Edit Your Videos 3 TIMES FASTER in Adobe Premiere Pro (Advanced Class)

1. Intro: The tank, editing, the magic that makes your video, and helping people from around the world with their company creation journey. That's scripting their videos, filming, and editing with about 250 students. So far of them beginners. Everybody's so overwhelmed with going to the park. That's not a surprise. Sometimes it takes time to get comfortable with editing software and how to read faster. Well, in his class, I will make you really comfortable very fast. Hey, my name is Pablo, also known as curious Pablo. And a lot of things I'm an alternate, an entertainer, a tour guide, but most of all, I'm a videographer. I create travel in history related content for my YouTube channel, but it also create content for companies and brands helping them with their content creation German and all that comes with editing. This is where all this is happening. It's my creative corner, is my standing desk. Today's class is how to learn to ask them Premiere Pro fast, like really fast. And honestly, if you're a beginner, just starting with Premier Pro, this class can help you. Couldn't really help you. But the ones who really appreciate this class are the ones who are already editing on Premiere Pro. But we realized they're spending a lot of time on the program. I'm really excited to teach this class because I was there, I spent hours in the painting software, moving objects and cutting layers. Bill Gates once said, I choose a lazy person to do a hard job because a lazy person will find an easy way to do it. Well, I'm that lazy person. I spent hours at editing software so many hours that they started hating Premier Pro and they started hating editing, but that shouldn't be the case. So what do you learn in this class? You will basically level up your skills, which will make you finish your projects faster and they'll reduce your screen time that way. Because spend more time scripting or feeling your next project, or get some extra time to procrastinate in this class out in what they learned in the last five years of constant. I will give you the dance of anything. I will show you how to set up your project, how to organize your folders, how to edit different styles of videos, what shortcuts to use features in the program who didn't know even existed before and all that to make you more productive in front of the screen. Now let's get something cleared up here. The phyto says that this class will help you to edit three times faster. These might not be the case. Now what do you mean by that? It helps me to edit three times faster than a definitely edit at least faster. Now, however, the kids were you, do you might be editing two times faster or seven times faster. It will really depend on what level you're at right now. Now you're probably wondering how much faster that are going to be editing after this course. You've probably curious what exactly is in this course. Or to be fair. I can't wait to start. So why don't we just begin. 2. DON'Ts: Okay, let's start with the course, actually virtually here. So let's put these back. Let's start with the course and we're going to kick it off with some don't. Because as it is important to know what to do. Equally important to know what not to do. Because that eliminates mistakes and errors, reduces mistakes and errors. Number one is, don't move your hands too much. You can move your hands when you're talking. That's fine. But when you're editing, your hands should be stay bout. They should be on one spot. What do I mean by that? This should be the position for your hands. One hand staying on the mouse and the other hand stand on the keyboard. Here's the important part. Your other hand, left hand or depending what side you're using the mouse, but one hand and Mouse, hand on the keyboard and the hand on the keyboard. It's not walking around the keyboard by standard one spot. When I'm talking about keyboard shortcuts in a while, very, very important. And you'll be using them quite a lot, not just for this course with Hubble. After that, hopefully you implement them in your edits, but using keyboard shortcuts, barely important. You have in your hand walking around the keyboard all the time. It's extra time that you can eliminate. Going to move all the keyboard shortcuts on one side. You don't do left, right, left, right. But just to keep your hand over there on the left side. When I say, always keep your hand over there, I mean, even though they get out of the keyboard, because that also It's time. Now I know what you're thinking. You're thinking power. Come on from here to here. What I'm losing some parts of a second. You might be right, but if you're doing that all the time for you or for our edits, can take some time. Number two, don't rewatch your sequence. I've been there so many times. You edit something, you finish one minute or something from the video, and then you go and just sit there and watch your video. Then you edit something else, a minute and a half more. And then you go from the beginning and the ureter watch your video, and then you stay. And if you think about it, your watch one minutes from the first part, That's one minute lost. One minute. You could have been cutting more. And you can cut a lot for one minute. Then when you do the next part, one minute and a half more than 2.5 minutes in total. You watch that from the very beginning, including the first minute that you already watched before that and you just stay here on the computer for two minutes and a half glazing, just watching two minutes and a half statics. What else can happen? You can see some mistakes. You can be like, Oh, sad, some subtitles here. Let's move this effect faster. Let's add a sun effect over here and all that distracting you from the whole project. You can add these things, but come back to these things later on. And speaking of adding things, number three is done BY up perfectionist. Once again, I was there in the past. No good fit, but not so much. Where were we wound up too much? Here's how I use. The views are a part of the video. I will watch it. I'll edit the next part of the video. I watched the whole thing. I didn't export the video, watch the whole thing, then edit everything, watch the whole thing. And during all this time I'll be like, Okay, add the address and then I went, I'm watching the whole thing at the end. I will also be like this video can use some more sound effects. Yes, let's add some more sound effects. What about transition? And I cannot transition over here. We'll make it better. And then I end up adding sound effects, extra music, more shirts, more effects, more transitions. A lot of things. Now, one, you should not focus so much on that production type of thing. The thing that you should be most focused on is the story. You have the story. People will forgive you if you didn't ask enough musicians. If you have the good story, people who engage with us to rewatch. Number one. Number two, when talking, Don't be a perfectionist. You've been perfectionist to put to you. You'd be perfectionist to you. But he said, you who decides if people watch the video? It's the people who decide to watch the video. You might be thinking this video is not good enough and one of the efficient positive, but these video that you don't, I don't think it's gonna be good enough can be good for your neighbor and good for your cousin, can be good for your system. They may enjoy it. Don't you? Perfectionists for other people's perspective and you didn't know how they think. Just pause the video and see what people said. I didn't implement the feedback. Don't be a perfectionist. Coming back again and again, again and again and again and again in the video and adding more things, making them more perfect because that's the time that you can use to work on your next project. Alright, I got the bit excited on this point, just three points here. These are the don'ts, These haven't done so. Don't move your hands too much. Don't even watch the sequences and don't be a perfectionist. These are very small but very big win at the same time, Chris, Alright, let's move now to the next chapter. Just make sure you don't do these dots. 3. Basic Steps: Welcome to the next step or step that I call basic steps. Yes, actually we are not starting to edit just yet because there are steps that we can do before editing, they will help us a lot. They will save us time. Everything I'm showing you here is going to save you time, gonna make them more productive. There are six steps. Six. How many? Six in Bulgaria? Number six is we F6 in school when your sufferings excellent, Excellent. Bravo. You get six. So how many steps? Six steps are? Let me share my screen here and show you what I mean. Step number one is to organize your full this. Let me show what I mean. So here's my desktop. I organized very clean for you. Usually it's a mess, but Tip number one from the sixth, organize your folders. If you've got my hard drive is yes to this power for letting me have a template project folder all the time waiting for me over here. What do you do with that? If you open it, you'll see assets. What half of my assets over there. And also what you have is a template folder. That template folder we have for this waiting for you to import your footage to insert sound effects music, Anything that you're going to need for your project. What do we do with a folder? Glad you asked, you're simply cannot copy that folder to a place where you're going to replace in your video. So what I'm gonna do with this tool, I'm just going to rename it as it say, my first video. Now when it opened the folder, I have everything here. By everything, I mean the folders waiting for me. Let's instead some footage. As you can see, I have footage over here and I even split it into Tokyo, which is my speaking shots. And also biro. I also put a music track and sound and an audio, which is what I recorded my external audios after that, we're gonna be synchronizing after that in the project. Now, what about the project itself? I'm glad you're asked. If I go back to my template folder, you see a project. It says new because Premier Pro updated to the new version and now we need to have a new project. It's impose that. I'm just going to double-click on that. I'm going to open the template project. That template project is all the time staying there, waiting for me. Why? Well, that brings me to tip number two, which is a template project. Okay, your template project loads. And now what you have inside is full 3D assets. Usually, if I go to Assets and expand that, I have N screens that I can just drag and drop. I have exported assets. What is exported assets for me? It's a lower yeah. Sometimes this happens here, in my opinion, are the two biggest downsides of Premier Pro. One is the monthly subscription, for example, Final Cut Pro pairwise use it all the time. Wow, Premier Pro. And every month you pay something and that's what the money. Number two is the constant crashing problems. It crashes and you don't know why it crashes. And then you go online and search my Premier Pro crash, how to stop Premier Pro from crashing? There's so many things that are related to this and it's so night. Here's one fixedly felt. I'm going to insert it straight away here. As you can imagine, I didn't predict this to happen. I didn't plan this to happen. But is it happening every once in a while on my projects here, on that computer? It's often because I opened same projects and different computer and they work. But when I open them on this computer, they give me a crash. Here's what I found. You start Premier Pro again. Open a new