This park environment has walls all over the place, so it would make much more sense to hear sounds bouncing off those walls. And we could easily achieve this with the reverb effect. When you're applying reverb, you might be tempted to click on any one of these sound effects and go to your effects, select Audio Effects, navigate a reverb, and then select any one of these reverb effects and click and drag it down onto your clip. Now the problem with this, I'll show you is if we solo this clip, then listen to this now. You see how that cuts off? So you need to always expand this sound effect so it rings out completely. And you don't always have that luxury with sound effect. Sometimes sound effects are too short for you to be able to do that, and then you have to apply this reverb effect to every single sound effect on these tracks. And I'd prefer not to do that. So rather than doing this, I'm going to click on this, go to Effects Controls, delete Studio reverb, and instead, navigate to Window Audio Track Mixer. The Audio Track Mixer allows us to add effects to each individual track if the effect section isn't visible, it's because this triangle is closed. Clicking on this little triangle in the top left of the audio track mixer, we'll close it up, click on it, and it'll open it right up. Another nice thing about the audio track mixer is if you scroll down, you can see that we have our names here as well. And you can change the track name here, too, and this gives you a better visual overview of what's happening with your audio tracks. I might just quickly add these labels so we know what our skateboard sound effects are. Let's start with our Allies and landings. I'm going to solo this track. Could have done it here as well, and click on this effect selection, the first one in this stack of effects. Then navigate down to reverb studio reverb. Now we've applied Studio reverb, but we want to customize that reverb, and the way we do that is right click on the effect, then select Edit. A great place to start are these presets because these reverb controls are very difficult to understand, so we won't cover them all here. We want to do first is start with a default setting. See if it sounds okay. Maybe outside club. It's outside. Maybe that could work. Let's try this out. Outside club. Here we go. And let's just play back a few of these sounds. No, that sounds awful. And we know that doesn't sound like a skateboard Ollie or landing at all. Let's go back to our studio reverb, right click Edit, not outside club. And the reason why is because we have no dry output. But again, I'm going to make sure that we just keep this simple. Let's try Great Hall, and we might be able to adjust from here. And instead of closing this menu up, I can just move this out of the way, and let's play this section. So it sounds way more expansive and I like that. The only problem is that it's so reverb very unrealistic, and that's okay if that's what you're going for. But in our case, it's not working. One way we could take this reverb down is by adjusting our decay. We can take this from 6,000 milliseconds, so it's not ringing out so long, let's try 2000 instead. That actually sounds pretty good. I think that sounds like a reasonable amount of reverb, and you can adjust this as much or as little as you want. I might just take it down just a bit and see how that sounds. I think I'm happy with this for now. Try one of the presets until you find something that sounds close to what you want. And if you want more or less reverb, try adjusting the decay slider, which is just saying, This is how long this reverb is going to ring out for. Exit out of this menu. And now that I have the reverb that I like for these board sounds, right click on this track effects area, copy Track effects. Right click on the next track Track two. We have more board sounds here, and then pace track effects. And I'll do the same for the rest of the tracks that my board sounds are on. Solo the rest of these board sounds, and let's play back just the board sounds. The reverb definitely creates more expansion and feels more real for these board sounds. The board sounds don't sound dead anymore. 52. Mixing Basics Using the Audio Track Mixer: Now let's unsolo all of these clips, a whole shift and click on the solo track to unsolo all of the soloed clips at once. And now let's play this back. Well, you can hear the reverb as much because everything is so much louder. But I can make some adjustments from here. Now that I have my audio track mixer open, because all of my board sounds are quite a bit lower than everything else, what I could do is potentially take down every other track and have my board sounds just a bit louder. Adjusting the track volume doesn't adjust individual tracks. So all of that work we did with this music here with all these volume adjustments aren't going to be affected if, say, we take this down. Now our music overall is going to be quieter, but we're still going to have these variations in volume that we've created using these volume keyframes. The music is quite a bit softer, and we can hear the board sounds better, but now the sound effects are louder. I don't mind the music being as loud as it was, but perhaps I want the sound effects to not drown out the music as much. So I can take them down by about 3 decibels and I will copy paste them, so I can quickly do this to every track that isn't a board sound, and I'll take a listen. And maybe the music is still a bit loud. I could take that down to minus three, as well. Let's hear how that sounds. M I like this. I'm sounding even better now. You can see how these small tweaks make a lot of difference in the mix. What I would suggest is coming to this audio track mixer, don't mess around too much with the tracks themselves. It's more for these broad strokes that you want to make to a group of selected sound effects. And now you can see why it's so important to organize your audio. Having every kind of different sound effect on different tracks is extremely helpful. I didn't really follow the high frequency, low frequency sound organization, but I think this still works just fine for this edit. Our sound effects aren't that out of hand. There's not huge amount of layers going on here, so I think we should be okay with organization. 