Transcripts
1. THIS IS PREMIERE: Hey, guys, I'm Set. Whether you use AI
or manual editing, you're probably
wonder why 95% of all the professional video
editors use the software. Well, long story short, it is the most optimized
editor ever created. It is compatible with
Windows and Mac, and it includes the craziest and most comprehensive
features that we only get in part when
you look elsewhere. I think you feel
daunting at times, especially if you're
just turning out. But likely premiere
is highly chamelonic. You can easily reshape
it to your exact needs. Some of you will want
to master the art of chopping the footage
in the most engaging way, while others will want to use the motion graphics integration, which is completely
seamless thanks to the communication
with after effects. And finally, some of you
would want to use the AI features like the automatic
caption generator. It's crazily good. So only if you
start, let me know.
2. Download The Resources!: Alright, so before
signing the course, you need to download
the resources, right? So you need to simply go to the landing page of
the course, right. Then go to the project and
resources button here, scroll all the way down here until you see
these shield links. Okay, click the second one, the one that says, click here
for the course resources. Alright? So click
this and this will simply lead you to a
drive folder, right? So here you will see a zip file, so you simply download it and then simply
need to extract it. Alright? So to
extract the zip file, initial right click on it. Extract here or
in a folder here. And then if we
type the password. So the password is
melancola 997 percentage, percentage, percentage.
Alright, here is. So the password is melancholia, 997 percentage three times. Okay? So type this
weird password, and finally, you will
need to confirm. Wait couple seconds, and you
will have the full folder. Alright. So and then here you
will have all the sources. All right. That's
it. Now we're ready.
3. Optimize: Hey, I'm. Alright, so
when you open premiere, it doesn't matter if
it's the first time or the 100th time to
create a new project, the quickest way is to
open this weird window, just close it and
go to the top left. File and then new project. That's the quickest
way to make a project. So you go here and
then give a name, so let's call this edit one and then choose
the folder location. Let's choose the
location, for example, those empty folder
here and save it disable actually enable
skip Import mode, select no template for now, and then simply create. Okay, this is probably what you're going to
see for the first time. So Premiere has a
very cool setup. You can fundamentally tweak. You can create your own arrangements for
every single window. So every single window is
modular. Let me show you. I can dock this
here or this here. It can become very
confusing very quickly. Let me show you
like this, right? Actually, if that happens, or if you mistakenly click
Close, one of these windows, you can reset the
workspace at any point by clicking this
nice window here. This icon here, workspaces. And reset here. Alright, that brings
you back to square one. But if you use one
screen, actually, I don't recommend working with this specific workspace
because it's very narrow. You don't have all
space. There are so many useless windows
that we can avoid using. So actually, let me show you the workspace I use.
Let me just show you. So let's go first of all, here. As you see I have
two workspaces, one when I have two
screens and 11 screen. So let's go with one screen. Alright, that's it.
That's actually where I recommend to work in
premiere with one screen. So we keep the source in the program window at
the very center, right? And then on the left side, we have simply the
project window, the eft and the effts controls. And then on the right,
we have the properties, the mixer, audio track mixer,
the graphics templates. Not much else. You
know, let me see. And then also we have eccenra I'm going to show you how
you're install very soon. But fundamentally, this is the workspace that I recommend, because that way we maximize the space as much as possible because it's too
small by default, alright? So to arrange these windows, simply grab those and recreate
this specific arrangement. That's where my recommendation. If it's scary, you don't
want to move them. I mean, just stay
with the default one, but that's my personal
recommendation. In case you don't see
some of these windows, simply enable those
from the window button. And you will see every one of these things
available here. So you simply click
that thing and it will show it anywhere, and then you can dock
it in the right place. Alright? When you
work on premiere, make sure that you
choose a local folder. Never use an external drive. And before we even start
using the software, we need to optimize it,
right? So we go to edit. Preferences and go to immediately to
AutoSave and make sure that the saves are every 2 minutes and 400
backups per project. That's my personal
recommendation because you never know when the project
is going to crash. It's going to be a
very sad day if that happens and you forget
to save, right? So, make sure that you
copy my settings this way. Then go to memory. And make sure that
this number here is about 25% of your
total system RAM. Then you need to go to
media cache and change this in this folder to a drive that has at least
100 gigabytes free. And then just copy
my settings here. So automatically delete
every seven days. Then we need to go to timeline. And just copy these
three settings. So, fundamentally, the
video and audio transitions needs to have a default
duration of two frames. So if you have
different numbers, put two here and also frames
here. Frame, frame two, two. Alright, we are almost done, so we can finally close
this weird window, and then let me show you
how to import stuff. So everything needs to be imported from here,
the project window. So there are two ways to do it. You can simply drag
and drop south from your finder or explorer, or you can click or double
click on this window here, and it'll open the pop
up this way, right? And you can double click on multiple elements
like this, boom. And then just wait a
couple of seconds, as you t medias get prepared
to be used like this, or the way drag and drop again from your windows
in your system. So, in this case, you
simply double click, and Control A, confirm
with a couple of seconds. And this is how the
materials look like. You can see them as a list or with the thumbnails like this, there
are multiple ways. For now, let's show them
as a list of elements. As you can see, we can
see all the statistics of every single
element, you know, the duration, the
resolution, what we want, all things that most people don't care about, so
don't worry about that. But in case you need
to know those things, you can simply see those
things from here, you know? That said, let me show you how
should greet the timeline. So we simply right click on one of the elements
that we just imported. Doesn't matter
which one for now. So if one of these has already the
resolution that you want, right click on that one, but in this case,
it doesn't matter. So we right click, for
example, on this one here, as you can see, as I
hover it with a mouse, it tells me the resolution. As you can see ten ADP for
24 frame first second. So we right click
on this file and then go to new
sequence from clip. That's the quickest
way to make a timeline in premiere. Let's go here. And when you do this, it
will create a timeline here. So this timeline now
is floating around. So let's just dock it on the left side of the
screen this way. Alright, so now it's just here. And let me show you. So
now here on the right, we have the final result on
the program window, right. And here we have the timeline. Alright? Okay, so
as you can see, it automatically plays down file into a timeline already
with the right settings, right? And, you know what? Let's give a more
appropriate name to this timeline so we
don't get confused. So we right click here
on the name of the tab, reveal, and then rename it here. So just press Enter
and so let's call this main. Alright. That's it. So that way, doesn't
matter where we go. We know that by double
clicking or by searching main, we can find our timeline, right? And then I suppose you accidentally close it like
this. It's fine. Don't worry. You simply go here, back to the project window, Double clic on main
else it will be back. Oof. Alright. So right,
let's go back here. So before we do anything, we need to change one more thing for the optimization
of the software. So click anywhere in
your timeline and then go to sequence settings, or you can simply
press Control K. And then these are the
settings where you can change the resolution, right, in case it's needed. So you just flip these
numbers in case you want a vertical project,
wherever you want. In this case, it is
horizontal, 1080, that's fine. The frame rate can be changed
from here, obviously. So let's keep it
24 in this case. And the optimization
that I'm going to do is to go down here, preview file format,
change it to IFrame. So we go here, I frame. A. And yeah, in case premiere, your premiere is very slow. Maybe you don't have enough CPU, it's not powerful enough. Go back to this window
and have these numbers. So in this case, you can go down
to 720 like this. So this fundamentally will make the premiere a little faster. You know, that's what it does. Okay, and then simply confirm like this, confirm this window. It will tell you, Okay, this
is going to reset the cache. We need to confirm this. Alright, and that's it.
And finally, actually, right click anywhere
in the program window like this and go to
playback resolution, and we change it to
at least one half. So I don't recommend
staying in full quality. So if your computer is
slow, go even lower. One fourth. And the pause the
resolution, instead, fall. So, fundamentally, when
we stop the timeline, it's gonna give us the
high resolution preview. But when we play is going
to just reduce the quality. So it's going to become a little faster to preview, you know, in case you use four
K or eight K footage, that setting is going
to be very important.
4. Quick UI Tour: It. Alright, so since
now we're at this point, let me just show
you very quickly every single important
window that we are going to spend our time
on in Premiere, right? So do you know the
project materials are going to be in
the project window, so we you know this?