project, then you name it Project. And now when he opened the new project, you're gorgeous. File Import. Going to import your old project over here. It's going to import it. Wait for it. Oh, yeah. Everything sequence. No need to create folders for it. Just important consequences, then it's done. And now I have the same project from before, but just it's working as I was saying, Why do you need a template project? Because you can have your assets order to there. By the way, I found out that sometimes it crashes because I opened a specific folder. That might be the case what happened with the previous one? Maybe you can delete a folder and the files from a folder. But anyway, how a template project. I have some green screen footage like flames and stuff like that. I have I have some pictures, I have social media icons rates to be uploaded here, some side effects, music although now and search for music for every project. So it's a bit different. Anyway, all these things, I have some like PNG flags ready, ready to be inserted. Still the weight. So all these are things that I often use. So I didn't need to go and search for those things for every single project. Now, once I open this project, what do I do? I didn't extend my files here because this project will not be valid after that. What do you do from here is you go to File, Save As, and you create a new copy of that project. How does it going to look like? You're gonna name it my first video and go to your desktop mindfulness video project. And then you're going to click on Save. Now what I'm editing, as you can see up here, the way up, up, up, up, while I'm editing now on my new project, standard way I'm gonna go to desktop. I'm going to go to grab, hold, Shift, and move all these things up here into the program, drop them. And now I'm ready to edit. As you can see, we have only three folders because these are the three folders that have something inside the other folder's empty. That's why they wouldn't import it in Premiere Pro. Now I have the temporary project straightaway as you implode your staff, press Save or Command S or Control S to save your projects three way, but that's pretty easy to tip number three and that is layout. The layout of your premium. Pudding me by that. Sometimes you open your Premiere Pro and it comes up like this. And honestly, what the **** is this? What is this? You, how do you even edit on that? It's a ridiculous. You need to get some space, especially if you're working on a small screen, this socks, socks, what is this? So here's what you need to do. First, go to anything straightaway, go to anything. Don't even look at the other tabs. Most likely what's going to happen is you're gonna have your project down here. You need more space for the project and have a look at the files. Just move it up here. You need to have the fourth quadrants, give yourself four quadrants current layout, what will probably happen is your source monitor will be here. So you're gonna have one view over here and one view over here. But just move your source monitor over here, Essential Graphics. Now, move your source and Moncler shops. All the monitors will be happening over here. Great. Leave your project here. If you need a bigger sequence, for some reason, you can even move your effects up here and then you have a bigger sequence. But most of the times four quadrants. Plenty. Now as you can see what happened, I misplaced it. But everything in Premiere Pro is customizable. You can arrange it as you wish. But I find this to be the best way for quadrants. Project up here, two monitors here, the sequence down here. Don't forget to have your lines over here, your audio levels and the effects over here on the left. Would you brings me to tip number three, which is labeled Link. What do I mean by labeling? Well, I'm glad you asked. Now I have imported my footage, I have set my layout. Next thing I'll do is I'll label my footage. What do I mean by that? I'm going to go over here on the footage on the talking part, and I'm going to right-click on them. I'm gonna mark all of them holding Shift. I'm just going to mark the first one, the folder and I'm going to mark all the files right-click. I'm going to go to Les bulb. And that is where you said different colors for your different files. So as you can see, I have even renamed my labels. This color here is speaking shuts, which is green. And you can see everything on the left side change into green. Now, if I drag and drop this thing over here onto the sequence is already green map. What's the difference? If I drag a bureau? Different color? Now, I'm gonna do the same with the Bureau. I'm going to mark the fold. I'm going to expand it. I'm going to mark the folder including the files. Including the file. I'm going to right-click on that label. Here's my Bureau shots should be yellow. Here are that they add yellow. Now, when I drag a bureau shop, it's yellow. Why did I do that? Because when you have a lot of footage, you need to, let's say, change the color of only the speaking shop. Or if you look in for your Bureau shots, then you just zoom out slightly. And then you look at your sequence. You stay away, know where speaking short-term, where you'd Butoh is, where your sound effects are, where your music is. And you straightaway can start doing something and then you can start manipulating that layer. And it's very easy to locate. That is why you label your stuff. Moving on to tip number five, and that is synchronization. Now, if you have speaking shop with a separate audio, the first thing you want to do before we could anything is you synchronize your footage from last year footage. I can recommend a software for you. It's called pleura. Pleura eyes have to pay paint off with. So here's the easy well not here is the free option. It gets rid of your bureaus. We're going to working only with this peak is shot. Now this is my sequence. I'm going to name it main, and I'm gonna move it to the main folder over here. Where did they move you? Okay, here it is. Bump. Now I have a fuller for sequences because I have a main sequence. This looks weird. It looks flipped because I was filming vertical. We were filming vertical for this project. That's why it's flipped. So I have fusion folder for sequences can see Facebook, IGTV, which are different ratios, different formats. That's what have my sequence is ready for my template project. I just drag and drop my footage. So easy. Anyway, we're going to drag our speaking shops as the first thing. Then we're gonna go to audio. Of course. Why not? We change the color of that. We're going to label them as mangrove, mango, mango. And what we're gonna do once we drop that here, straight away, check this out. It's already a different color. What we're gonna do, we're gonna mark those two. Those two. Then we're going to right-click and we're going to go to synchronize. Unfortunately, you cannot synchronize more than two ODEs. It's not gonna happen. You have to have, I mean, more than three hours to odors. You can synchronize, you can synchronize audio with audio, but not Odeo, Odeo, Odeo, Odeo, Odeo, Odeo, only two trucks at once. Now, what we want to eliminate is not just extra movement on your hand, but also extra clicks. Because if I come here and if I right-click on that and then click Synchronize and move my mouse around that also time that we can say, how glad your F. We're going to set a keyboard shortcut for that finger. That's called synchronize. The keyboard shortcut. The shortcut so that you already saved. It's command option is, once you hit Command option is, the menu will pop up is the same menu. You basically click, Okay, you will synchronize it for audio. That's it, bump and it's doing its magic. And if the clip is synchronized, know this one's not. Kinesin get csc. This was a bit later. Here it is. I found it. I'm going to drag this one here. Straightaway. Audio, synchronize these two bomb. And here we go straightaway. Now, here's a tip as what the program will search throughout the whole clip. If you know, for example, that your clip at the beginning definitely is not working like it's not gonna need that. It can delete that part. So you synchronize a smaller portion. Now from here that I synchronize the footage. What I sometimes well, what I most of the times actually I almost always do is I will drag this one up. And I'll eliminate the speaking. Why? Because I don't need it. And point number six is to check your sequence out. The main things you need to check here on the left side, starting with the very left one, where it says V1 and A1. These things influence by the source files. So if I add the moment I'm gonna file that has audio and video. Audio video. And as I click on it, as I market for A1 and B1 are active. If I drag and drop it over here on the sequence, I have four of the video and audio. However, if I remove that, if I drag over here on the sequence, it's just the video. Sometimes what I have with my students when they open their Premier Pro, and they have only this clicked on, only these selected P1. And when they drag stuff out, somebody's role in Premier Pro, like I had the wrong version. You don't have the wrong question and it just too many options. Bottom line, just make sure you have both selected if you want to have for video and audio. And other thing is right next to it when you have VA V1, V2, V3, and A1, A2, A3 and independent, how many audio and video tracks you got you're going to have for each number. But what this means actually, usually you will have only V1 selected. That means that if I add more stuff over here, I have this up more for the chair and then I go over here and then I add more staff. Where this happens is that if I cut the moment I'm cutting, only have where I have this selected. So if you see I made a cut on the whole timeline, I'm gonna give you the keyboard shortcuts in a very while. But if I could hold timeline, I will get only the part where I have this selected. So for example, let's have a closer look over here. If I cut the timeline, once again, I will cut only V1 and A1. That's because if I make Active Directory and then I just go back altogether and I cut. Now. See that now V2 is not correct because it's nap select. It just gave me a helpful if you have, let's say a logo of some sort that can stay throughout the video. If you can just disable that option for V4 to be active, then if you cut timeline, it gets everything. But not this thing because it's not active. This of course, as I mentioned, if you have logo, let's stay on the side of the screen. I can go down, unlike cut and nothing will be cut. It's not active on the site. And with that, we'll conclude in that section, in the next section, front of my favorite lines. 