53. Audio Mastering Basics: One final way to really sweeten the sound of your mix is to once again navigate up to the audio track mixer and go to your master mix track, which is the furthest to the right. This controls the entirety of your timeline. You can add effects. You can adjust the volume. But what I want to show you here is the mastering tool. Mastering is highlights or brings out different frequencies depending on what your needs are. Let's take a look at the mastering effect. We'll click on the triangle up here on the effects Rack and then select special Mastering. Right click to edit this, once again, you'll see we have all of these presets available, which are great to get something sounding decent quickly. Let's see how bright hype sounds. This preset is bringing out the highs of our audio, the treble sounds, and reducing the mids and keeping the base. So it sounds more tinny. Subtle clarity is a fan favorite. And the reason why this is such a great preset, it brings out the human voice a bit better. So if you're editing an interview and you need to be able to hear what the person's saying, but you have music and sound effects and tons of different sounds going on, this is a great preset that you can choose to bring out the voice. One that I like for a music dominated edit is club Master, which brings out the bass or low frequencies a bit more. Hear how different that actually sounds and how it impacts the overall sound quality and takes kind of a flat sounding mix and elevates it. So this is a great, quick way to get your soundscape, sounding a lot better. There are a lot of different controls when it comes to mastering, so that's why I like to stick to presets first, especially when you don't know what all of this other stuff is down here. Sticking to presets is a safer way to go about getting something that sounds good without ruining your mix completely. It's time to shift focus now, and we're going to start working with color. 54. Understanding LUTs: What They Are and How They Work: It's no secret that this footage looks really flat. You've probably gotten so used to it while editing that you might not even notice it anymore, but your audience will, so we need to change this. This low contrast, milky look was actually intentional, and the reason for that was because the footage was filmed in what's called log. Log footage is a way for the camera to capture a wider dynamic range, meaning it holds more detail in the shadows and the highlights. And the reason it was shot this not just for image quality, it's also so that you, as the editor, get a chance to learn how to apply what's called a lot. A lot for lookup table is basically a file that transforms this flat washed out log footage into something that looks normal. And in this case, converting it into the Rec seven oh nine color space. And Rec seven oh nine is the current color standard for video, and it helps make sure that colors contrast brightness and shadows, they all look consistent across different screens, whether that's a TV, a phone, or a computer monitor. To simplify it, this footage was filmed in log to capture as much detail as possible. And now our job as editors, is to apply a lot, which is a file that brings the footage back to the right contrast and color, so it looks how it's supposed to on any display. Different cameras and shooting modes require different lots, and usually you can download them directly from the camera manufacturer's website. Now that you know what a lot is and why we use one, we're going to jump into the next step where we'll find the right lot and apply it to our project footage. 55. How to Work with LUTs: Now that we know we need a t to convert this log footage into Rec seven oh nine, we just need to locate it. This footage was shot on a Sony camera using S log three, and there's a very specific type of let we need to download for it. So we can head over to Sony's official site, and I put the link in the notes for this lesson. You'll also be able to find this link in the class project files and in the discussion tab of this class. That link from any one of those locations. Once you click on that link, you're going to be directed to this page from Sony, and you're looking for the t that matches gamma dot c slash SS Log three and select Download. Once downloaded, double click on the zip file to open it up, and you can copy paste this folder to your class project folder. And normally, I create an additional folder called Oh nine documents for lots, scripts, anything related to my project. I'll paste that into my folder. Let's open this folder and take a look at it. There are four different ut options, and they all kind of have different weird names to them. So if you don't know what they mean, that can be a bit confusing, and you just end up clicking on one hoping they work. You can definitely do that, but don't worry. We'll quickly go through which one to use. This last one, CNI plus seven oh nine is designed for monitoring. It's not really for grading, so we can one that one right away. Log two to seven oh nine. This is for S Log two workflows, and since we've shot everything in S Log three, we don't really need to use this one. That leaves us with LC seven oh nine and LC 709, Type A, and they're both totally fine for grading. They're pretty similar. But Type A has slightly less contrast. It looks a bit more filmic, and is meant to emulate more of the airy type look. Either one or two is going to work for us for this project. Heading back to Premiere Pro. Apply a lot. All you got to do is select