We can skip it. But remember that sometimes we will go back to this
window in two cases. First, when we need to create new types of layers
from within Premiere, and that happens from the
project window bottom right from this button
here, new item. We're going to go
back here later. And then sometimes
you need to go back here to kind of
inspect some material, to pre trim some of those
even before we import them in the timeline or to do some
other types of preprocessing. Those are the two cases where we are going
to go back here. Most of the time usually
spent just in the timeline, you know, let me just tell you. Sometimes when you
go to the effects, is obviously chose applying some specific effects
that we're looking for. So for example, we want to blur the footage in
a specific area. We need to apply first the blur by looking for the effect here. So we type lay the
name, for example, a classic ones the
Gaussian blur, you know, so you apply that
straight into the clips. This way, you drag it or
you select the clip first, then you look for the effect and you double click
on the effect. They will automatically go to the selected item
or IMs, actually. So if you select multiple clips, it will apply that to
all of them at once. And then after you apply an effect to a clip,
you select it, and you can modify
the perimeters of that effect by going to
the effect controls here. So you scroll all
the way down and you see the effect that we just applied. Let me show you here. You see where it is? And so we can kind of tweak
the value like this, and you see the
result instantly, obviously, on the window
here on the right, right? And what else? And then, as you can see by default, even though we didn't
apply NFt on a clip, we have some default things that we can already
change, you know, some basic things
like the scaling, the position, very
important things that actually are very important
for animations, right? Alright, so let's go back
to the timeline here. And there's a window here called properties on the right that allows us to do the same thing. So when you go to the property window and you select a clip, it will show you the same
things as effect control. So let's say that
now fundamentally, you can do the same
things for two Windows. And then here we have the mixer where all
the audio is going to go through so we can tweak the volume of every
single track separately, right? Don't worry
about the mixer. For now, just remember that the rightmost slider here is going to always be
the master channel. I mean that eventually here is where you can tweak the
overall volume from. So, fundamentally, it
doesn't matter where you place the audio
tracks on any lane. As you can see, each one
has its own lane, right? But in the end, they will all go through this final
slider on the very right. Alright, so you can tweak. As you can see the
entire project volume in the end, from
this single slider. Alright, very important concept. And then simply here's where
you can drag in the presets. You know, the graphic presets
to simplify your job, so you can drag in
presets like this. If each one has unique
animation features, so you can, for example, place it wherever you want
in the timeline like this, and then you click it, and then you see the
customization options by just going through
the properties here. And then it's going to give you specific customizations
for that part. In this case, for
example, since it's a wrap effect like this, we can choose, for example, the custom image for the
page that I get unwrapped. So we go here and I
can drag in any image I want. Or even the video. In this case, I go simply to the project window and I drag this entire video
into this area here. Now it's going to
utilize that video. So let me show you here
and now it's going to unwrap the video instead. Poof. It's crazy, right? And obviously, then it
goes back. Poof, you know? And then we have finally
the program window. Program is where you see, again, the final result. So the actual final render as it will look like in
the final render, right? Whereas the source is a preprogrammed
window fundamentally. So for example, if
we double click a video from the project
window for example here, it's going to open it here
in the source window first. So for example, we can pre trim the video before importing
it in the timeline, right? So we already know
that we're going to use only this
part of the video, we can simply click
this icon here, right? And then we go up here and then we choose the outpoint clicks. And that way, when we drag
this video into the timeline, now it's going to
already be shorter. Fool. Is what's happening? So that's what the
source window does. In case you don't have it
in your program window, make sure that you add this
button here called Loop. So to see that, you
press this button here. The plus and then
add that symbol, the icon to the set. So you drag it into
the set as this way, you know, here, and
then just confirm. So this button is
very important, if we're going to use it. And then there are some
additional customization things that you
can do from here. If you click this icon
here, you can, for example, enable the transparency
grid so you can see if there is
something transparent. So I can just grab
this clip like this. I click here and I
can move around. So I know that now behind there is actual
transparency, right? Or if I want to check
the proportions, I go back here, right click. And I can enable the
safe margins like this. So there are some customization
options that you can do. There are so many
things, but these are the main things you're going to spend your
time with, you know. And finally, here at the bottom, there are all the tools
that we're going to learn. But the truth is that when
you start to become fluent, you're going to eventually close this bar here because you're going to simply
use the shortcuts or you just don't need
to see those anymore, maximize the space
for the interface.
5. Show Hide Mute Solo: One of the most important things you're going to do
all the time in premiere is to enable and disable layers in
the timeline, right? So to hide a layer, simply click on the
icon of that lane. So if I disable now this I, obviously, now we see black. So there is nothing
anymore, right? And same thing for
other layers like this, so I can disable
separate layers. But let's suppose
that I want you isolate only one
layer very quickly. So in real projects, we're going to have multiple
layers like this, right, so it's going to be
very confusing to disable before manually
everything, right? So if you want to, for example, see only this lane here, one trick is to shift, click on the eye and then simply enable the one that
you want to see only. So it's going to fundamentally
solo that layer. So right now we see
all this, right? And then simply
shift click again, and you re enable everything
at once. You know? Same thing for the audio track, so we can solo specific lanes or mute specific lanes, right? And then I recommend you enable the V icon on every single
lane that you have, so everything is
going to synchronize in the most user
friendly way. You know? Sometimes you want to protect specific tracks from
scrolling automatically. So in that case,
you need to lock them using the lock like this. So, in case I do some
specific trim shortcuts, now this lane is not going
to scroll accidentally, you know, very important stuff. And what else? Then just to make
sure that these icons are the same like I have. So just enable all three. Finally, there are
some quick controls that you can use from
every single lane. So you see that this
horizontal line, this is not just there casually. So actually, that's
a rapid control for the opacity of
this clip right now. So if I move this
horizontal line downward, you see that now is becoming more and more more transparent. Right now, that line is linked
to the opacity, you know? So, same thing for
the audio tracks. So by default, this line
is simply the volume, so you can make a track quickly quieter this way, you know, -60 B, -12, et cetera, you know? And obviously, acyan gas, that line can be customized, so you can choose which property you're going to have
quick control on. So we're going to see
out very quickly later. But these are the main things
that you need to be aware
6. Blending & Adjustment: Alright, so there
are many ways to make videos interact
with each other. So let's just see a couple
simple cases, right? So first of all, I dragged
in a couple of videos here, and okay, let's
just first of all, inspect those by double
clicking on each. Let me show you.
Let's go here to the thumbinal mode here. And let's double click. As you can see, I
can just hover those with a cursor or I can
actually double click on each video like this
and we'll obviously open it on the source view
so I can just play it. You know, bigger. See what is happening and I can
navigate the video, right? It can also pre cut it in case I want to use a
specific part of it. So for example, if
I press this and this now is going to be already shorter as they drag it
into the timeline, right? So let's do the same for the
second video. Double click. Alright, for example,
from here, here. Okay. All right. Okay. So at this point, let's insert these two
into a timeline so we can simply right click
on any of these two. New sequence, and that's it. For the first one. So let's drag also the second video.
Let's go about here. Project. And let's call it the sequence main and
drag in the second video. So drag and drop. Boom, boom. Alright, let's just put it exactly on
top, you know, like this. Right now, Video Cue
is coing Video one, so that's why we don't see it unless we disable
video hue, right? Okay. So the first way to
make videos interact is to lower the opacity of the videos that
are above it, right? So if we just
decrease the opacity, obviously, we start to
see what's below it. You see what's happening?
Better. So this is the simplest way to make
something interact, right? So the second way is
to use blending mode. So we keep video tune 100%
opacity, as you can see here. But we go to the effect
controls of that clip. So we select now this clip here. We go to effects controls. And as you can see, if we go here to opacity, there is one option
called blending mode. So this allows that clip to interact with what's below it in a more cool
way fundamentally. So for example, let's use the infamous mode
called overlay. Alright, you see
what's happening. This can be a pretty cool option to kind of do these cool merges. You see how deeper
the blue became now. You know, that's one
thing, you know. And yeah, so let's let's
do a couple more tests, so I can simply go here, just select the clip again, go back to FI controls and
try out different modes. So choose your ferret. Some of these modes
will look better or worse according to the
footage that you have. You know, for
example, here, this looks fairly interesting, and then you can s tweak the opacity so you can
do stuff like this, right? You have just
a little bit of it. Then let's suppose
that we want to place effect that processes both
videos at once, right? So obviously, it can be very
inefficient if we apply the same effect twice to
the same two clips, right? So there is a way to do it
for both clips at once, using a so called
adjustment layer. So to create one, we can simply go to the
project due here, right click on any spot here, and then new item. Adjustment layer.
Alright. And here, now we say, Okay, confirm. And then just rename it. So in this case, we're
going to call it post, and then drag this new
element into our timeline. So we go here, and we
release it above our clips. Make sure that it's as
long as the whole project. So in this case, it should
be at least as long. Alright. So now, when we
select the adjustment layer, we can apply one effect specifically to this
adjustment layer. Let's go with a
classic Gaussian blur. Okay, so double click or drag it into the adjustment
layer itself, like this. And then when we go to the options effect
controls, scroll down. You see that now we have
the Gaussian blur here. So now, in theory, if I increase the blurriness, it will blur both clips
at the same time. You see if that's
true. Poof. You see what's happening? That's it. That's the efficient
way to apply effects on multiple
clips at once. This is very important
for car correction, especially and in general
when you get efficient, just apply everything
to one single adjustment layers
above everything. You know, you can
also make some space, place it on a very
distant lane like this, so you don't ruin
it by accident, keep it there, you
know, extend it. And you can control all
your master effects from that specific
adjustment layer, you know?
7. All The Edit Commands: Yes. One of the most
important actions in editing is chopping
the footage, right? So to do that, is select
the razor blade here, and then you can simply click
where we need to do a cut. So for example, maybe we can do it exactly where we are in
the playhead like this. And then we do a
second cut here. And then we can select that clip in between, we can remove it, and then we can move
stuff after that to T, we can trim it acts, you know, that's the
simplest way to do cuts. I cut every single lane at once, simply hold shift
before doing the cut. So if you hold shift, it will cut every single
lane at once, right? So sometimes you may need this instead of cutting only
one clip, you know? And then you can simply
do whatever you want. If you need to create space,
you can do it Lactos. And if we need to make the footage automatically
collapse, right? So after you let's
suppose that we do two cuts, you know, one here, one here, and we remove the
spot in between, like this. Okay. Let's suppose
I want you to make this footage automatically
slide to the left. Simply, select the gap itself, and then press the backspace. Boom. Woof. You
see what happens? So that's called sliding. So you make the footage slide
automatically on the left. And then to trim the
footage, obviously, simply grab it from
its beginning or end. So if you were here,
just grab it like this, same from the end, like this, trim it, you know, like this, it becomes
shorter, you know, like this. And then you can simply grab it, make it snap manually or again, just select the gap,
leave the gap itself, and will automatically
collapse, right? If your project search
will be very complex, so your clips are not
arranged in this regular way, but are more random
like this, like this, where you search a very
complex arrangements of clips. Selecting everything at once can be very complex, very risky. So there is the safest way to do it by using this tool here. So if you select this tool, this will allow you to automatically select
everything that is on the right of the
spot where you click on. So if I click here, now it will automatically select all these elements on the
right of the cursor, right? So that way you can also shift those treat make space,
for example, like this. So you can put new stuff in
between and work safely. You know, you can
also do the reverse by clicking this tool, and it will do the same for the elements that are on
the left of the cursor. So if you click
those, it will select safely everything
that is on the left, so you can move it without getting crazy, you
know, like, ecto, so and then remember
that you can still use the classic control X, you cut stuff all at once and paste it elsewhere in the
timeline like this, paste. So now it's there,
right? Or you can simply duplicate everything at once
with Alt and duplicate. Let me show you if we
go back to the cursor, if I select all these things. If I hold Alt, it will duplicate
everything like this. There is a slightly more
advanced way to trim footage where the footage
will be trimmed like this. And at the same time, it will automatically make
everything that is on the right of the
timeline scroll so it kind of doesn't
increase the gap, right? So that's to do that a little
more advanced type of trim, we need to use the ripple edit. So normally people go here and use the sole.