4. Hot Keys PART 1: Welcome to my favorite section, keyboard shortcuts. So beautiful, so beautiful. This is the key, keyboard shortcut, key, hotkeys. This is the key for editing fast. If you remember at the beginning I told you one head should be the mouse, the other hand should've been the keyboard, but only one side of the keyboard. Now, during those 56 years or I don't know how long it is that I've been editing. I have perfection. I think the best keyboard shortcuts you can get. Because I have mastered everything that is needed and it's staying on one on one spot on the keyboard. Only, ONE here, only on one side. I think it's beautiful. Here's the real beauty. I'm giving you all the shortcuts. You can download them. They are in the course, Dao them, install them. I'm giving you the shortcuts for Mac and for Windows, so it's ready to go. Before I kick it out with specific shortcuts, I want you to think of games. If you play computer games, will be quite easy for you. Because in computer games, your main focus is usually on the left hand side on the keyboard. This is where we will be focusing now, depending on the game supplied, most likely use W, a, S, and D to move around. These are the core keys that we'll be using as well. With that said, let's move to keyboard shortcut number one. But to be fair, the first one, it's not so much of a keyboard shortcut. It's a shortcut. Now the keyboard so much to creating your sequence. Number one, creating your sequence. I want do I mean by that, Let's jump into Premiere Pro here. Continue from where we left it off. So here I have my footage and here is our talking footage. Now, because we already set up the project that we have. I have a sequence waiting for me. I call it Facebook. I have the dimensions here, which are the ones I use for Facebook teenagers, 1350, which is four to five. And it's really with 24 frames per second because that's where I usually shoot on what I know that when I start a new project, I can straight away In straightaway drag and drop clip, and it's ready for my sequence. I will, I will only need to flip my footage around, but that's a nice Again, I also have a sequence which is IGTV, which is a different dimensions, which is basically the dimensions for IGTV, which is 108 to 19 in which his 916 and steal away. Once again. Once again, it's waiting for me. Horizontal videos on Facebook. Now I just both to code, but I had a sequence for YouTube as well. We're informing here. So if you decided to go with a template project and just have your sequences really, that's gonna be a big time-saver. I will recommend you to do that. However, here is the fastest way, the most correct way to start a sequence. If you don't have sequences ready, alright, let me show you. You need to focus on the files that you'll be talking. The main files, if you should, Bureau at a 120 frames per second. Don't do that for these files. Do it for the speaking ones. So here's a speaking shot. Here's what I'm talking. I'm gonna come here and going to right-click on that. I'm going to create new sequence from clip. That straightaway is going to create a new sequence. Here is it appears over here. And I'm going to name it talking. And I'm going to move it to my folder with sequences. Here it is my new sequence. Let's check the settings, what it is. If we have a look, it's 23.976, which is the frame set we use for that video clip. And it basically takes the settings of this particular clip and creates a sequence towards these settings. So this really is the perfect way to create a sequence. Now, when I told you don't create, don't use bureaus for that method because what happens is if you use a biro and you should as a high frame per second, you're going to create a sequence which is, I don't know, 6120 frames per second. But then when you add your speaking shots, which are 24 frames per second, It's going to work pretty well. This method works really well, but use it for speaking shots only. From there, you build on your video. The second shortcut I wanted to show you, or basically the first keyboard shortcut because what we showed you now was just a shortcut. That makes sense. Anyway, the keyboard shortcut that I'm going to show you is inserting your clips. Something as simple as dragging can also save you time. What do I mean by that? What do I mean by that? I have this in and out for this clip. This is my in and out. Now I can drag and drop it over here. Or what I can do is simply as I'm here on my source monitor, I simply click. Shift, hold it and then press cube, and it goes to my sequence shift. Thank you. Now is this faster? Is this useful to prepare? I didn't use it all the time. I'm I'm still adjusting to it, but I think it's a time-saver as well because that saves time dragging around, and instead of dragging around my clip, I can press Shift Q. And in the meantime, while this has been important, I can move to the next clip and see how it is. And if I have my in and out points set straightaway, I can instead it from here. All right, simple as that. I think it's really good. Shortcut. Next step is zooming in and out in your sequence. Once again, within the left side of the keyboard. And I set it up pretty easy. One for zooming out, to zoom in in. How do you remember it? Two is bigger than one. Bigger number, bigger sequence, easiest for us to, and it makes it bigger, zooms in and zooms out. However, here's what I use. I use a scroll. If you're on Mac, it's probably easier because the mouse can scroll on the side as well. If I use the mouse, I scroll left and right. However, if I want to zoom in, I just hold the Option button, that will be Alt button in Windows for zooming in, I go up, I screw up and zooming out, I scroll down and it's very easy to be fair. I got I got a hack of it on the laptop as well and pretty faster that as well, which is holding the Option button and just scrolling. And it's going very easy because if you're using Mac and you're scrolling up and down, you can also at the same time move left and right. And it's really great navigation. He only need just a little bit of practice to get used to that. Go ahead and try it out. Next, stop moving one frame at a time. If you look at the default settings, this option is on the arrows. But if you have 100, your mouse and you have one hand on the left side of the keyboard. You don't need to sacrifice one hand and move it to your arrows. If I want to move one frame to the right, I need to let go of, let's say, the left side of the keyboard and move here. So vita and so on. As my German friends will say, however, we move this stuff on the left side of the keyboard, and that is deep. As I mentioned, computer games walk into the right. You press D, walk into the left. You press a same here as well. If you want to move right on your timeline, you're going to press D. If want to move left one frame each. If you press a simple as that, there is another option. If you want to move my frames at a time. The original option, the default option is holding the shift in moving the arrows, however, you guessed it, if you hold Shift and press D, We're going to move five frames to the right, holding Shift and pressing a, you're gonna move five frames to your left. I'm just gonna move those annotations on the side so they don't distract us. Let's zoom this in five frames to the left. Five frames to the right, using the D, Moving on in and out points. Default options for in-and-out points are I, for, in, O, for out. Beautiful. It makes perfect sense. However, what doesn't make sense? It's there in the middle of the freaking highway between your hand with the mouth and your hands on it looks at the keyboard. There's just literally in the middle. What I did, I just move them, You guessed it, on the left side of the keyboard. You already saw that some of the clips have in and out points. How do you set that up? You just find the spot that you want to play with. And then you're going to press Shift. Press that boom. Now how to find your out point. And if we're going to press Shift to press Shift F2, and then you have your out point, once again, in point shift, one out point shift to move it on to w. Q and w are if on a rock default options. And I actually prefer them most of the times, rather than sitting up in and out points, if you don't know, q and w is a huge time-saver. You can find where you're talking roughly set an endpoint. And then what you end up talking set an out point and then get it to your sequence. But what's gonna happen is most of the times you're probably going to still need to make some adjustments, meaning you still going to need to keep some bits. That's why I love Q and W. Basically what q and w are just cutting parts of your timeline. Here's how to remember it, because Q is on the left side of your keyboard, and w is on the right side from q. If you press Q, it's going to delete everything from that selection. On the left. If you press W, it's going to delete everything from that selection on the right from the play head. Let me show you because at the beginning of the clip and then you can see I'm still adjusting myself and this is where I started soccer. Now, you have the option to press C for the razor to find your space. Got it. Then press V again, find your space. Delete that. You have this option. We have this up. It's your right, it's your right to do that. But they just see how many steps I did. C could mark delete. All these can be eliminated with q. How that works, you just find with your play head, the part of the clip that you want to start. This is my part and I simply click, click. Technically click. Once I press cube, it eliminates everything from that particular layer, not from the sequence from that particular layer left from your play head, the play head, once again, it's the blue thing. What's happening with W? Same, but on the other side, every from that play head to the right, only for that layer. Let me show you. We figured out that this is the beginning of my clip. This is what I'm talking. This is what I'm talking. I'm talking now. I'm showing up stuff. And I stopped talking here. When I stop talking here, here's my point. You can even read the audio if you look down here, this is where the audio is just gradually going down. So this is where I stopped talking. As I found my endpoint, I simply gonna hit W. And that straightaway is deleting everything from the right side of the play head. Let's get it. 321. Fantastic. Once again, Q deletes everything left from your play head. W deletes everything right from your play head. The easiest way to remember that, just look at your keyboard cues on the left that we see on the right. Simple as that. Next point, cutting the timeline, the default option for that was Control or Command K will use Control or Command K. It just doesn't make sense. So I moved it your guests to the left side of the keyboard and I put it as E, will get your timeline. That'll give you some extra tips of cutting timelines. If you have one layer, pretty easy, you just press P and makes a cup. Another thing risky, and it makes a cup. What happens if you have multiple layers? You have this. You have this as well. What happens here? Let's equalize them separately. Beautiful. I'm going to tell you how I did that in just a second. So what happens if you have multiple layers and the moment I'm still active on this clip than the reason for that is because these ones are not active. If I cut the timeline at this moment, I'm gonna cook only these parts. Because if you look at this every week, you have selected evidence you have active here on this will be cut. The rest, we'll stay here, they're still hold. However, what I can do is if it's just one occasions, but I want to cut the whole timeline. I'm doing my goal with Control a or Command a to mark everything. And then press E to look at the timeline instead of wait, what is my cup? However, what you can do as well, activate your V2. Let's say I want to cut everything but this one, everything but the top layer. I just wanted to leave the top layer as it is. And everything else. I want to cut. Just today what I'm going to activate V2. I'm not going to activate p53 because I want to keep it that way. And I'm going to just simply, simply move around and cut it, makes it Mexica. Now, here's the thing. Did you see what happen if you want to cut the timeline? You don't need to have a specific layer selected. Because if you have a specific layer selected, gave this out, you're gonna cut only that layer. So in order to cut everything that is active on your timeline, you just need to