one of your clips to start. Then head over to the lumitry color panel, usually found in the top right. And if you don't see it, go up to Window and select lumitry color from the menu. I'll open this up so we can see it a bit better. The lumitry panel has tons of color settings, which we're going to get into later. But for now, let's focus on the input t section. This is where you load the t we just downloaded. Click on the dropdown menu. There's already a few lots available loaded in, but for now, we can select custom or browse. Doesn't really matter. Then navigate to either Lot one or two within the lots we've just downloaded. I'm going to select LC seven oh nine. Lot one. And right away, you'll notice our footage looks so much better. It has more contrast, more saturation, it's just way more pleasing to look at than that washed out log footage. One quick thing, a super common mistake when applying lots is to apply the lot within the creative tab here within LumentaryPanel. If we twirl this down and scroll up, you'll have a look, and a lot of people will say, Oh, cool. I'll load up the lot into this look profile. That's awesome. Hey, that looks great. This is not for converting log or raw footage to Rec seven oh nine. Meant for stylizing. This is meant for creating a look after you've done your basic conversion and color correction. So click on this and none. We don't want to change the creative tab right now. So now we're getting back to our input lt. This is where you want to load in your conversion luts to convert from log or raw to Rec seven oh in. But, yeah, you can use the creative let later if you want, add a certain vibe or look or tone. Make sure that happens after the input ut is in place. So to recap, the footage was shot in S Log three, and we need that Sony ut to convert it to Rec 709. The ut transforms our flat, milky log footage into something more vibrant and contrast. Are accurate. Download the let, save it into your project folder, and load it up into the input let section of the umtrPanel. Not the creative tab. In the next lesson, we're going to dive deeper into matri panel. 56. Adjusting Color with the Lumetri Color Panel: After applying our conversion let, it's time to move on to color correction. It's important to color correct before adding any kind of mood or creative look to your footage. Color correction is all about making the footage look accurate and consistent so it matches across your entire edit. The first group of sliders we've got here is for white balance. White balance in video basically means making sure that the whites and neutral colors in your shot actually look white, so they're not tinged with some unwanted color cast. I did have what's called a white balance card or some sort of color accurate tool that was filmed in the shot itself, I could have used this eyedropper and selected it to click on it to get a quick, accurate temperature and tint right away. Basically saying, Hey, this is what is true white within the image. So for example, if this gray here was true white within the image, I can select this, and you can see that the temperature and tin sliders automatically adjust that selection. If I did something more extreme, like click on green and said, Hey, this is actually true white within the image, then you're going to get something more wonky and it's going to attempt to adjust the temperature and tin sliders to compensate for that. Controls Ed to undo or I'll click on the slider itself to reset it to zero. But the temperature slider, as you move it left, shifts cooler, and right shifts warmer. And then we also have tint, which shifting left, more green, shifting right, more magenta. And this slider is mostly used to counteract the green or magenta tint that's often found in different types of artificial light. What's really interesting about color correcting is a lot of the times when you're looking at an image, if you look at it too long, your eyes will start to adjust and you might see your image in a certain way. For example, look at these stairs, for example, you might not think that these stairs have any tint to them. They don't look like they have any color bias, but actually they look a bit green. If I just this tint slider just a bit to the right, let's say ten, nine. Let's do nine points. Now, if I undo this and redo it, that's what it was before. That's what it is now. That's what it was before. That's what it is now. I actually think that adding a little bit of magenta into this shot looks better than what it was before. After before, after before. After. And it's very subtle, but you got to be very careful when you're using these sliders, not to adjust it too much, or you can end up getting a really funky looking image. And if you're looking at it for too long, do yourself a favor and just take a break from it. Come back to it the next day, and you might see that, Oh, you've totally screwed up the image. Also, you're going to want to make sure you close your blind, turn off your lights. Don't have any other light leaking into the room that you're working in so that you can see truly what the colors the luminance levels are when you're working on color. And speaking of cool and warm, these stairs actually kind of do look a bit cool, too, so we could even warm them up a bit if we wanted to. 57. Adjusting Light with the Lumetri Color Panel: Next, we got our light section or tone sliders. At the top exposure, this controls the overall brightness of the image. Drag it up to make the entire image brighter or down to darken it. Contrast controls how punchy the image looks. If you crank it up, it gives more separation between light and dark areas, and pulling it down gives a softer, more milky look, which can, in some cases, help retain more of the details within the image. These sliders only go to 100 or -100, but if you select the number itself and click and drag it, you can go up to 150 or minus 150. We've