It's very boring. So actually, let me actually show you a
shortcut to do it. So we go to the edit
keyboard shortcut, and then here, you need to just search this specific shortcut. It's called ripple trim
next it to playhead. So if you type all this thing
here on the search bar, you can assign it or just learn the default shortcut
for this, in my case, I'm using the letter C. And now, when I press C, let me just
show you what happens. So right now, we're here
on the playhead, right? So if I press C, pow.
You see what happens? I just trimmed every
single lane at once. Like this, and it also kept the gap as it was with everything that was on
the right of these clips. And you can also set up
the opposite of this from the same menu I showed you for everything that
is on the left, let me just show you
if I do it this here, for example, if I press Z. See what happens?
Fundamentally, now it's as if I manually trimmed both layers like this and then snapped these to the
play hat like this, right? It's very boring to
do this manually. So you can set that up using
this very powerful shortcut, so you can press Z and it will automatically
scroll everything. So remember, go here, just search what I told you here
and you can do it too. You can set it up
here, you know, ripple trim next
Attitude playhead and ripple trim
previous tituePlayhead. These two are extremely
important to set up, right? And finally, slightly more
niche tool is the slip tool. So if you go here,
select the slip tool. So instead of having to
double click on this clip, for example, and choosing a different area of
that clip, you know, if you want to avoid risking
screwing up the timing here, one safe way to do
it straight from the timeline is to simply
select a slip tool here. And you simply scroll
with a mouse like this. In that way, it will kind
of use a different part of that clip without changing the
length of the clip itself. You know, you see
what's happening. And finally, if you
click on this lip tool, you go to the slide
which fundamentally allows you to make one clip. For example, this one, become longer or just go toward
the right of the timeline, and it just creates space. By making the other clip on
the right of it shorter. So let me show you
see what's happening. So if I move it to the right, this clip now became shorter to make space for this
clip on the left. There are some cases
where you may need this. Instead of doing this manually, you can always do this manually. So you can simply just make
this clip become shorter. You know, this goes here
or you can go here, ripple edit this, and then
move these to the right. So you have different oficions, you know, that's the point. In real projects, you
may happen to do, especially in the pre
selection of best clips, you may happen to
find yourself with a single lane of
that has many gaps, you know, between the
clips like this, right? So it's going to be very boring to close the gaps manually. You're here, close
one, close two, It's gonna take forever.
But you're very lucky. When you're done
doing that, you can simply select all
the clips at once, so we can do it with the
tool I showed you, select. And then we simply go to
sequence close Gap. That's it. Selects. That way you can simply navigate through the edits when more quickly at
that point, you know?
8. Layering: Let's talk about
layering for a second. So layering is the ability to place multiple clips
at once, right? So the main way you're
seeing gas is to simply stack multiple
clips like this, right? So you can put
them like this and then you can play
with blending modes or pasity of each single clip
where you know that stuff. So let's go slime more advanced. There is a case where the clip already exists somewhere in the timeline or maybe it's
something that you're recycling from a different
sequence in the project. So let's suppose that this was this clip was on a separate
composition so we go here, right click sequence,
let's simulate this. Alright, so for example, this is a separate comp where maybe you placed your
favorite footages, you know, and you're
still not sure where you use those in your
main timeline, right? So for example, okay, we selected this
clip here. Alright. So how do you incorporate this
into our main composition? Alright? Well, we can simply
drag and drop it, right? That's one case. So we put
it here, and that's fine. Alright, that's the first case. Second case, you insert it and also make space
for that clip. So in that case, before
releasing it, hold control. That way, it will
automatically make a cut and make space for
that new clip perfectly, and then you can continue
to edit, you know? Then you can also copy and paste that clip because maybe
this is a template, right? I suppose that this is some kind of things
that you're going to use repeatedly in
your projects, right? So you have a timeline like this and you simply
copy it from here. So you press Control C, and then here, go with Control V. As you can see
now goes on V one. If you actually log V one and then you
paste, as you can see, goes to the older free lane, and that way, it doesn't
screw up your editing. So it just goes on a free
lane like this safely, and then you can simply unlock the main lane and you're
back on business. You know, now it's here, and
we can put it where we want. And obviously, this streak
works if you want to place a new clip at the beginning of everything like
this or at the end. So let's suppose we want you to put this clip now
at the beginning, and we want to make
everything automatically scroll to the right to
make space for this clip. So we simply hold control again. As you can see, we see
our nice arrows and then release the mouse first.
And poof that's it. Now we simply have our intro, for example, you know, here, and we can work separately here. Before and everything
automatically scrolls to write. You edits are still
intact, and that's it.
9. JL cut + Multicam + Audio Sync: J Cost and L Cott are an extremely powerful
and versatile technique. So, fundamentally, the
concept is that we can seamlessly change between
at least two point of views of the same
shot while also changing seamlessly the audio of those two point of views
in the same scene, right? So that's the concept. Let me show you a very
classical example. Let's drag in two footage. Okay? We are fundamentally a full
screen music video, right? So let me show you
here it bit. Okay. So full screen, music
video, full volume, and we're going to alternate
that seamlessly with someone that is listening to the song at the same time through
speakers, right? So the audio is going
to be different as we switch to the der shot of the guy listening
to the song, right? Alright, so let's see
how to deal with this. Rename the two shots. So shot one and shot two. Alright? Okay, then
simply select both, right click and then go to create multi camera
source sequence. So we're going to call
this main, right? And then we need to change
a couple of things. So there is a way to
automatically synchronize the two shots if they have
audio recording, right? In this case, I also recorded ambient audio in the
shot of this guy, right? So we can automatically
synchronize those two shots by
selecting this option here, audio track channel mix down. This is the most
versatile and easy way to synchronize
multiple shots, right? So we select this mode here,
just copy my settings, copy everything else
that you see here, here, here, and this is the
most important thing. We also want to switch the audio when we go back and forth between the
shoe shots, right? So make sure that you use
the switch mode, right? In some cases, you
may not need this. You may actually use
a single audio track even if you switch the
video point of view, right? In those cases, use camera
one or all cameras. All right? In this case, we need to switch completely the audio so we
enable switch mode. And then simply press Enter. Okay, so first of
all, let's now drag this special timeline
here in our timeline. So we go here timeline, and now we can see it. Alright, so so far,
nothing weird. Seems like a simple
single lane video, you can see we can
see one video. But you see that we see now the audio of this video, right? So let me show you how to
switch to the older cam. The quickest way is to
double click on the video. And as you can see, it opens all the available point
views of this scene, right? And simply by selecting
the older cam here. Now, who. You see what happens? Where we play Glendvi we'll
go to the program view. We're already back
to the music video, and also it's audio. As you can see, it's back to be full volume, right? Landovi. But, there are a couple issues. First of all, as you
can see, the video is zoomed in compared
to the guy video. And the volumes are
completely messed up. You know, the music video
has way higher volume. So we need to fix these things at the
source level, right? So to do that, before
we do the edit, we need to open the
source composition. So to do that, we simply right
click on this thing here. And then go to multi camera and disable this sable, right? Okay, and then
simply double click. And now we are on
the source level, this multicam sequence. Alright? So first of all, let's change the name of it. So this will become confusing. So we right, click on this
new tab here, reveal. And then changes names
to source multicam. Alright. Okay, so now we
have two compositions. One, where in the end, we're going to do the edit from, you know, Main and one, we're going to fix the differences
between the two shots, you know, to kind of normalize
those a little bit, right? So let's fix the scaling
of the two videos first. So that's the easiest
thing. As you can guess, we simply select
the second video, which right now is
on top here, right? So video u here. We simply
scale it automatically. So we go on right look, right clo scroll down and select scale from two
sides. Boom, that's it. Alright. That was easy. And in case it's still not
right after you do that, go to the facts controls and
just change it manually. So now let's fix the
volume of the two tracks. As you can see, let me solo
just the second shot audio. As you can see, so loud that we cannot even
hear it, right? So it's just there, right? So, in theory, I can t to
boost the volume from here. But even like this, you may start to hear it
on the left channel, but it's still so low, right? So in these cases, we need to hyper
boost the volume of this track so that it
becomes very high. So to do that, we
need to normalize it. To do that, simply right click on the track
here, normalize. So just right click on the clip that has this issue
and then go to audio Yin and then simply normalize all
peaks, choose zero. That's what we need.
And then just confirm. Poof. You see what happens. Now, the valume of this shot here should be
way higher, let's see. So. Alright. Okay. Now there's
still one more issue. The audio is just only
on the left channel. R is just noise
that it's useless. So we need to fundamentally copy the audio on the left
channel to the right channel, so it becomes technically, it's called dual mono, you know, so it kind of becomes
more normal, you know. So to do that, we simply right
click again, on this clip. And this time, we go
to audio channels. And then simply make
sure that channel one and channel two
are on the same side. So this depends on
your specific case. Sometimes you need
to simply adapt the left channel to the
right by checking this one. So you make sure
that channel one and two are on the same column here. In this case, I already know that the good audio is
on the left channel, so we simply need to tell the right channel to go to
the left channel as well. So we are here, one
and two. That's it. Just ignore all these ones
and just ignore these. You only need to care about
channel one and Channel two. And, right, now I know that
if I press Enter, Wow. You see what happened? Now it's gonna sound normal.