have nothing selected. Here's another T. Instead of playing with this active, the other one active and by mistake cutting this work, what you can also do is go to the padlock on the left and lock it. You look the layer, it cannot move, it, cannot cut it. You cannot do anything with it. It's saying that it's locked enough about cutting just to remember, press E and it either cuts your selected layer or the whole timeline, moving on next point and still leave what a ripple. Delete that. Let's say this clip is all altogether. I wanted to eliminate pump in-between. So what I can do is find the part that I want to, the beginning of the part that I wanted to eliminate, cut on it, then find the end of the part of I want to eliminate cut again. Then I'm going to mark this, delete it. And then I'm going to move these things on the site to move it over there and I'll be done. However, there is an easier way to do that. You can use ripple delete. And it goes like this. You find the beginning, you cut it, you find the end of the palette you want to get rid of. You cut it. And as you have this market, the middle part that you want to get rid of, you simply press ripple delete, which is the keyboard key. Ripple delete. Here's an example. I'm going to press R here and that is going away. What happens if we have more trips over here aligned and then you see there is a gap. You see I have this thing is over here. And if I want to delete that part over here, if I press Delete, it's going to move everything. Not just the last part, it's gonna remove everything. Let's press on. And form the whole timeline after that. However, here's even a faster option, how we just covered it, we just covered it. Check this out. So let's say I want to cut part from here. So I already have this part good. And instead of cutting part, cutting another part over here and then delete with this one with ripple delete, I can just come to the part where I know that I'll be cutting and press Q, because that's eliminates everything left from the play head, only from that layer. Once I press Q. The way we're cutting the part, alright, moving on to the next hotkey, and that is markets. How can create markers and manipulate markets? First of all, let me show you how to do markets. That default hot key is control shift. Is it natural because Control M or Command M is exporting? Probably Control Shift M. I'm not sure. Anyway, easiest way, the fastest way now to do marketers with the new hotkeys that you've got. It's simple Option or Alt Z and creates a market for you. Now what can do from that is you can also manipulate plants because marker, the markers is just a point of your clip that has a market, let's say have an essay with 15 pages and you put a marker on top on pages that need your attention, let's say page three, page seven, you put a market like a sticky note, like colored sticky notes. You can go and have a look after that because you know, you put that note for yourself, check this out or this area needs your attention anyway, that's, that's the point of the marker. So here it is. I created a market here and I can go back later on. That's usually why I create markers for this at the moment I put a marker on the sequence. However, what I can also do is create a monitor for specific clip. Way to do that, have your play head. I'm selected on the area on the point that you want to have your marker mark the layer. And then just Command Option or Alt set for Windows and then bump, you have your marker. The difference between creating a marker on your sequencing, creating a marker on your clip is that if you move your clip, your marker will be still at that point. However, the sequence is just set. The marker on your sequence does not move. I have my markers. Here's what you can do it then if I execute that command, once again, that's going to open options for the market. For maybe I want to film a bureau shot of corn. Corn bureau. Now, if I press okay, nothing happens. This is just a note for me, the way I can read it as I go again and read it. However, here's probably the beauty of it. You see the duration, you have a duration of your marker. If you just expand it a bit and press Okay, and then you see what's written here. You can also now that they know what certain here I can maybe, I can maybe reduce the time for this market just so I can read it. Or maybe every here is empty. You say that this all this area, let's say all this area that's getting my bureau of the coin. So now you set a note for yourself and you know that you can continue working on your clip. And you know that you need to go and do more stuff. And just when you come back to editing your video, we've just started way you often your sequence. Here it is. This is where I insert my beautiful the coin Hate About You can also do you execute the command again, and you can also change the color. Press. Okay, and now we have a red market. So if you have multiple Medicare's, let's say you need to shoot some bureau. Let's say you need to shoot some speaking shots. You have to separate markets. And now you know, like it's more distinguished, what do you need to film? And there's where to insert it after that. Simple as that, how you move from market to market. And once again, I emitted. Now you create your marker with options. This is how you create your Monica. Well, moving, moving from market to market is just holding Shift and go in zip X. So X will move you to the next market because once again, looking at your keyboard, x is on the right side, zip is on the left side. For easy x moves you write and zip. Who's your left from your play head. Let's exercise that. So we have two monitors here. Let's create another marker over here in the sequence and on the marker over here in the sequence and over here on that clip, as you can see on that layer, I have marker, one, marker to market free over here, Monica for Micah five. Here is just going to press Shift Z, moving to the left, moving to the left, moving to the left, moving to the left, Shift X to the right, the right, move to the right. Once again, simple as that. 5. Hot Keys PART 2: Jump into Premiere Pro here, continuing from where we left it off. Next point you see from rising sound synchronizing sound. When you working with video clips and you have external audio, the first thing you need to do before you start cutting anything used to synchronize your audience. There is a program that I would recommend. It's called plural. However, this program is not free. Let me show you the free version. I can just drag an audio clip. Let's put it in the a2 and also let's go to talking. And it's one of the, I think this is I think this is the one. Let's click on here, and this is my video. What do you need to do? First of all, shift five flips. Let's rotate this once and talked to be easier for you to focus. Once you can do modern dose to right-click and then synchronize. This is the ideal scenario. Press Okay, finding it. Here's the point. Of course I said a keyboard shortcut for that. If you know that This part is synchronized somewhat at the end, which you can easily do, go somewhere in the middle, cut that part, get through them. Because if you know that at some point you are getting this synchronized, you don't need to let the program go around the whole of the clip, the whole the audio. It doesn't it's not necessarily you're losing time. Cut some part that you know that not gonna be needed and density whom they went to synchronize. You're going to eliminate the time. I'm doing a right-click and then scrolling and I'm moving the mouse to find euchromatin. Simple keyboard shortcut is Command Option S. And straightaway, Hey, do you want to see nice? Yes, I want press OK. Boom. Next point is gained with other words, the volume of your audio clips. Here's how this works. You know that on the right side you have this bar, you play a sound and you look at the bottom. Let me move that. You play a sound and you look at the path and you see where the bar is growing. So at the moment, it has some spikes and it goes threat when it goes red, you need to pay attention. Reduced the South. If I zoom in here, I'm going to see what are the spikes hat. Here is the spike. Later. When it goes through it, I see them. I can read the audio, is another spike goes through it. The new way to work with the audio here is to cut those particles, pints and reduce the volume of that. If I look at the clip over a volume is fine. If I wanted to reduce the spikes, this is what I will do. I will be simply pressing G. G is not that far. You just need to extend your fingers. Embassy, I'm having the whole layer mark. Press G, and here it is. I just gained by T-bills press Okay, increases the volume of the whole track. So when it says adjust, gain by, you are increasing, I'm decreasing by a certain value. So if I put minus 12, Look over here of this set gain to minus 12. The whole game is minus 12. At the moment I'm adjusting minus 12 and from 0 to minus 12, now it's minus 12. But next time, if I press G again, you see that the gain up there is minus 12 because that's who said it. Four. Here, if I press, if I add minus five, is gonna be overall minus 17. So this is what they usually use, just gained by Alyssa and then I just modify have to, but you can also, but anyway, adjust the overall gain that we easiest way to do the spikes. You look where the spikes are. You move your play head. You go to the area where the spike is, hit. In that area, move again, hit a look at an area. And then as this area is marked with a spike, press G again appears minus four. And then if you play it, now spike anymore. This works as well with tracks that have video. It just, just mark the layer, press G and you'll be manipulating, of course, only the old, you're off track here. Okay, We have a few more to cover, so let's move on to the next step is unlinking video from all years. He let me first show you how to do it. Then I'm gonna tell you where you can simply need to mark your clip and then Control F or Command F. In my case, since both Command F and then they are unlink that you can manipulate them separately. Once again, Command F or Command F, and it's got, the connection is gone. When this works, I want the video to keep going. The audio, I really don't need it. What I can do is just disable those two and then just get rid of the audio from that part. Done. Next, hotkeys, one of my favorite ones is Track Select Forward are of course Track Select backwards. By the way, I have a toolbar over here on the left side, but we're not going to even use, because we're going to save time moving the mouse, moving Hoover it over here from one side to another. We're going to save time doing that. We're simply gonna hit keyboard key. What is track straightforward? Let's say I have these things over here and I want to move everything from that point. So instead of marking all these and then move it over here, because you may have a lot of things you need to zoom out to the sequence, move everything to be precise, needs to zoom in here and then move it here. Now, that's one option, but here's a faster option. You simply press. Now your cursor has changed to two arrows. Two arrows pointing to your right. That means that when you click on your timeline, everything from the point of view, click to the right, will be no exception. So clicking and bump, everything is mark, straightaway, even the faraway finger that's faraway here. And then once you have this mark straightaway very easily, you can move the things that you have. My I usually don't use drug select backwards. I only use track select forward. But if you want to use trucks backwards, we only