got highlights and shadows. Highlights affect the brightest parts of your image. This is great for pulling out some of the blown out highlights within your image. You could see the rail in this shot. It's a bit blown out. It doesn't really bug me that much. But if I really cared about this, I could take the highlights down and pull out those overexposed highlights if I wanted to, I might not take it that much. Let's just try -35 or something. Bit more subtle. Basically, it smooths out the difference between the highest, the overexposed areas and the more accurately exposed areas. And shadows, they do the same, but for the darkest parts of the image, and it lifts or crushes the shadows depending on which way you push it. And again, if I bring these shadows up a bit, you can see we're getting a bit more detail within those shadows. If you want to reveal more of the details within your image, say like these sections here with the brick details, if I pull up the shadows, you really get to see that a bit more. Or I could pull them down to take them out of the equation. Pulling them too much, then that affects your contrast. This looks pretty punchy. It might be too punchy for what I want. Maybe I'll just bring this up actually just a little bit. I tend to like something just a little bit lower contrast, so more of the details are within the image. And then finally, we've got whites and blacks at the bottom. And these control the absolute brightest brights and darkest darks in your image, the extreme end. So I'd go easy on these. Don't drag them too far because if you drag them too far, say, the whites, then you're really clipping the whites, which means there's no detail within these stairs anymore. You don't see anything except pure overexposed, blasted out white. It doesn't look good. It looks cheap, so we got to bring this down again. You also want to watch out. If you drag the whites too far down, then you're totally clipping the whites again. You're not getting the true brightness of these stairs. And the same goes with the highlights as well, but the whites are on the extreme side of the highlights. Bring that back to Zero. But actually, when I'm looking at that rail, I could even bring this down just a bit if I wanted to take out a bit of the overexposed areas on that rail. Let's see what this looks like. Doesn't really do. Oh, I guess it kind of does a little bit. Yeah, that's not too bad. Okay. Same with the Blacks. If I take this up, then you're really losing detail in the shadows and creating this low contrast clipped look. You're clipping the blacks at the bottom. That doesn't look like a very rich image. I don't love that. Again, if I take this all the way down to the left, see the graffiti on this angled wall here completely gets erased. You can't see it anymore. And if I slowly bring this up, you can really see what's going on here. See that? You slowly reveal those details. So pushing it too much, then you get that kind of digital crush to look, which can again, cheapen the image. We don't want to cheapen the image. We want to retain as much detail within the image and push it as much as we can to create color accuracy and luminant accuracy while also telling a story through the mood or the vibe of the image, the tone of the image. But that look, that style comes after you do the basic color correction. For this, I think I'm just going to take this closer to zero. 58. Stacking Lumetri Effects: Only downside with color correcting and setting your input lot on the same lumitry effect is that when I select my before and after, if I toggle this switch up here beside basic correction, it shows the image without the input lot and without the color. But what if I want to see specifically the color adjustments I've made and what they look like when toggling them on and off, but with this input lot already in? Well, we could do that by coming up here to our lumitry color to this drop down menu and adding another lumitry color effect. So now on this again, we have two lumitry color effects. The first one has the input lot and the color correction adjustments. But what I could do instead is use this first lumitry color effect for the input let and use the second one for the color adjustments. That way, we're separating the color correction process and giving us more opportunity for flexibility when looking at it back and making adjustments. Lumitry effect doesn't have any adjustments on it. So what I'll do instead is clear this lumitry effect and go to my Effects Controls panel where I can see the lumitry effect we've applied. This has both the input lot and the color adjustments on it. What I'll do is I'll duplicate this Control C V. And now we have two lumitry effects with both of these adjustments. Navigating back to the lumitary color panel. Now I can separate our input and our color adjustments. Lumentry color one will be just my input lot. So I'll reset all of these color adjustments below clicking on the reset button. Then once again, navigating to the luminary color drop down menu, selecting lumitry color effect two, and removing the input lot. Lumitry color effect one has just the input lot in it, and lumitry color effect two has just the color adjustments. Now when I turn on and off the basic correction toggle, we can see the work we've done with these color adjustments. Before you can see it's got that kind of green tinge to it. It's cooler in color, toggling it on. It's warmer, lower contrast, and doesn't have as much of a green bias to it. Before, after, before, after before, after. You might say, Hey, actually, I kind of like how high contrast this image is. I might want to bring some of that back in. Now, with separating the input t and the color adjustments, we can see that a lot clearer what you might want to do to your image. I'll toggle this on, navigate down to my contrast, and bring this up just a little bit, toggle it off, to it on. Now we're closer