Let me show you. Alright, so now we actually have the actual ambient audio
for the room, right? Okay, so and I didn't
tell you also this, these two tracks are
already synchronized. Thank you. That checkbox that
we used at the beginning, mix down mode automatically made sure to synchronize
these two tracks. So let me show you
now if I switch between the two shots,
let me show you here. Let me just reduce the
volume from the mixer. So actually, we go here. Let's go to the
mixer on the right. In case you don't
have this open, make sure that you select
the timeline here, and then you go to Window and open the third audio track
mixer here, the third one. Just forget about these
two. Never open those. Go here, AudioTrack mixer and open the right one,
here, source MultiCm. And let's see. You see
what's happening here? Perfectly in sync. Alright, that happened
automatically. It's like magic,
right? So remember to do that when you create
a multicam sequence. Alright. So then
the issue is that the volume of the full track is still higher than
the room track. So let's decrease slightly
the volume of the full track. Okay. All right. Now with this minus six, they are a little more
normalized, right? And then finally, make sure that on every project you make, you always go to the master
channel, which as I told you, is always on the very
right of the mixer here, and you go to the
effects channels here, expand this window
here with this button. And make sure you enable one effect here
called hard limitter. So you go to amplitude, and then hard limiter.
Just enable that. That fundamentally prevents
any accidental distortion. So it doesn't matter now if
I blast the value of this. Okay. You see, here, it will never become red. That is extremely important. Alright, so let's go
here. Now, that's good. Alright, at this
point, both videos are scaled correctly in the frame and their audios
sounds similar in amplitude. We can simply go back to
the actual edit, right? So we close the
source composition, and we simply select
this single clip here, and we right click on it and
reenable the multi cam mode. So we go here, Renable. Alright, so before you proceed
with the multi cam edit, we need to make
sure that a couple of things are available to you. So we go all the way here to
the program we know here, you press the plus button and
just drag this icon here, toggle multi camera
view in your set. So drag it down here
and then confirm. So after this button
is available, you click on it the first time. And at this point, you
simply right click on the program view once
more and scroll all the way down and make sure that these chat boxes are
exactly like mine, you know, so enable all three. So this fundamentally makes the workflow the easiest as
possible, fundatally, you know. Alright, at this point,
let's see what is happening. So now, the cameras should make sense. As
you can see ready. Now they're reacting
when I click, it will also change the video
and audio at the same time, and now it's ready for the edit. There are two
possible approaches. If your footage doesn't
change angle too many times, you can do it
manually, but start from the full music video. So I click on this shot, right? And then I make a cut
on the actual clip. And then I say, Okay,
from this spot, I want you to switch
the room view, right? So I simply select
the clip here, and then I click on the
other shot. Woof, that's it. So now, it's going to
automatically switch video and audio as we reach that cut. Let's
see if that's true. Whoo. You see what happened? So
it switched automatically, both video and audio. That's the power of
J Cut cuts, right? Okay. And then we can go back at any time
to the full music video, for example, go in sync
with one of the beats. Okay, for example, here,
and we do a new cut, then select the next
clip and double click on it and simply change
to the full video. That's it. Let's go. Oh, that's it. Alright. So this is the first way to
do the cuts with this method. Then let's actually
do my ferret, which is actually
the real time cut. This is especially powerful when you go with music videos, but also can be used for dialogue, switching,
what we want. So let's restore just
a full clip like this. So to do this, you simply enable this button here
that we just added here. Okay, and simply
play through, okay? And then on your keyboard, you can use the two numbers one and two to toggle
between the cameras. If you have more cameras, you can obviously use higher numbers four,
three, five, right? So, in this case, I'm gonna
now press one and two on time with the music
while I listen to the song. And let me show you
what happens when I stop the playback, alright? He Alright. Fool see what happens. As soon as I stopped
the playback, it registered all
the cuts that I did using the number one
and two on the keyboard and apply those both
to the audio and video while also changing the actual point
of views, right? So that's the power
of combining el cuts, cuts, using the camera
compositions in premiere. You know, becomes super easy and smooth and very
fun to do, you know? So let's just play this back
to verify what happened. We can disable this view. Oh. That's it. That's it, you know? And then
at that point, if you want, you can add some additional
cross fades between the cuts. So you can simply
select everything like this. You unlink. So right click unlink and then select just the clips
of the audio, right? And then simply press Shift D to do a cross fade that helps smoothing even more
the switches between the full video and the
room point of view, right? So that becomes even
smoother. Let me show you. And Alright. Okay. So that's my present
for you. So have fun. And finally, let's suppose that you accidentally forgot to record the room ambient sound when you recorded
your second shot. I means that this video right
now will be silent, right? So in that case, we
cannot natively alternate the full music with the roomy version of the music because we didn't
record it natively, right? So in that case, you need to simulate it later in premiere. So we should go back to the source composition
of the multicam. So I can simply do it this way. We go anywhere here. I can just disable
the multi camera mode for any of the clips here, Multi camera, disabled and then double click.
Alright, now we're back. Now it's open. And
then remember to re enable this immediately so
you don't mess this up. Re enable it. Alright, okay. Now we can actually act directly on the source Multi cam here. So let's suppose
that accidentally, this was not available, right? So this was completely
silent, right? Okay. So in that case,
well, in that case, you are in trouble in the
sense that you need to, first of all, synchronize
the videos, right? So, unfortunately, in that case, you need to have some visual
cue that allows you to, you know, visually synchronize
the videos as well, right? So to prevent that issue, make sure that you
have also some kind of visual cue in your
videos to synchronize all the shots in case the audio for some reason
doesn't get recorded, right? So after you have fixed the
synchronization of the video, you can do the music
simply by duplicating the music track on the first
lay in this time here. Okay? And then simply, we're going to process the four
music separately, you know, on a separate
channel, you know, so it kind of sounds as if
it was in a room, right? So we solo the first
lane here, okay? And then we go to the first. So as you can see,
is an audio one. So we go to the mixer, audio one column, which
is this one here, right? And then we go to the effects, and we use two effects. One is going to simulate
the room effect. So we go to reverb to reverb. And then dry click here, edit, and simply choose
one of the presets. So in this case, let's go with
vocal reverb small. Okay. Let's see how it sounds,
and then we reduce dramatically the dry level and
we increase the wet level. So wet fundamentally is how
the actual effect sound. Dry is the original, right? So we need to reduce
this and increase this. Alright, let's see. Alright. And finally, we
decrease the DK Wow, you see, now, it starts to
sound actually as if we were listening the song
in a room, right? So just tweak these three
sliders in case you don't want to go to advance
with these more sliders. Alright, that's
one thing. Then we also use a filter.
So we close this. We open a second effect here, and we go to filter
and high pass. So high pass and low pass
are very important effects. Fundamentally, low
pass allows you to make something sound muffled. High pass makes something sound like it goes telephone, right? So let's use high
pass in this case. Because when we listen
stuffing through the speakers, we start to lose some
low frequencies. So it makes sense to use
the high pass in this case. Let's go with this. And then now it just gives us a quick control just
this knob here. So the higher this
knob is going to be, the more telephone is going to sound like.
Let me show you. You see how? I always becomes an eyeball if I
increase the Tumach, right? So when you find a sweet spot. You see it completely disappears
if I increase the march. It's kind of a DJ
effect, in a way. Alright, let's keep
it around here. So it kind of sounds
more telephony without too many
bass frequencies. Alright, so then this is
the minimum essential way to have at least
a second version of the audio that
you can alternate. And then make sure that the
second video is synchronized, and at this point, we can
simply unsolo everything, and the rest is history. So we can still go back
to our main composition. All the edits are still intact. And let me show you the result. We go here. Condo
Listen careful. All right. So that's a way to
solve the issue.
10. Zoom in/out - Slide in/out: Alright, so to make camera
movements in premiere, you have two options, right? So I'm going to show you a
classic technique first, and then a slightly more
advanced approach, right? So let's go with the first one. So first of all, let me
show you here the footage. As you can see, I'm just moving the finger to the
target, you know, around here in the first video and around here in
the second video, and then I re check the finger. So let's work on
this clip first. The first method
consists of doing a cut slightly before you need
to do the camera movement. So in this case, slightly here. So we start to chop here. And then one cut exactly
after the movement is done. So actually, here is where
we need to retract, right? So we start to do
a second cut here. So at this point, let's
go at the beginning of this chop that we have
in between, okay? And then we go to
the effect controls. Then click this
nice button here, or simply click this button
here, motion. All right. And then simply enable
the scale here. Before doing anything, we
need to make sure that we change the anchor
point of our footage. You see this weird icon here. So when you select
motion or this button, you're able to change
where the Zoom or go to. So simply choose
where you zoom chose. Two walls are want you zoom
around this area here. Okay. And then it's ready to go. So now if I move the
scale, let me show you So. You see what's happening. So now it's going automatically there. Alright, so at this point, let's start from 100%. Let's go slide before. Slide later, around seven
frames later around here. And let's go all the way. L this, you know? And that's it. And then let's go
where the moment ends. You know, we know
that the end of this mini timeline is
the end of that shop. So this is the end
of the eclipse. We need to return to normal Zoom before the end of
this mini timeline, right? So it means that around
here, okay, down here, we can simply copy and
paste these two keyframes, paste, and then
flip them, right? Because we need to return to the original value.