going to add a shift to the command from S, selecting a friend to the right. We only going to press Shift S and we're gonna select everything to the left. How this works if S, and then once again you have the two arrows. Click everything here. Then you can move just these parts over here. However, here's something extra 40, Here's something extra. What if I want to move only V1? The left option one, once again, is to select everything here, V1 and then move it. However, Check this out. You press S. It tends to two arrows. But then if you hold Shift, if you just hold Shift, interesting to one arrow, and that single arrow has only the option to select one track. So it can be audio track, can be video track when it's only one track. At the moment I'm still holding shift. If I release it, I go back to two arrows. Same goes the other way. Shift S, f into the left, I hold shift to one arrow. I select only certain video or audio track. So Track Select Forward and Track Select backward. Another keyboard shortcut that I use a lot is going to the next and previous edit point. What an edit point means, Powell, I'm glad you asked an edit point is somewhere where there is a cut over here. Let's zoom in. There is a cut over here, there is a cut over here. There is a cut over here. There is a cut over here. These are all cuts. The default options are the arrows going up the arrow and you can see up goes to the left, and then down goes to the right. Good point, Good point, Good point, good point. However, of course, I move everything. You got it to the left. Now you simply use z and x. Simple that index once again, if you look at your keyboard, Z is on the left side and x is on the right side. When you present is going to move to a cut point on your left from your play head, press X and it's gonna move it to the right. Then the next point to the right from your play head. Let's exercise that. Here's my play head pressing. Z is gonna move me to this curve over here. Press once again, it's going to move to this gap over here. Press once again it's going to move to this cut and x is going the other way. Here's something curious. If you have cuts here, here, here and here. Like if you have cut your OU a lot, then if you are going to the next play, head to the next edited point, it's going to go through a lot of those points because you cut a lot. However, you can go to A2 because this is where the, the audio layer that you cut a lot is just disabled it. Now, when you're playing with Z and X, this will not play any role because we'll be going to the other editing points. Another command that we use a lot is dropping clips in-between clips. Here's how this looks like. If I have these two clips. So this is clip one and this is clipped to, if I want to insert something in-between, that's gonna look like this is what you probably will be doing or this is what I did at the beginning. If I want to say something in-between, I'm going to move this. The new part of that I want, and then I'm gonna move this one back here. However, back, back, back. Here's the simple solution. You'll find the part that you want to insert in between two clips. You move it in-between. Now if I release, it's going to overwrite the layer that I have there. That's not something that I wanted to do. So let's go back. I'm just going to drag it here and I'm going to hold Command or Control for Windows command. And they want to release. It just goes in-between. Beautiful. The next one, duplicating flips. You actually saw me doing that earlier in this section. And it's actually very simple. Instead of going here, control C, copy this stuff, go into your play head. Control V or command V, paste it over there. All that is in the past, we didn't need that. You can simply drag and drop the clip wherever you want to have it. And then pressing Option key or Alt for Windows release and instead duplicated. This is very, very, very, very powerful for text titles, subtitles. So if you create a text and go to the T, Press here and say, my love my everything. This is my subtitle. And then I go here and I change the font to Montserrat font. I like a lot. Montserrat. Then I'm gonna make it bold. Then I'm going to add stroke of black color and make it 1516. How this looks like. Bumps. Then I want to also put in the middle, move it around. I want to reduce the spacing in-between the lines. This is how it looks like. Here's the thing. I spent quite some time adjusting these things, right? So if I want to add another subtitle just like this one, I'm going to need to spend the time to do the same thing. Again in order for all my subtitles to be the same. However, once I set my color, my background, my phone, my position, everything, I'm just going to go to the next point. What I wanted to have subtitles. And I'm just going to drag that holding Option key and release my mouse before I released the Option key. And boom, I have my subtitles duplicated. Okay, just a few left. Next option is speed and duration. What is d is the ability to speed up your flip or slow it down. When you do that, generally, I would say unlink your audio because if you split it up, if you speed up a clip that has the audio of, you can sound like a chipmunk. You're gonna sound like. And for that reason to eliminate all that. Unlink, how we already talked about that you're using Command F to this is my clip and I'm using Command F, unlink them, getting rid of the audio. Now, here's originally what you should be doing in order to get to the commands. So right-click, spear and duration. However, eliminating extra clicks, we don't want that and moving mouse up and down. Simple command for that is Command or Control. R. Commands are standard way. I have the speed and duration window popping up. You see here that's something written like 100% Hundred percent is the original speed of the click. If I put 300%, speed up the clip three times and you're gonna get shorter than the timeline because it's gonna get played faster. So here it is. 300%, appear at Talk and tip. Same, same procedure. I go here and put it for 45%, press Enter. Now it's longer because it plays. Here's an extra tip, probably you know that, but you can also reverse the clip. And now I'm walking backwards. Three more left. That X1 is rate stretch tool. And what that does is, I loved that. I didn't use it much, but when I use it, I love that. So here's a scenario that you may use it. Let's say I have this option here. This is a space and my beat of the song is such a bead that I want this next layer to start exactly at that time. However, there is a gap over here, is a gap. This gap, what can I fill it with? I have this layer over here and I know that this layer needs to stop over here. Here's what I do. I trigger that rates pitch to how they do that. Command Option. Command Option R. Now my cursor changes, and then I can simply drag this. Did that part. What I did now, as you can see, now it's at 80%. So instead of me going to speed and duration like 88.72, instead of me going to spit in duration and looking for is this, let me show you. If I go to speed and duration, is this. If I put in 90% or not, there is still a gap. Maybe if I put it at 89 or not, there is still a gap. I didn't keep going through you find it, you know, you still can lose some time however simple Rate Stretch tool, just Command Option our stretch it to fill the gap. And then you're not gonna need to worry more about the Sphinx instead of the shortcut like that, because command R will give you the speed and duration and Command Option R will give you your ability to stretch two more. The next one is titles. Titles I showed you that you can go to t mark over here and then adjust however titles or titles, but simply doing Command T will bring up the title. The last one is quitting Premier product. That's right. I didn't even go with the mouse and click exit or wherever it is, I simply press Command Q and it asks me, Do you want to save the project, yes or no? Yes or no. Now, would that say it might depend on Create there. I want to let you know that for all a couple of more shortcut down the line, however, this is enough for now. But I want you to start exercising your mind about shortcuts because I'm talking about premiered brought shortcut, where you can use shortcuts everywhere. Just be curious about him. Here's an example, or you watch a YouTube video and you search for how to travel in London. London. And one of my videos should be appearing somewhere here on top here, this young meat, 40 years ago. Right from here, I can split away prestige. And it minimizes the window. Once again, T small window, a big window. From here. I can press M and I'm going to mute the clip. And probably the one that I use the most is F for full screen, straightaway goes to full-screen, F again, exit full screen. You see that the captions are running. Presi, captions are off. You see enough of this clip. Press Shift, press N, and then you go to the next clip. But it is recommended for you. Here it is. I'm not another clip of mine. I did a really good job with the optimization here, because you have another clip of mine over here next, which is beautiful By the way, all these you see because you have because I have installed extension. If you're curious about the extension and how this can help you send me a message. I'm happily help you out now this is about YouTube, however, Chrome as well. You want to have a new tab command, T, google.com. You want to close the tap Command W. You want to bring back the tablet, you closed Command Shift Tab, brings back the Google. You want to have a new window, Command S or Command N. New window. You want to have any cognitive window, Command Shift, and new incognito window, you can have shortcut everywhere in Google Drive. Google Drive is, I use a lot of Google Drive and I found keyboard shortcuts that semi lot of time. And even your Mac Windows, they also have keyboard shortcuts. You can find it by searching keyboard shortcuts. You want to create a new folder, clicking Create New Folder, Command Shift N. And then you have your new folder ready here for you. Enter to rename it. Press Enter, and it's renamed. Want to get a little bit command, Delete. It goes to the examples are contexts countless. No matter what program you're using, there will be shortcuts. Please staff infrared in shortcuts in your work process and we're not talking even anything process here is incrementing shortcuts in your work process began, that will save you a lot of time and that is enough for my favorite subject. Next, we're gonna be moving to specific clips and how you can edit them fast. 6. Video Styles - Editing Interviews: Welcome to the next chapter where we still going to be talking about editing. However, I want to emphasize a little bit more on editing interviews, because every video you edit will have some specific as well that goes to interviews as well. And I'm talking about interviews that include 234 cameras. That's where it's getting more complicated if you using just one camera that is just simple talking to camera and it's a simple aid. However, the more cameras you have, the more time you're going to need to put into your interview editing. It will just show you what they found out after editing alot. I didn't look for that as you have searched for some interview tips. However, I found that simply by practicing and just like, oh my god, it didn't must be an easier way. So let's jump into the program quickly. Here is the footage that I got straightaway, synchronize. Remember that you need to synchronize your footage first. Always synchronize your footage first. I'm just gonna get rid of the unwanted parts