to matching what the contrast was before. And also, our highlights are taking down quite a bit, as well. There's not as much overexposed areas, and that's looking okay for me right now. Now, honestly, you could just apply the input lot and that would be fine for this class. Color correction and color grading is interesting to you. I would highly recommend checking out the other lessons in my other class on the post production process. I go a lot deeper into that and some techniques that I think you're going to find very valuable that you could apply to this class project. For now, just play around with the basic correction section of the lumitry panel, see what you can do. And if you completely mess it up, no stress, reset and start over. Or, don't even worry about correcting it at all. Just set your input lot and you're off to the races. And the next I'll set, I'm going to show you how to quickly apply the input lot and the color adjustments we've made in this lesson to the rest of your clips. 59. Copy Paste Attributes: So quickly apply our input let to all the clips in our timeline. Here's what we got to do. First, we got to select a clip that has the adjustments we've made with our lumitry color in the timeline. Now, right, click on the clip, copy or you can just hit Control or Command V. Then select the rest of your clips within your timeline. Right click and select Paste Attributes. You're going to see this menu pop up, and this lets you copy all kinds of effects and properties from the clip you just copied and apply them to every clip you've selected. List, you're going to see lumitary color, which includes the input we've just added, and that's probably the only thing we want to copy. Unless you want to copy all the color adjustments you've made to this clip to the rest of your clips. You may not want to do that because every clip will have slight lighting adjustments and were filmed in different parts of this set. So for now, I'm going to suggest that you only select lumiary color effect one, which contains the input let only. Remember, two imitry color two contains all the color adjustments we've made after applying the input let. I'm not going to paste over the color adjustments I've made after applying the input let. I'll just paste over the input let itself. Now, I'll hit Okay, and every clip in your timeline has the input let applied. It's instantly transformed from flat washed out look into Rec seven oh nine. So clicking through all these shots, it's pretty clear that they're not all evenly lit. They have different variations in brightness and darkness. So you might just want to keep them as is. That's totally fine or go ahead and adjust each clip using an ilumitary basic correction section. If you do decide to take this other class where I go deeper into color correction and color grading, I would love to hear it and how you've worked it into this project, so I can provide feedback on that as well. So for now, finish applying the conversion let to your footage and copying and pasting it over to the rest of your clips. In the next lesson, we're going to get ready to export our project. 60. Export Settings: The most exciting part, your edit is done, and now you're ready to export. Share your creation online as part of your class project or your portfolio. When we're exporting our media, all that means is that we're taking everything in the timeline and putting it into a file that can be opened within a video player or uploaded to the Internet for viewing. Before we hit Export, make sure that your timeline is complete. There's no extra media at the end of your timeline. What you can do to quickly check this is hit home I for in and then to go to the end of your edit and press O for out. This creates an in and out point around all of your media. So if you did have a lone clip at the end of your timeline for some reason, it would wrap around that clip as well, but we don't have any rogue clips within our timeline. So it creates an outpoint right at the end of our sequence, like intended. Zoom in all the way to the outpoint and you'll notice that there is this one blank frame. If you don't like this, you can just click and drag the outpoint to snap directly to the end of your edit. Now from here, you can hit File, Export. Media. And this brings up the export settings window. Before we change anything, click on location, navigate to your class project. I would recommend exporting using the Exports folder. If it's a final edit, then create a new folder called finals and export it there. Remember, this is after all of the revisions have been made after you know for certain that this is your final edit. The reason you do this is because you're definitely going to have revisions. After you export something, you realize, oh, man, there's a glitch in my video or maybe there's audio missing or something like that. There's always some first export using the exports folder, you can date the edit itself so that you know what version this edit is and have all of your drafts nicely organized, hit save, and then let's navigate to our presets. Scroll down and select high quality ten ADP HD. If you edit it only with four K clips and you edited in a four K timeline, Make sure you select high quality 21 60 p4k instead. But because I use four K clips and HD clips and I'm exporting a final HD sequence, I'm going to select high quality ten EDP HD. Once you select that, you'll notice the format automatically switches to h264, which is a video format designed for high quality playback with relatively low file sizes. So in simple terms, it's a great format for streaming or uploading videos online while keeping things looking sharp also a great format if you need to send a quick link to a client to review a draft. The small file sizes can be quick to export and fast to upload. Let's scroll down to the bitrate setting section. So this is where you control the balance between video quality