Let me show you, right? So we are now returning from
the latest value, right, the Zoom in to the normal Zoom
level. So let me show you. And then boom. Right? That's it. Okay, so that's the easiest way to use Zoom ins and outs,
you know? That's it. Then if you want to
make it more polished, you can simply write like
the first two keyframes like this and then
enable ease in. And then go to the second two. Go here, right click
again, as in separately. Do it separately because
if you do it all at once, it may screw up the automation.
So let me show you now. It's going to look a
little better right. It's kind of Voom, kind
of a slight curve, you know, and then oom, right? So you can also study what is happening
graphically when you use the curves by enabling
the button here on a property that
has automation and shows you graphically
what is happening. You can also play around with these if you want, you know, you have specific behaviors
like exponential curve, you know, or the posit
or that like this. You can achieve all these things manual if you want, if you like. That's your choice. All right, and
that's fundamentally the first method
to do animations. The disadvantage of
this first solution is it's kind of not
that much flexible unless we copy manually
these key frames, and then we go to the next clip where we need to apply to Zoom. So let's go to the
first. One, let's go. Let's separate these two. So we have now a second
clip that we need to do the Zoom to a certain
point, right here, right? So if I select this clip here, then I go to affect controls
and enable the scale. And if I paste, in theory,
yes, as you can see, I can reuse the same keyframes that it did the bady, right? And then I can just retime I can just retime right at the
moment where I return. So that's already one way
to recycle the animation. But as you can see, it doesn't know where we need to zoom, too. So we need to change again the
target by clicking motion, and then again, change the
targets for this clip, and only then the Zoom
will make sense, you know? So so it's kind of already kind of a little better
solution to recycle animation. So why not? You know, if you like this method,
you can do it. Then there's a third door, which is the way to make the camera movement a little
more professional, right? So to do that, we need to actually use a type of
layer called adjustment. So we go here on the
project with you, and then we right click on
an empty spot here. Okay? Or you can click this
weird icon here, but I prefer going here. Right click anywhere, and then new item adjustment
layer, alright? And then call this
layer simply Zoomer. Alright? Okay. And then simply drag this layer
into the timeline. So let's go here, drag it above the layers.
Alright, so here. And then let's select this new layer here,
the adjustment layer, and we go to the effects and then search transform,
transform, right? And then drag this effect into our Zoomer here.
All right, boom. Okay, at this point,
we simply go at the beginning of the
Zoomers exactly here, and then go to the
effect controls. And before you do anything, throw all the way down and
increase Shar angle to 36360. Alright, this number here. And then we simply you see here, we have fundamentally
the scale ready to go. We start you already do. The Zoom here. Because we're going to be
able to retime it later. That's the point.
So we simply do a Zoom movement
for now like this. So let's go around 400. If it does this glitch, when you change
values manually here, you need to first,
selack the footage and then click the adjustment icon. So let's go back here, click the clip and click
this button here. When you do that, it will
not do this weird glitch. So let me show you back
here on fact controls. And now we're able to
change this without issues. Exactly. You see that
it's not jumping anymore. Alright, so at this point, let's choose the levels, 600. That should be fine.
Zooming. So we make sure that this
is fast enough. Okay, fo you see what
it's doing starting to the speed lines. Alright? Okay. And finally, let's choose the position where we
need to zoom, choo. So let's just enable position, and we choose where
we need to go. So we need to zoom, for
example, I don't know, maybe here, we can do it. So we go here. Let's
go where need. Alright, so now we know that it's going there, zoom there. Just to recap, I simply
change the scale and position separately,
and that's it. So let me show you so you
can see where here, normal. And make sure that now
you shift the key frames at the beginning of
the Zoomer here. Alright? And now you can
probably guess why I did this. So let's before
leaving this view, let's enable the easing. So right click easing Okay. And now, finally, we
go back to timeline, and I see in guess, now we can re time this automation by simply
snapping this wherever we want. We don't need to chop the clips
anymore with this method. So we simply go where
we need to zoom. We need to do it, and that's it. So for example,
let's go here, okay? We go exactly around here and we can snap this exactly there, and we'll do the Zoom at
that point in the timeline. Let's see? Poof. Alright,
you see what's happening? So we're doing the Zoom
but it looks better, thanks to the motion
bu, you know, so we have the speed
lines now, right? Boom. And then we can simply
end the Zoom in two ways. We can simply go here
the classic way, effect controls, and simply do the same thing I
showed you earlier. So simply cover and
paste these two and reverse or just create
those manually, right? Or you can actually do the
lazy way which it's crazy. You can simply chop the adjustment layer,
interrupt it, right? So as you interrupt this, so let's suppose that we
need to end the moment, here, here, we need to
return normal, 100%, right? Simply chop the
adjustment layer, and that way we'll
interrupt the zoom level. You know, we just return normal. That's usually it's a
preferable solution because it's super
quick as a solution. Let me show you. So we zoom in. And then we're done,
and then boom. It. That's it. You know? So, in many cases,
that's good enough. It's better than
manually going here, you know, copying and pasting
these, swapping those. You know, it takes a long time, especially for a long projects. So this is a very
quick solution, you simply go back, you know? That's it. You know. And finally, obviously, we use this zoom in other
points of our timeline. So we can simply doble this guy with Alt and drag
away like this. And now we can do a Zoom
again on any new clip. If we need to zoom
to a different level points, no problem. You can simply then select the adjustment layer
and fast controls. Go to the second keyframe and change simply the
position target, you know, because the scale at that point is already perfect. We initially change it. Usually, you know, unless
you initial Zoom last. So in that case,
reduce the level of Zoom and then just
change the target. So maybe you want to zoom
to the different side with this second Zoom. Yeah, let's do it.
We'll go here. So just tweak these two
keyframes if necessary. And then, obviously, that's
it. Who, so we go there. And obviously, you can use these principles
to also slide up, just inch the frame, right? For example, if you have
an image like this, right, we have this weird image
here with this logo. We put it above our
footage like this. So we put it first in the
initial position already. So it's ready there,
ready to be slid in. So we make it smaller like
this, we prepare it, right? And then we simply prepare. We put it exactly. We snap it in the spot where it should slide
into the frame. So maybe in sync with a finger. So we go around here, let's remove this zoom for now. So we go here. Okay, we go here.
So we know that this object now is going to
slide into the frame, right? And at that point, you simply go to the fact controls
of this layer, right, and simply
animate the position. So you go here and make
a second keyframe, slide it later, and it slides into the frame like this,
you know, that's it. Boom, that's it. If
you want motion blur, you need to use the
effect here, transform, apply it on your element that
you're moving here, right? So in the O, then it will
actually have motion blur. So if we animate the position,
now, it will make sense. So we put it outside like this, go slightly later
and then drag it in and enable the shar angle 36. And now it will indeed have motion rollers. Just
watch carefully here. Poof. You see that als
blurred when it moves. Poof. So obviously, you can
choose speed completely free. Alright, and then obviously,
you can put it, you know, back outside later when
you're done, you know, so I'm done talking
about this weird thing, and then we need to
slide it away, right? Boom. With these principles, you can start to do
whatever you want. You can animate any property, and it's very
flexible in the end.
11. Nesting: Oh. Alright, so let's talk about nesting
for a second, right? So let's suppose that we make animation with one
image or one video, whatever, and would you be able to reuse it more easily, right? So to do that,
instead of applying the animation on the
actual element directly, we'll first nest it, alright? So to do that, simply
right click on the element, and simply nest. So let's go here, s. Just nest it like this. Alright? Okay. Let's call
this item one. Alright? Okay, only then you
actually do your animation. So for example, this guy is
gonna scale in, fade in. So let's just do simple example animation,
doesn't matter. So 0-100, maybe not that
big. Maybe a little smaller. Yeah. Okay. And also, we make it fade out. So we just recycle
copy and paste, swap, read all these things. Alright, so it
kind of scales in, scales out. Alright,
very simple, right? Okay, so let's
suppose that we want to apply this to other objects, right? Well, to do that. You can simply double the guys. Then on the second item here, we simply go to the
projects window. We have one of the
element, another image. In this case, this
image here, right? And we drag it into the
second one like this, but hold all while doing that. And as you can see, we'll
automatically detect the second nest and we'll automatically insert the
second image inside. And the result is that
now we're going to have Image one doing
this animation, right? And then second image poofs going to the second image.
You know, that's it. So this already is one
of the uses of nesting. So you fundamentally
you should create mini templates
into your project, so you can reuse the
same animation for different objects very
quickly. You know, that's it. The second use of
nesting is to apply different animations
or different changes to the same object,
actually, right? So, let's suppose
that we were actually just duplicating this guy twice. And on the second nest, though, we apply a
different animation. So instead of animating
the scale, actually, we animate the position,
so we actually make it. Alright, you know, simple stuff. The point is that way, we can apply two animations on the same object very
quickly because now it's the same object used
in two different ways. So at any time, then we
can simply double click on any of the two nests and
simply swap the source image, so we can turn off the image here and we insert
the second one this time. So we go into item
one here and insert the different image like this and make sure that it fills
the screen completely. And then when you go back
to the main timeline, now we have these
two animations. Wow. You see what happened? I automatically changed. Both nests at the
same time because right now we are using the
net in a different way. So these are still synchronized. They are connected. So if we change the content
on any of these two, it will apply to change all of these at
once. You know, of. You see what's
happening? So these are the two main
ways to use nests. So you can make
those independent to recycle the same animation
or just keep those connected so you can
change just the content inside and use the image
on all those nests.
12. Masks & Tracking: Masking allows you to show
or hide specific areas of a footage or to apply an effect on those
specific areas, right? So let's do a simple example. Let's import this nice footage
here. Let me show you. We have a simple person just doing simple movement.