here. I'm just going to press R for ripple, delete, we get that, we get through that. And that's it. That's the main part here. I know that we did the intro here, so I'm going to do that after that, I'm not going to edit the whole video. I just wanted to show you what is happening. You can see here that this is the main camera. This is the second cameras. The way this interview went was I didn't have a second tripod. I use a tripod for the main camera, and then I use a second camera moving in-between the subjects. This is the second camera. You see now it's 101 of the guys and then most of the other guy, and then goes back to the other guys. Well, and it looks shaky because it's handheld plus I'm speeding it up. However, if I disabled that, you will see that this is the main camera. And as I disabled that, you will see that this is the audio for the second camera. And then this is the audio for the main camera. As I use an external recorder for the audio, I didn't need to use the audio from the camera, so I'm just going to Control F. So I disabled all groups. I don't need all the audio, so I'm just going to put that up here, substitute instead away. And now I have the audio that I need because I checked before that and it's correctly synchronous. Make sure to check that before all the interviews I edit before now it gives me the practice to edit interviews quick Eigen, even edit that video without listening to the audio. Oh, I'm gonna do is I'm just going to scroll because I know that the main camera is a main camera stays still. It doesn't move. As the objects don't move, there'll be staying over there. I didn't even need to look at the camera. What I'm going to be looking at is the person that I'm zooming in. Now, this footage I'm able to use to hold back. Okay, see here now I'm moving the camera. Every time I'm moving the camera, I didn't need that. So if I start from here, Look at his shaky, shaky adjust adjusted the camera. I'm going to cut from here, get rid of that part before Dennis use what is that? My finger probably, I don't know. Let's get rid of that as well. More and more bad segment. It's a lot of new money. Okay, now we're still on this character, so I'm going to cut the part before that, which means that I'll be using that main camera. Excuse me. I'm gonna be using that main camera over there for for the shock that I'm moving around in order I'm shaking. Now have one of the characters here, but he's reaching for glass, broke for a glass of water and then I'm moving around. So all that part as well. I didn't either once again, from the reaching as he stops talking, even take the audio waves, cut that, and then move forward. I adjusted the guy perfectly OR gate that. That sounds good here, that looks good. I'm just going to get that. Delete that. And as you can see from the main camera gems to the part where it's well, as shaky as it is. Once again, to handheld camera. Now this works well. We have multiple cameras and they said, What would you do if you have three or even four cameras? That can be a bit tricky because which camera you gonna be watching? Free or more cameras. Here's what you do. Let's imagine that the second angle of the camera. The camera, let's say the interviews with object the booth. It's a perfect scenario we need to do is adjust the angle, the crop frame of the camera at the very beginning, and then it just gonna be cutting. If you see on the main camera what I will do, I will disable these two. When I see somebody speaking. I see the Ngaoundere lift speaking. Now, I know that this is camera T2, which is the camera on that guy. I will just use that camera at that time. I'm just going to enable that part. I'm gonna continue. We're gonna continue to ask these peaks as many, as much as I want. I'm gonna cut that. Let's say I want to stop here and we get that. You're going to disable that. And then straight away, my main camera is over there underneath. I'm waiting. I can jump to my main camera, or what they can do is I can also straightaway cut from here and then enable that. I can straight away jump to the second camera. Well, in that case, Hold on. Let's do certainly that. You can see that I can stay away, jump from the first camera to the different camera, to the other character, or to the main camera. There is something really important and we need to talk about here. And that is sound. People forget that videos are not just visuals. The videos sounds as well and lighting, but sound is really big component, probably the biggest component that is often overlooked. Please pay attention to the sound. Let me tell you what I mean by that. Over here. In this case, I have a microphone and one of the guys and I have a microphone on the other guy as well. When I play them together, listen what happens. Okay, everybody, welcome to treat today because I want to introduce. That's because the microphone is also picking up that sound. Now look, if I mute the microphone and use only that microphone, check this out. Diamond is pharmacy Bob, why these nerves here such a big difference. What do we need to do is just simply when the guy talks, we use only his microphone. When the guys is silent, we use the other person's microphone. If you're experienced, you'll be able to do that probably even without listening. You're just looking at the sound waves because if you zoom in into the sound waves, you see that they are, they're big, they're rising when the guy speaking right here. And then they're going low when there is silence or when the other guy speaking, see, this is lower here. That part over here is lower because the alligator is speaking. It is higher over here. Let's see. Samuel absolutely want it to be a man who look, if you zoom in into sound waves, you see this is where the first guy speaking because the sound wave is high and then goes low because the IANA guy, speaking, if you look at the sound wave of the other, the other audio file, you'll see that it's the waves is low. The wave is low. But after that it goes high. Basically coming back from Russia, we need to avoid that echo. How are we going to do that? I'm gonna teach you about keyboard shortcuts thing. Let's save you loads of time. What I am going to do is simply find the spot where I want to make the transition from one to another. At the beginning, we're going to start with the one at the bottom. The second guy, silent because the other one is the first guy is opening the integral. What I'm going to do now I'm simply going to select those two audio files and then I'm going to tap the button for enable. What this does is if a clip is disabled is gonna be enabled, and if a clip is enabled is gonna be disabled. Because I marked one enabled and disabled clip. Once I press that button, it just reverse them to those two. So after that I'm going to press the cut button, which is set for E, as we said before. And then I'm going to press again enabled the cell because once I press the button, you see that the clips on the left side are now marked for me. Now that they're already marked, I'm just going to press the Enable button and drag this out at the beginning. The other guy is active. The importance of that, and I don't want to get your story. Basically coming back from Russia. Beautiful, beautiful. And you can do that for the whole interview. You can see, Oh, here we go. The guy started stocking. They changed rows. Although you can see here that this line over here, if you see that he's not going silence straightaway. Let let's hear this. It was just awesome and he's still talking. What you can do it that that time is you press C for cut and you're gonna cut, it's slightly different parts, right? Then again, you're going to mark those enabled disabled. And what you can do, you can do a small audio transition on Mac, that's option D, that's the default that we set it for it. But you can change it if you wish and then explain some mental health is just assist awesome and be skeptical when you were in advanced training program and then just continue. That's it here. They changed the rules here again. The UK study in the UK. Let's study in the UK. You can't study. I came here to study the after that. Excellent. That's just how you need to continue. I just finished editing the whole interviewing. That's how it looks like if you have a lot of cuts, whereas normal steps are left here. Well, let's put a free. I need to add some music, but that's an easy part. Just going to add some music at the beginning and some music at the end, but that's an easy part. I'm not going to pay attention to that here. Two things left. One of them is what I like to do is I'd just like to go through that second shots and just adjust to the bids. So I would just like to play with the rule of thirds. It's a bit more I pleasing, but be careful because if you have this, maybe the character will go a bit out of frame. So let's not do that much. Okay, That looks all right. So that's that's one of the things. Just go quickly through the staff and see if you want to adjust something. And then the other thing is that you need to do is the colors. So I would always advise you to do colors at the end, go up to the color panel premise is gonna adjust for you. So here's how this will work, right? You get the basic shot, the main shot, and then do a color correction on it. What I'd like to do is just pick that color, color picker or whatever you call it, and just pick a white spot on the screen. Then probably just a bit. Just, there is no right or wrong when it comes to colors. You just need to do it yourself depending on your taste. So next, what I like to do is go on OTA and see how that brings it. Most of the time it's okay. So happy with it. This one. It's a bit up. I like to put them down. And here it is. I'm done with a color for the main shot. This is before, this is after bit more orange, but go to one of your top layers and then try to make it as close as to the one before. What I would like to do is just copy this one and then just then just paste the attributes, which is the color, just the color from, from the bottom, from the bottom one. So now I have the same option before, after, and then just match it a bit. This is a bit more to green. We can put that one. Let me alright, let's see. Yes. I think that works better. Once you've finished with the colors with a diesel car, colors you have for this layer over here, it looks good to me. What you're going to do is just copy that Control or Command C. And then if you press S with the shortcuts you have installed, you're going to have these two arrows just clicking on. And it's bought, it just marks everything from that spot. Just have a look. Everything is marked. However, if you press a whole shift, you're going to have one arrow. And then you can select just one track. And I selected all of it. Once I have selected all of it, Command Option V for paste attributes, taste the colors. Relatively similar. You can spend some time and maybe try and adjust it if you wish. However, here's a tip. If you find out from the beginning that your shots at a different light or whatever it is, I would suggest create two layers. You're going to have you're going to have one layer over here. That's the second camera and then just duplicate the same layer, change the color. I mean, that's, that's an option or you can go labeled change the color. And you're going to know that one of these layers, it's basically this guy. Then the other layer down is the other guy. When you cutting that guy, you're going to be cutting the upper layer. Then when you change the colors at the end, you're going to change the colors only on that layer. And that will help you, that will save you some time. And this is how I edit the interviews, sounds, and visuals. Hope that helps. I'll see you the next chapter. 