and file size, and you're going to see three options under Bitrate encoding VBR one pass, VBR two pass, and CBR. VBR stands for variable bit rate, and that means that the bit rate adjusts depending on what's happening on the screen. So more detail means a higher bit rate is going to be used, and less detail means a lower bit rate. One pass means the computer makes a single pass through your project to determine the bit rate. But to pass, it takes a bit longer, but it does a second analysis of your edit to try and maximize the quality while maintaining a reasonable file size. And then we have CBR, which stands for constant bit rate. And this means that the bit rate stays the same throughout the entire video. It doesn't change. It's faster to export, but it's a bit less efficient when it comes to file size. So even if the scene doesn't need a high bit rate, say it's a still image within your edit, it still uses a high bit rate to encode. That portion even though it doesn't need to. So which one should you use? Well, if you're looking for balance between file size and quality, VBR pass is a great choice. It just takes a bit longer to encode. But for this kind of project, because there's so much movement and quite a bit of effects, quite a bit of things happening on the screen within a short period of time, I think VBR pass with a target bit rate of around 25 to 30 megabits per second is going to work pretty well for this. So my target bit rate will be 25 and maybe instead of 30, I'll go 35, so then it has a bit more room to fluctuate when it comes to more complex sequences. And this applies to high definition to HD. If you're using four K, this is going to be somewhere closer to around a target bit rate of 50. Now I'm going to throw you a bit of a curveball. I actually use CVR almost all the time. And that's because file size isn't really a concern for me because I've amass huge amount of hard drives over the years. So I don't mind having a larger file size. I just want a fast export, especially when you're working through multiple iterations for a client. Speed and efficiency is my top priority. I might even just hit CBR and type in 50 if I want to crank that quality up as much as possible. And I prefer having the highest quality output possible when it comes to uploading to a platform like YouTube or vimeo because those platforms will recompress the video in some way degrading the quality of the footage. But when I say that, it's not always something that is visible to the naked eye. So don't get too hung up on everything being perfect with this. I would say just follow those basic suggestions and you're going to be okay. As you adjust this bit rate slider, you're going to see, too, that the estimated file sizes changes in the bottom right of the export window. So a higher bit rate, it results in a higher estimated file size. And if I take this down, it reduces the file. Choose your export settings, then hit Export. So to keep this as simple as possible because there are so many settings in the export window that make negligible visible changes for most HD projects, stick to h264 plus high quality ten ADP and use VBR two pass at 25 target bit rate to say 35. And that's going to get you a solid quality to file size ratio. And if you don't mind having a huge file size, click CBR, crank that target bit rate up to 50 megabits per second. This point, you should have a completed or close to completed edit, and a rough edit is fine if you want to submit that as your class project. But if you'd like to complete something more polished, put on your finishing touches in my exports folder. And there it is. I can double click on this and play it back in my video player. I can also select this file and upload it to the Internet. And this file represents my timeline with all the edits, special effects, music and sound effects, all in one file that I can play back or upload to the Internet. 61. Final Thoughts: Congratulations on getting through all the lessons in this class. It's no small feat taking on a complex project like this and learning the video editing process. In the early stages of your edit, organization is key, but only as much as you need to keep things manageable and your workflow enjoyable. Start by choosing your selects and bringing them into your main editing sequence. Drop in music or trim your track to match the intended length of your edit. Then cut your selects down to fit that duration. If you're going to find the purpose of your edit early on, it will help you stay focused and make it easier to choose the most relevant clips. Use the what of your story, the beginning, middle, and end to brainstorm a rough structure and ask your what I? This avoids overthinking, it's non committal, and it's non judgmental. This stage is all about arranging clips and getting a rough idea of your story. As you begin to assemble everything, focus on how you want the edit to feel. Tone is what guides your audience emotionally and connects them to the purpose of your piece. You can't force results, but you can edit with purpose and use tone to move your audience. If they feel something, they're more likely to respond the way you hope they would. These story elements break the process down into manageable chunks. Once your story is in place, it's time to add sound effects, text, color, and final touches. Then export and share your work with the world. Submit your projects, and I will provide constructive feedback upon request. And please leave a review. Any feedback helps me do better and serve you better. Follow my profile for announcements, new class releases, and occasional giveaways. If you want to learn more about filmmaking and video editing, I highly encourage you to check out my other classes on my Skillshare page, and you can also view additional content on my YouTube channel. Thank you so much for taking the class, and remember story is your guide. I'll see you next time.