Alright. Okay. So let's suppose that we want to eliminate this
sheet here, right? So to do that, we need
to select the footage, and then we go to fat controls and then go to opacity here. And then as you can see,
of these three icons here, you know, we have these icons. So in this case, we can
use the free hand mode, so we use the pentel then
simply zoom in here, and then simply
click click, click. So we make a custom shape. And remember you call a shape? Whoo. You see what is happening? So by default, it does this. So this is called a Ed mask. So it will only show the
area of the footage. And then we can simply tweak it. We can extend this in case we can feather it so it
can smooth the edges, right, or we can expand it
from here like this, right? So in this case, we actually
want to remove this, right? So we need to invert by
clicking invert here. Alright, so now
fundamentally is cutting a hole in that part
of the footage. It means that now,
if we go to the main back to the
timeline, fundamentally, we can place where we
want behind the footage, and it will be shown
there, because this right now is
full transparency. So we just drag this
nice image below the footage and it
should show up there. So let's actually move it. Okay, there foo. You see what's happening? So it will kind of peek
through there, you know? And right, so that's
one use of this. Let's go a little more
complex you know, alright? So let's suppose we want to
actually center my phase. Alright? So in that
case, we need to track the mask
because obviously, as you can see, I do some
movement with the face. So it's not a fixed object. So you're really lucky
because the mask can be tracked
automatically in premiere. So let's go we need to first
create the initial mask. So we go to the footage here and then we need to
apply first, one effect. So we go here to affax and
let's apply a mosaic Okay, and then double click, and then let's go to
the effect controls. Scroll down. As you can see, we have the mosaic here, so we can choose the level of censorship, like this. Okay. Then for now, let's
disable the effect, elect so we can create the
most precise mask as possible. So in this case, the phase
is kind of ellipse shape. So it makes sense to make
it simply an ellipse. So we click this tool here. And then as you can see will already create a default circle, and then we can
tweak it like this. Alright, so fundamentally, by creating a mask
inside and effect, it will only apply it
there in that area. Let me show you. Poof, right? So, now the issue is obviously
the face moves slightly, so it's gonna be as you
can see, in this case, it's kind of use false steel, but as you can see, goes
slightly off over time, right? So to kind of keep the mask completely
attached to the face, we can simply track it, right? So to that, we need to press
one of these buttons here. You see these four buttons. So this and this means track it only one frame
forward or backwards. This will automatically track it until the end of the clip, which means that if
you only need to apply tracking on a specific
area of a long footage, make sure that you
first cut it, right? So make sure that you
just chop the video, you know, from here to here. And that way, you can only
track this automatically. Only where you need it. Otherwise, if the
video is super long, it may give issues or it may last down long that
you don't need it, right? So, in this case,
the video is short, so we don't need to do this. So we go back here and we
simply track it forward. So press this button here and
wait a couple of seconds. Woof. Alright. And you see all the keyframes already
applied on the mask path. So the mask path in theory
can be animated manually. So you can simply kind of apply one shape to this
keyframe like this, and then you can go slightly forward like this and then you can apply different shape
to the mask manually. So that's one manual approach, but this is the automatic one. You can simply automate the
mask paths automatically. So we're going to do that, that's exactly what
I did in this case. And sometimes you
manage to increase the precision level of the tracking so you can
press this button here, and you change between
one of these three. So in this case, position
scale and rotation will grant us the most precise tracking that's possible that
premiere can do. And then simply track it. So we track it
backwards and forwards. Alright. Let's do
it also forwards. Okay, so now in theory, the mask should
be fully tracked. Alright, W. You see
what it's happening? So now when I turn
my head slyly, the mask will follow through. Wow. You see what
it's happening? So, the mask now is fully
attached to my face. Alright? And that's the fundamental
principle of tracking. Sometimes you may
not be able to track successfully something
because maybe the movement of your object
is a little more complex. So, in that case,
you need to escalate the situation using better
software for tracking. For example, Apafax which is kind of the
broader of premier. So make sure you have Arofrax installed when
you use premiere. So in case you can
escalate using Apefax. But for simple cases, you can simply use the
tracking internally here. As you can see it does,
it reasonably good job. And then you can simply
tweak the mask, like this. You can shrink it like this. You can batter it
in case like this. And yeah, and that's it.
13. Fades: Alright, so let's see
how you can do fades, both for audio and video. Let's suppose that we have a pre edited video that we need to edit for a short version like 10 seconds out of 3
minutes, alright? To do that, there is a way
to automatically extract the cut from a pre edited video by simply right
clicking the video. And then you go to scene
edit detection here. Alright, so we just
click this button here. And then just apply a cut
to each detected cut. Wait a couple seconds. So now we have the whole video
already cut for us, right? So let's suppose that Windsh extract just ten
cuts out of this. So we just randomly select for now these cuts here,
here, here, here. Let's say that we jump
all the way to this. All right, so let's just
select couple of these. So we select this guy, this guy. All right, so just select very different parts
of the video, right? So let's go here,
then we jump here, all the way at the end here, and then one from here and one for the right
end around here. Alright, so now we simply place everything on
a separate lane, and we delete everything
else like this. Alright. So then we simply delete all
the gaps, obviously. So we just place everything
close to each other, right? So we go here, we
already know this. So select everything close gap. Alright. Okay. So here's the situation where we
need to use fades, right? Because we're kind of merging different parts of a video that are very different, right? So we're kind of jumping
around very different parts. You know, let's make it even
shorter like this, right? So one solution for these things is to
make it fade, right? So let me show you where
we are so far. Uh huh. I don't to bring up
that's better machine. All right? You see,
it's very different. So to make all these jumps slightly smoother,
we need to use fades. So first of all, to apply fades,
there are two ways. You can select everything and just press Control D or
Shift D. So, in this case, I'm gonna press Shift D, and
it's gonna apply ready to default transitioner to both the audio and
video at the same time. Let me show. You see
what just what happened? So this is called crossfade. Fundamentally, will
decrease the opacity and the volume of the music at the same time and increasing the one of the cut on
the right, you know? And first of all, you can change the length of the
crossfade like this. You know, these are very basic
controls like this, right? Or you can double click the
crossfade itself like this. You make it longer, you know,
1 second long, like this. Let me show you what
is happening so far. Don't for to bring him up,
you know, but there's thing. Let's give him some
time to render. You know, there's. You
look good. No shine. You see that now, it's really smoother,
thanks to the cross fades. You can choose the exact
type of fade that you want for the video
by going to FX, and you just go to the
video transitions folder and the s and then Dissolve, and it will give you all
the options available. So you go all the way here. These are all the
types of fades. You can make one of these become your default choice
by right clicking it, and then set as default. In my case as you
tea I use the crust the sole because it's
very sip efficient. It will instantly apply
and fade wherever I want. There is another choice that is sometimes does very good
job, which is the morph cut. So this will actually
morph between the e clips. Let me show you if I drag it between the we cuts
for example here. I will now apply the morph cut. The disadvantage is that
it's heavy for the CPO, so as you can see, we'll
kind of do analysis first. But then when the job is done, it will actually do a full
morph between the two, because, you know, So
it's crazy, right? Better, see what
he's doing. Better. So in some situations, this may be ideal,
especially when the two frames are not
too much different. You know, if it's someone
talking in front of a camera, the morph cut may
do some miracles. You kind of completely
hide the cuts, you know? Or if there is so high movement, that's
another situation. But if you want to
stay super fast, use the classical cross the
sole and that's it, you know? And yeah just tweak the speed
in my case, by default, I chose to have the cross fades only chew frames long because
that way it's super fast. Bail out. You know,
and that's it. Got no **** got it. It's kind of instantaneous, but also very smooth. You know, choose a default
length through the ure pads, simply go to the settings here. Where you did it
at the beginning, but in case you skip that part, you go to the edit preferences and then go to the timeline. And here is where you can choose your default length for the transitions, you
know, here and here. All right. So yeah, so normally, most people don't need to
customize the fade too much, but in case you do, click the exact fade you need to customize more and go to the effect controls
of it like this. And you can customize the
exact behavior of the fade. But for most people, again, this is not necessary.
So what's happening? Hey. Obviously, you can apply the fade also to
just add something. You can fade it to black
and fade to silence. So you don't need to
have two clips always. So you can simply use the same shortcut to
trigger the fade this way, and you can simply
fade something, you know, in a
smoother way, right? You know, That's it.
14. Attribute Pasting + Quick Keyframes: Okay, so let's
suppose that we make a simple animation
on one element. So, in this case, we are
going to animate this image. Let's see what's
happening so far. Alright, we have this
weird animation, right? Let's say that we
want to recycle this more easily on
another layer, right? So what method is the nesting which already showed you, right? So, the only way to recycle streams of keyframes on
another layer, right? So lily cab and pasting is
you go to the timeline here. We're gonna paste
our second image. So in this case, this guy here. All right. And you can
simply right click on the element that already
has all those animations. Copy, and then right click
on the other element, and then simply right
click paste attributes. Alright? So you
paste attributes? We can choose to paste whatever we want from this other layer. Alright? In this case, we
want you check everything on, everything that is
available, motion, opacity. In case there were some effects, we can also paste the
animations of those. We can transfer
everything that we want. Alright, and then
simply confirm. Let's see what's happening
now in this image. Poof. So now it's doing
exactly the same thing as this image, you know? The only difference is
that right now this image, since it was a
different original size is not matching, right? So the trick is
to make it match. If the size is different, it's you nest the image first. So we nest the image. So right, Nest. And then here inside
the composition, we make sure that the image is actually filling the
screen completely, so we right click on the image, scroll all the way
down and fit frame. Now, if we paste the
attributes on the outside, so here, paste, confirm. Now, it will actually maintain the exact proportions as our
actual image, Luc. Poof. You know, that's the trick. So the reason why
this works using nesting is that we
just normalized the parameters fundamentally. So fundamentally
premiere believes that the image was actually bigger,
you know, fundamentally. So that's the simplified
version of what happened. Sometimes you may need
to use this trick. There are two places where you can do animations in Premiere. You can do it from here, as
I showed you multiple times. When you select a element, you can go to the
effect controls. We have this mini
timeline. You can do this. Or sometimes if you need to animate a single parameter
in a simple way, you can do it from
the timeline itself. As you can see, you
can display one parameter keyframes just
from the clip itself, you know, so it's pretty handy. And you can choose which
property you want to show here. So we can for example
right here here, scroll all the way down, and then show one property
that you want. You know, so you go to
the motion, opacity. So let's see the opacity. F example. We go here.