7. Video Styles - Editing Presentations With 2 Cameras & Slides: Hello and welcome to the last segment where I will be covering one of the most difficult edits you will face probably to go with the flocks. This is probably even more harder than the blocks, because it involves multiple cameras, usually two or three or more cameras and presentation slides or notes having extra. So you have multiple cameras. The next step bid that you also want to include, that can be challenging. However, there is a very easy way to do that and you're going to short your time, freed five times shorter than usual. Do. Alright, so in this particular case, this is the presentation. I've got it altogether about four hours for something. I already did the first part. As you can see the cuts over here. What I want to show you is how to do that very quickly. And I'm jumping on the next section. So first thing you want to do is just synchronize your footage. Once synchronize your footage one since incite change the colors of your layers because that will help you distinguish, distinguish which part is what. In this case, I have screen recording, which is the presentation of that particular event. I have my main camera, which is over here. As you can see, it's linked. We're going to link that in a moment. And I have my second camera, and I changed the color because I had to change my second camera. Let me wave through. Here's a battery issues for better understanding for me. I just changed the color of the second part of the second camera and then you have the OU's. First thing you want to do is mark everything that you'll be working with and touch it because you will want to have separate layers for everything, right? Another thing that I already did here, make sure because when you insert everything, you're going to have all your cameras, including the screen recording. You got to have the audio of that. You didn't need, that. You only need your best audio. Find your best audio for me is this one, and just stay with it. So at the very top I'm placing my slides. That's because there'll be coming on and off slides on top, just structured that way it's underneath the slides. I have my main camera and after that, I have my second camera. Photos, things we need to do is find the best positioning of the frame and also colored graded to be matching the cameras. If you didn't match the settings and light correctly, then make sure you touch the colors a bit and do something about it. Once you're done old days, the next step you need to do is level up everything. If you think that the audio needs to be louder than make it louder for the whole presentation. If you think that your colors are not matching both cameras, then you need to change that a bit. If you think the frame is not correct, they needed to change that a bit as well. Let me just do that very quickly over here in the very top layer, that presentation is fine, it fits the frames. I'm going to leave it that way. I'm going to disable it for now. And my front camera, my main camera over here as you can see. I mean, I don't know if you lay that shot but I don't like it intentionally. I shot a bit wider. I can adjust the frame a bit. Let me just in case if I come over here, you'll see that it's already here, it's changed and change it. Put us up this at the very beginning. Just find one layer, your first layer, I've just everything there. What you do after that, Control C or Command C to copy everything and then just paste attributes on this layer, which will also paste the color, which will also paste the framing. And once you press OK. Now they're matching, now they're the same. Here's my second camera. As you can see on the previous version, that already the camera, the camera is a better framed than this one. So I'm going to do is just Control C and paste the attributes of the other camera. And I have the same, the exact same framing of the camera. Now, because I change my second camera. To be a bit smarter with that, I needed to use my phone over there. So it's not like I'm using the same like a similar type of camera and I would have similar type of framing. It was a bit different. So let's see how we can match that. This is my second camera, and it looks like that. What are we gonna do now is I'm going to go to comparison view over here. And let's see if I stay on here. And then for preview, I'm going to go an hour and 32nd camera. And to be fair, it looks very, very similar. Let's see what we can do. Alright, this is the main shot. Shot it again. White. I needed white. I guess you didn't know. You couldn't eat after that side, there'll be more. That kind of works. Definitely not the best. In just scale it a bit more. Let's scale it a bit more because we need to lose the desk over here. They'll know it a bit down. That was a bit too much. I'm just trying to match the laptops and the whiteboard. I think this is the closest we can get to probably be that way. And it would fight, we're gonna leave it that way. Don't stress too much. However, as you can see, colors are different. So I'm gonna go to the color section. My second, second camera needs a bit of warmth. This is what I have so far. I have put colors on it, but I'm gonna put a bit of warmth on it. Okay, that looks pretty close. Okay. Let's see now. How about now? How about now? Yeah. Yeah. Let's stay with that. Let's stay with that. Okay. We exit comparison view and we'll go back to editing. Now that I know what I want, I'm just going to copy this layer over here and I'm gonna paste it to the rest of my second camera. And I'm, I'm pasting the motion, which basically is the framing and the colors that they put. So they're all the same. Okay, let's go back to the main camera. And now here's the biggest think. I have the slides on top here, and this is going to be coming and going. That's what the client wants. So what I'm gonna do, this, I'm going to scale them down. I'm going to put them at the site, the corner over here. And why I do that? Because I see when the slight changes I want Dan or just before the slight changes, I want to show on camera. What I'm gonna do now is what I did in the previous section over here. As you can see, Scott think I think I think, I think I think I think I think I think everywhere when it's enabled, when you have the slight enabled, whereas active, it's showing up on screen everywhere. When it's inactive, it's not showing on screen. All right, so let me edit a bit four. That particular edit. Neat to hear the audio if there is not something specific that the client wants. For example, when I say this short this then yes. However, in my case, I know that I don't need to hear even the audio, right. So at the beginning stats, it starts. And as you can see that the slides on the slides stays there already. And then I was going forward. I saw that he looked at the other camera for a second. If you present in an outcome and I think he's presenting the other camera. Yeah. Okay. So where is he looking at the other camera? Let's go back. Let's go back. Okay, from here. From here, I'm going to cut that part over here. Could that part, and that is my active path. My bottom layer always stays active, but if I have something on top, it's going to show the stuff on top. This is how it looks like looking at the main camera. Then straight away, go into the other camera. Easier as you keep going forward. Still second cameras 2 second cameras to second camera. Okay. I don't need it to be that Zoom links to a second camera. Here you see there is a slight change. There is a change of a slide a little bit, and I'm gonna listen just around the slide change so I can find the best point that they wanted to change. Just going to cut that. But the top layer over here just makes sure to market. If you don't mark it, you're going to get everything right. Just mark that top layer, cut it. What we're gonna do is we're going to disable that part. And we're going to continue forward. We're going to continue forward going with that. You can see it goes to main camera. Just after the slide. You need to figure out how long you gonna keep this slide for. I'm going to put that here from here. I'm not going to need the slides, however, I'm gonna leave it for now. And I know that when I come back, I'm gonna be back at the main camera. It looks like that. We could go with the main camera. I keep an eye in the meantime, as I'm moving forward, I keep an eye on the slides. If they change on the face, if you look at the second camera and the right side here, I looked at the levels of the audio. So if staffing goals veteran, I just go at that particular moment of the audio and I reduce it. But if we look at the audio in generally it's a good audio. I just increased it. I'm just going to increase that whole section with just one did see Bill over here because at the moment is at 0. Yeah, I didn't know what the previous ones, I increase it by one. Now. It's something that I'm happy with. We move forward. We keep going photo we keep going forward. As you can see, it's still go into main camera. No change of slides. So just scrolling. I don't even listen to it. Depends what the client Oh, here it is. It is a change of slides over here. I'm going to cut it from here. Now that I made the cut, I know that the previous section, I don't need the slides, so I'm just gonna go back to it and disable that option. The reason I didn't disabled earlier so I can see the slides, what's happening there? So I'm gonna keep going forward and now I'm gonna cut that. We're going to have this slide. And then once again I go back in this table. Once we're done with all the cuts, cut, cut, cut, cut, cut. And once you finish the presentation, I'm going to go back to the first slide that you cut. Then you're going to go back to the Effects Control over here and you're going to reset the parameters and bring it back. Then copy that layer or here, press S, hold the shift because if I press S and then you have these two arrows and you mark everything after this point. But if you just crypt keep the Shift, it makes only one channel. I'm going to mark all this, just the slides. I'm going to paste the attributes over there on that slide. And now all of the slides ready that actual, actual slides with the actual size, and that is how I did everything over here. And as you practice this, as you get better, this will help you a lot and it's going to cut editing time. This is for this section, how to edit events, webinars, whiteboard presentations, presentations in general, with multiple cameras and slides on the sides. And with that, we're done with this section. And now it's time for final words. 8. Bonus Tips: Welcome to the final section, while excluding the end section, this is the final section when I wanted to show you even more tips and tricks and hacks that you can edit even faster. So let's kick it off with a few tips that are very quickly. Number one, keep updating your Premiere Pro. Now why you should be keep updating Premiere properly? That can come with difficult scenarios because if fewer machine doesn't have high specs, that will mean that you may suffer because Premier Pro, the program, every problem that you keep on updating usually is becoming becoming heavier and heavier. But if your computer is not high-speed, you're going to have difficulties in the performances. However, if that's not a problem, then you should definitely do that because they are features coming up all the time. Hope you edit. Now I'm gonna tell you my most favorite features. I love them, number one all to reframe sequence, I used to create videos on my YouTube channel and they were horizontal views because I wanted to post those videos on Facebook as well. I was duplicating the sequences. There was making them Facebook Square. And in this sequence, I needed to turn into square one. That will be then 80, then 80, square one. And then what happens is I, oh, I need to go through the videos and then just adjust them. That was the square one. Then I needed to go to the main sequence again, duplicate it one more time. Duplicate it one more time and create an IGTV sequence, which is going to be, what are the different dimensions, which is Dan AD to 1920. It prints out enter and that handled through the videos. One more time. Match that they mentioned over here. He was so much work, so much what did I just stopped group stuff posted on Facebook because it's just wasn't warfarin. It was just so time-consuming. However, with one of the updates of Premiere Pro, I just felt alive. Why? Because there is this feature called auto re-frame sequence. So this is my Facebook sequence. Facebook, here's what I'm gonna do. I'm gonna right-click on that and I'm gonna go to Auto Frame sequence. I'm going to press on that. Then I'm gonna name my new sequence. What's going to be feasible where I can. So I can find out which one is it. And I'm going to put it as a square, one-to-one. You have the option to create a vertical sequence, have option to create, Let's go 9491645 or even horizontal. What do you mean? Customize it yourself. I'm going to have it square one-to-one or here. When I create it, it appears over here. O to reframe sequence. I'm just going to drop that, drop this in my sequence folder. Here it is. It's already created. One-to-one. Only need to do is just rotate it to minus 90. And this is done. It's usually working. It's usually working. However, nothing this case. Most of the time it works. In this case, it didn't, but ultimately frames sequence. Definitely try it with your projects. The next thing I want to tell you about is captions. With one of the updates are transcribing option came out, but there's a field now is a tab called captions. When you go to Captions, you're gonna go to transcribe end, you're gonna create transcription. Now we're just going to transcribe this. That's it. You're waiting for the software to generate took to be fair. I use to create my captions with YouTube. Or you can generate auto captions there and then you go and then you edit them because the software is not recognizing you very much. But this one is so accurate that even for me who I am on native speaker and I didn't speak towards very well how you have to speak them. But this software is still gets it. Once you have a prescription, you're gonna go click on create captions, nothing to worry about. The only thing that you can have a loop is do you want the captions on one line or two lines? I usually pick to put it that way. Click on Create. Wait a bit more. And then you're done. Now if you want to edit them, I would mark all of them. Because if you mark want only one, only one will change, only this one will change. Just mark all of them, and then change code to flag. Put a background, for example, make it wide, extend bit more, extend this one's done captions and ultimately frames sequence bonus tip number two is adjustment layers. If you haven't heard about the adjustment layers, then definitely check them up. How you do that. You go to the Project tab that you have. And downright, downright you have like a sheet of paper which is folded and one of the 20th coordinates. Just click on that. That's how you create a new item in our list of options. But you're gonna click on Adjustment Layer. Click on Adjustment Layers, just press Okay, to worry about that. Here, this, it appears up here. What is that? Is basically you can apply anything on top of that and it's going to affect anything under me. How this works. I went a half black and white effect. Then once I drop it on the adjustment layer, everything in the nice black and white. Because if I duplicate this, I put this on top. It's not affected. Let's make this smaller. Look. This is with color, but the one underneath is black and white because the adjustment layer is on top of it and you can apply color corrections or basically any effect, let's say crop, black crop effect. If you crop the top, let's say 13%, and the bottom, let's say 13%. And you have black bars. They have black bars and the footage not affected, give yourself It's not affected. You can also, as you have the black bars, of course use keyframes. Let's start from 0. And this one's gonna create that keyframe here. We're going to start from 0 here. And let's see how this looks like. Now, you have black bars dropping up for cinematic look. And that's how you can use adjustment layers. Very, very good to definitely try them out. Fixing lack, most of my students deal with this problem. My software is lagging so slow, What can I do? Well, actually, there are a lot of things that you can do. Limited food him. First of all, what you can do, you can close everything else. Internet browser, Spotify, WhatsApp, wherever the news. That way your computer will not be thinking about how their problems were performing and how are we going to cope with everything. But will only be thinking Premiere Pro Premier Pro, Premier Pro, Premier Pro. So that's number one. Close everything that you are not using number to you so many that they did something here. It wasn't 1 fourth, That's the quality of your preview. Not a beautiful video. If you preview 1 fourth of the quality when you play it, the program is not bothering, have given you something of a good-quality, It just giving you the basic picture. However, don't be scared when you're exporting the video. The firewall be full quality. I usually edit on 1 fourth, the place where he had just your quality is downright, and that goes for the preview of your sequence and your program monitor and also a view source that there are two different things. Now what you can also do, another thing is right next to this little window, you have this French key or range or whatever they call it, It's settings for that monitor. If you click on that, you go and disable high quality playback. He didn't need that. You didn't need high-quality. Again, you go to Program, it's a different option. Right-click and height, high-quality playback, so you don't need it enabled, adjust. Another thing that you can do if you got to your settings, if you go to Preferences and you got to mammary, you're gonna see all your memory, the computer and music. It's not super powerful. It's eight gigabytes a problem. But to be fair, is performing freaky world. Look at the second option because the first one there is nothing you can do. It's, it's your ramp. Wherever your compute the hash, that's it. You cannot do it anymore. But what you can do is still Adobe Premiere Pro. How much RAM from your total can be reserved for other applications. You need to come here and then reduce that to minimum, the lowest you can get. So at the moment, 1.5, if you see a thorough below around available for Brian, other Adobe apps, gigabytes way. If I put that for, for, to have more around, for other applications, I have only four gigabytes. So more ramp you have for Adobe, less black. I'm going to put it as null and I'm going to press, Okay. Another thing that you can do, I'm gonna give you one last ping is used. Proxies. Honestly, I haven't used them because I don't use 43 pitch. I just see like my machine, eight gigabytes of RAM. I don't want to film for gate, I don't want to edit for gate. And so far it has been okay. I never read it to work with what gate. But if you're still struggling with lagging, this can be something that you can fix with using, by using proxies, basically what the proxy is, creating a mini project using a lower resolution of the footage. However, when you export the video again, you'll be exporting normal quantity, the good-quality. The other steps that I told you about still don't fix your lag, then definitely Google proxy and see how to use it because that can be your answer. And last but not least, Media Encoder. Definitely install Media Encoder on your computer. In your machine because this is a time-saver I limited. This is how usually things go in. You finish your video. You press Command M and you're ready to export your video. You set your settings. He said the name of your file and then you click Export. Low happens when you click on export, is that you start exporting, yes, but you cannot do anything else on the program while your video is exporting. While this took very little time. Well, to be fair is just the 14th seconds clip. But imagine you're exporting eight minutes clip with a lot of transitions and effects and Kurtz going to take quite some time. And in that time, you cannot do anything on the program. But if you have a meeting coder, it's a whole different story. Let me explain the process of the same control M or Command M to go and export it to enter your name, you enter your settings and then faint. But then instead of clicking on Export, you're going to go and click on Queue, which is the default option, then is going to open up Media Encoder, and then it loads your video in Media Encoder. Then when you press play or export, going to start exporting straightaway, you see it. Start doing it face magic. But then at the same time, you can go back and edit something else in your Premiere Pro. And that is very, very powerful thing. Being able to do something in Premier Pro while you're exporting already. And these are my forte bonus tips for you that will help you scale up even further. Now, there's only one thing left then because I wanted to have them on Facebook as well. Else telling them into square views, I will create a new sequence, create a square dimension, and then I will adjust everything over there. Then because I wanted to post it on Instagram. I swear I will create a new sequence which is vertical. I didn't know were just everything there and then just take all the time. 9. End: And with that, my fellow editor, we ended up this course. Now there are only two things left for you to do. Two things. We want. You should practice. I can give you everything, but unless you practice these things yourself and become more comfortable with them, become more faster with them. So I'm gonna happen. You need to practice. If you haven't downloaded the hotkeys that they gave you, uh, please do so. Download them, feel free to change something. These are the main comments that you'll be using. If you haven't set up your template project, then do so because it's a timesaver. Adjust your sequences that you're editing, adjust your adjustment layers or some type of evidence is ready for you, they're just waiting for you. These are time saving things. So do it and it's not for me, it's for you. You will be faster. Then the other thing that is left to do is to leave wherever you are for this course. Please leave a review because that will help other people to hop on getting the course and start saving time while editing their projects. If you have an idea of a course that you would like to see, if you haven't seen so far or you want me to give it to you? Just give me a shout. I'll happily considered it. Also, you have any questions. Feel free to reach out on social media platforms at a given time the most at Instagram and YouTube. So feel free to reach out, write the comments, or send me a message, or happy to connect with you. Thanks so much for taking this course. Once again, I wish you smooth editing and stay curious.