Turn on the opacity. Hey, right now, this line is
the opacity of this image, so we can automate search from here without having to
go to the FI Controls. So as you can see,
we can see the pad that we already had
from the other layer. But then we can continue
by just pressing Control and we can
add two points, one here and one here,
and then we drag the second spot back
to zero, obviously. So we can close the layer. Oof. You know, that's it. You can do where we
want. For example, we can animate the rotation. Why not? So we go to rotation
like this, and that's it. You know, just go to spots like this and rotate it.
And we just work. Let me show. Poof, you know, and then you can curve
it in case like this. You can make exponential
curves, wherever you need. That's completely your disposal. And then you can select multiple points in case you need that. So you select
multiple like this, you can move those together. It's completely free, you know? You disadvantage of
doing the quick controls here is that it's
not that precise. So do this only for
simple animations, unless you zoom in,
like there's a lot. So if you mean you
have bigger visuals, go through the fact controls.
15. Speedramping (3 Methods): All right, so in premiere, there are three main ways to
make speed ramping, right? First of all, let's drag
our clip into a timeline. So you are here and
just drag it here. Alright. So suppose that
we need to slow this down only from a specific spot to a specific spot
of the video, right? So we don't need to change the speed for the entire video, but only from two spots, right? So the first method
consists of exactly doing one cut where we need to change the
speed of the video. So, for example, let's go around Let's go
where the wave hits. Oh, alright, exactly
here, for example, right? Okay, and we do one cut here. And then just go forward where you want the speed to reprise
to be normal again, right? So for example, let's
see how it's going to reprise again here. Alright, so we
make a second cut. Okay, so at this point, you simply right click on the smaller clip that
we have here now, and then you go to speed
and duration here. And then it's gonna
ell you, Okay, this clip currently
is long four segons. Alright, so we can change it
to any length that we want. So we want to make
it to become faster, just type two or slower
type eight, right? So let's make it
become twice as slow. So eight segons. And then if you have the audio
if the audio is important, you can slow the
audio down as well. You can kind of
maintain the pitch or make it become low pitch. And then simply confirm Okay, let me show you
what is happening, so let me just make some space. So right now, this clip
here just became slower. Let me show you. Alright.
I see. It's happening. So just for this clip, now it's twice as slow. Let's go even slower. So
actually, we right click here. You know, speed ratio. Let's go 25. Okay, let's see. Yeah, obviously, the
audio doesn't matter, so let's just keep it very low. Doesn't matter. Let's go here. All right. Okay. And then let's say
that from here, we want you to reprise the full speed of the video, right? So we simply make a cut here. And then here, you just right click again on this new clip, speed and duration and 100%
on back like this, right? And then simply restore the original length of
that clip like this. So this is super quick way
to simply speed ramp stuff, so you can simply cuts. So now it slow down, and then it instantly
reprises. Right? So if you want to quickly change the speed of a video, this
is already a quick way. Alright, so before I show you the second method
for speed ramping, let me show you
intermediate method already that consists
of doing already a one cut where we need to speed or slow down the footage. So for example, let me show you we have this footage here. Okay. So suppose I want to speed this up exactly
where doing dam movement. So we go exactly there, first of all,
around here, right? So I'm going to do one cut here. Okay, and then we go
sly forward. Like this. So that's going to
be the second cut. And then simply select
this tool here, the rate stretch tool here. In case you don't see it,
simply click this icon here until you see that specific
icon here, rate stretch tool. And then this tool allows you simply choose the new
speed of that clip so it can make it become slower
or faster wherever we want. So in this case,
let's go faster. So we simply need to
compress it, right? Lectus. And then
just close the gap. And obviously, now
it's going to speed up only that part of the video, let's see. See what happened? So that's already a slightly more polished
weight due speed ramping, so you can simply do
it from the timeline. Let's go with Method two, which is slightly more advanced. For the second
method, we need to, first of all, right
click on the clip. Speed ramp, scroll
all the way down and enable one of the quick controls for the speed of the video. So you go here, show
clip keyframes, time remapping speed, right? So that way, we can control it straight from
because in theory, we can do it from here
from the effect controls. The speed is here,
as you can see, but controlling it
from here is going to be way more painful, right? So let's ignore this completely. Let's go straight
to the timeline, and we have integrate
it that way. The way it works is that you
simply choose exactly like the first method where the
speed ramping should start on, so Okay, let's say for example here,
this to becomes slower. All right, so we simply control click in that
spot in the line here. So this is a special keyframe. So this allows us to
open the keyframe, like this and choose where
the speed ramping will stop. So for example, let's choose, for example, this to
end around here, okay? And then we can simply lower the value of the speed simply by dragging this horizontal
line down or up, right? So let's go down to 50% speed. Okay. That's it. And then right
now it's gonna reduce the speed of the
video gradually until that spot that we chose
of the video, right? Finally, let's just make that happen in a faster
amount of time, right? So let's simply approach these two keyframes
closer like this. So let me show you. So now, it comes slower and slower. So let's just make this
happen pretty fast. Otherwise, it's not gonna
be noticeable, alright. Okay. Sit down now, it
starts to be slower. Let's go even lower,
so it becomes fully noticeable to say, 20% on speed. Alright, that that was so
slow that it's problematic. So obviously, if you
make slow downs, you you shoot a double
frame rate, you know, 5,100 frames per second, that's what we need for
these type of things, right? Alright, so now is half speed. And then let's suppose
that we want to reprise normal speed
from this spot. So we simply control,
click again here, and then expand it
slightly and then just raise the line up again,
you know, back to 100. That's it. Oof. So now, it's going
to be slow from here to here and then reprise normal speed from here to here.
Let's see if that's true. Wow. That's it. You see what happened? So,
and it did it gradually. That's the point. So this is why this method is already
a little more advanced. Instead of jumping straight,
wish choose speeds, it will actually do a ramp, and that's why this technique is called speed ramping, right? And then the trick is simply to synchronize the moment where the speed ramp happens oh specific cues
of the BDO, right? Or if there's a straw
blight, you know, just synchronize it with
a flash or a sound, whatever you want, whatever
you need for your case. But the core technique is here. And finally, if
the second method is still not enough
for what you need, if you need ultimate
pro smoothness, you may need to involve the Big Brother of premiere,
which is After effats. So we simply write
click on our clip. Actually, we trim it, so we actually choose
already you know, about the area
that we need to do speed ramping on otherwise
it's going to be too long. So kind of trim it write
a little bit like this. And then you right
click on the clip that we need to do the
speed ramping on. Right click, replace
with Apefax composition. So sure have perfax installed, right? So let's do it. As you can see,
we'll automatically transfer our specific clip into Afrofaxth advanced
speed ramping, right? We need do that to make
sure that you also select the music track, so you will also see the track here so you can synchronize
it with the music, right? Let me show you how
it works. You simply right click on the clip here, time enables time remapping. Okay. So at, nothing happens
if we don't see I think, but we see one thing here, time remap with one
keyframe already enabled. So the first thing
that we need to make sure of is to place
two keyframes. One where the clip starts
and one where the clip ends. Alright, so exactly
here. Two keyframes. So here, fundamentally what
works is that the keyframe represents 100% that frame that we see on that
point in time. Let's suppose that we have
a music track here that you should synchronize
our speed ramping on. So to see the peaks
of the music, you should see the waveform. So you open it until you see
the waveform here, right? So let's just listen the drop. While I listen, I'm going
to press the asteris she plays markers right
on the track. So those are going
to become reference for perfect speed
ramping, alright? Use. I'm so pissed. But I'm so in moss. No, I'm not even telling
my close friends. You can Alright,
so this is enough. As you can see, the markers
are evenly distributed, and that's why music is math. Alright, so at this
point, we know that here, we need to do a speed
change here, no 101, right? So, and then we simply
go here on our footage. And what works is
that we simply place keyframes on each point
like this, alright? Like this. And then you can
simply compress or extend any of these points as you wish, you know,
to do what you want. At this point, I
can simply go to the graph editor of these points simply
with this button here. And then I simply
do you know what? Instead of going
in a linear way, just enable nice busier
with F Nine, like this. And then we can do a
very precise type of speed ramping like this for every single piece
of the footage. So we go slightly
faster when there is a peak in the music and then
slower and then accelerate. It's complete control once you are in Apha frax, you know? So that's why most people this may be a little
scary for some people, but then at the same time, for those that surpass
this resistance, then they realize the
full control, you know? So let me show you. And
now we can also enable a cool feature called frame
blending here, right? So we can enable
this thing here. That helps you have
ultimate smoothness. So let's see what
we have so far. Alright, so let me
show you. So pissed. Found so pissed. Fan so pissed. FOF out. It's fully integrated with the music, with
the sounds, right? Because every impulse of the kick drum makes the
video become faster and then slow down waiting for the next beat that comes comes
slightly later, you know? So that's the most advanced type of speed ramping that you
can achieve in existence. You know, there is
no such a thing like a better
software than this. And that's why this may be intimidating,
you know, personally. And finally, I didn't
tell you that all of this is synchronized
with premiere. If you remember,
we achieved this by right clicking
initially on a clip here. And when you are done
with the speed ramping, you can simply jump
back in Premiere, and you will see the
result straight here. So you don't need to render
that from Afrofax back here. It will already be synchronized
here in real time. It means that you
can change it at any time by reopening
the project in Afrofax. You can even close Aprafax
when you're done completely, and here it will
still work, alright? That's the whole thing.
16. Color Grading Routine: Alright, so let me
show you how to do color grading in
the simplest way possible on Edit footage. First of all, we need to plut our footage in the timeline, so we simply create new
timeline here. Okay. All right. So the simplest way to achieve a cinematic look in your footage or
where we want is to apply one single effect
called lumetri color. Alright? So you
select your footage, and then you simply go
here on effects and you search Lumtri color. Alright? And then
you simply drag this effect into our
footage like this. Alright? Boom. Okay, so then here we go to
effect controls, and we start to
customize this plugin. So this fundamentally is on
around plug in that allows it to you every possible
correction that you need. The first thing that you need to do is in case your footage is a log or last less footage,
it's completely grade out. You need to decode
it. And to do that, you need to have a lookup table, which is called LUT, right? Or it's amas a format
called dot cube format. Alright? So in short, in case your footage is log, you need to decode it
to make it look normal. And to do that, the
simplest way to open simply window and then go
to Lumetri color again. And then open the
actual settings here on the right settings. And then if you are very lazy, if you don't feel like
doing this manually, simply open this
thing here, project, and then check this on, Autodtect log video color space. And this will automatically
decode your footage. It will become normal. Alright? So yeah, so that's the in case
you're more advanced, you can change these
things manually. But if you're not, simply check this on and it will just
take care of it for you, alright? Yeah, same thing here. So if you know what
you're doing, just use the right lot should decode
your footage correctly. You can download the lot for your camera. From the website. Alright? So they
usually provide the lot for decode to decode
your log footage. Z said. Let's just go here on
our actual plugin here. And simply, what do we
do would actually go to creative and choose one
of the creative filters, first of all, so you
go here and choose a lookup table for creative
choices at this point. So for example, here, as you
can see, there are so many, there are fundamentally
cold ones, warm ones, and black and
white ones. Alright? So in case you want your footage to become colder,
just choose one of these. For example, blue and tents. Here. Boom. And. Is what happens and it just makes
so many things all at once. Fundamentally, a filter
is a color remapper, so fundamentally remaps a value of color into another color. That's all it is, you know? And simply che the intensity. So if you want the darker
colors, more contrast, just increase the value here
and just navigate these, you know, draw a list
of your ferrets. You know, there's no
right or wrong choice. It depends on what you need to convey with your footage,
with your story, right? So just navigate these and
learn what each one does. Alright? And, yeah, just play with the
intensity, to see how much. You see how cool situations we can create very
quickly, you know? So we can change the mood of the footage very quickly
with the colors. It's very important
to understand this. So let's take with
a cold one f here, let's go with a blue moon. And then we choose a
high enough intensity. Alright, let's go with
something like this. Okay. So let's go forward,
forward and video. Alright, let's go around here. Okay. So then after you choose the main filter
for your footage, you can start to go to
the basic correction in case there are some specific
colors that are burnt. You can increase or
decrease the contrast here. The contrast fundamentally
is the dynamic range. So if you increase it or decrease it to see
what's happening, it kind of compresses or washes out all the
colors at once. So that's the main
thing that it does. And then just play with
all these things here. You know, the
brighter colors and the darker colors can be tweaked
progressively from here. Highlights shadows, white and black. You
know, respectively. And I'm going to show you
a layer what these do, but fundamentally these
are the main things. And if you feel it
should be more balanced, color wise, you can
use the temperature. So if it's cold, just
go the opposite way. So if it's cold,
give it more warm, warped, increasing the
temperature like this, right? Or the other way
around. If it's warm, it needs to make it a
little colder, right? That way becomes
more flat, alright? So it depends again on
what you need to do. Alright? And then there
is the white band. The white banned is a
very interesting thing. So, fundamentally, before
you apply any filter, so you actually disable
the creative for now, you should actually color pick something that was truly
white in the scene. So in this case, we are lucky
because we have the cloud, so we can click on the cloud. And now what it does
is that it regulates all the colors according to
white that we're giving it. Alright? Best way to get
a right color balance in your footage is to calibrate it with a color balance card, right, which is
fundamentally a card. So it looks like this. You know, usually the gray one, the
white one, and the black one. And this depends on the specific scene
that you need to do. And just play around with these, watch some tutorials for your specific cameras to set
the white balance manually, right, and just
learn what these do. You know, fundamentally, but fundamentally gives you
the objective white. That's the point of this, right? And after you do that,
you have the colors calibrated in the most flat way. And then you can apply your
creative choices after that. So that is going to be obviously the
creative filter here. And then, you know, when you apply a white balance, you will see the tint
and temperature change automatically. That's
the cool thing, right? And final tip, not everyone knows that when you
use the color picker, you can actually hold control, and you see that it will
become bigger here. So that allows you to
sample a wider area, fundamentally, you
know, sometimes it may give you better results. Alright? You see what
is happening here. So now you just calibrated that with a wider area.
Alright? So remember that. When you color pick something, you have two modes,
small and big. Finally, I recommend you ignore a couple of things
you can ignore completely the curves.
These are very dangerous. They never really help because they just do more
damage than other things, you know, unless you want
to be super creative, don't use the curves.
It's very dangerous. Color weirs can be
interesting to tweak specifically the darker or the brighter parts
of the spectrum, and you can tweak individually the brightness of that
area of the spectrum, and also give a specific tone to those areas of the spectrum
of the colors, right? So in case you don't
know what you're doing, don't touch these things.
That's the tick way. But the cool thing is that
every single thing of these every single one of
these things can be automated. So you can see
there's a keyframe. The interior allows you to make a dynamic correction over
time, which is pretty cool. But usually, you don't
need to do that. Actually, what is interesting is the ability to do secondary
color correction. So for example, if
you want to tweak the color of the grass
or the skin tones, right, you need to do it
from here, HSL secondary. So you expand this
amazing module. And then, first of all, you sample the color that we
need to target, right? So in this case,
let's start to target specifically the grass,
right, and not me. So we go here, set color, and just click here. Again, we have the color picker, so you can use, again, control or normal. Let's go with normal. Okay? And then as you can
see these three things start to move in
the right range, you attempt isolating
only the grass, right? So to verify it, we need to show the
mask. So we click here. Alright, so, okay, we
start to go there. But then what I
recommend to do is to actually manually
expand these slowly. You kind of verify
if we could have, you know, just expanded
this a little more. In fact, as you can
see, this helps. And also, I'm now going
to move this slowly to verify what was the most
right range for this. Alright, okay. I
just found the one for the H, which means hue. Then let's do the one
for the saturation. So we expand it a little
bit. We move around. Alright, so you can see the
right spot was actually here. And actually, let's enable some feathering everywhere,
like this. Okay. And finally, we do
everything we do the third slider,
which is lightness. So, right. You see
what is happening? So by expanding this, we actually detect more
and more grass. Boy, we need to be
careful, obviously, because otherwise it will such you get things that
we don't need. So what I recommend
at the end you actually shrink back all
these things a little bit. Alright, so we actually remain very specific for our target. Okay, okay, seems
reasonably good. And finally, we start to
disable this weird view, so just uncheck. Okay. And now, in short, whatever we do down here on the refine or the
correction or wherever these things here is going to be specific for the detected
area of those three sliders. In short, now we can change
the brightness of the grass. Let me show you foo. You
see what's happening? Or we can also change
the color of the grass, so we can go like this, just
diverge it in a weird way. Woof see what's happening? And then we can blur
the edges, right? So we can blur it by increasing slightly
this value here, blur. You see what's happening?
So we can kind of give it dreamy, dreamy vibe, you know, as if the grass was
kind of on drugs. I don't know, you know, what
you want. So let's see. And then you can simply
tweak the specific color. You know, or you can
keep it flat, right? So you can simply reset
this back to your zero, and then maybe just change
the temperature, right? So you go here and kind of objectively make it become
colder or warmer, like this. So let's make it become
warmer, like this. Alright. And then
you can increase at anytime the ranges like this.
You see what is happening. So if you increase
this, now, obviously, it will get more la grass. Right? And then you can do AAV comparison by disabling
this back and forth. You see what it's doing? So now it's
fundamentally targeting. The grass may be a
little bit of the tree, but not me or the sky
or whereever else, right? So how cool is that? And you can do this with
one single plug in. So it's crazy, right? And then let me scroll all the way down. Every single footage
usually has, at the end a vignette. So enable a vignette here and just decrease the
amount slightly like this. So it kind of smooth the
edges in a cool way, right? Right. And then we just
increase the midpoint, decrease it, increase
the roundness, kind sweet spot for case. And do this only on
the very last lumetri. Don't do it if you're going to use more lumetris after
the first one, right? Because obviously, you can use more than one
if it's needed. So you simply close the
first one like this. And simply copy and paste
or duplicate it like this, copy and paste.
Like this. Right? So in that case, in case you use
multiple lumetris, disable the vignette on
the other ones, right? And you can rename these, so you know, for example, the target of the first lumetri, right? So you can rename this. Maybe this for is
the main plus grass, you know, so that way you can distinguish what each one
is doing, what, right? And finally, let's suppose
that you need to match multiple clips because maybe you shot your video in
different days, different slight
different conditions. For example, we have
this second clip here, which as you can see, is
slightly less saturated. The colors are
less vivid, right? So to match our footage
here to this scene here, we can simply go to our lumetry
and our main clip here, fast controls, and
then you need to go to the color wheels
and match, right? So then check on the
comparison view, first of all, and then here, as you can see now, we have a mini timeline
here that allows us to go to the reference
frame, right? So we move to where we
have the reference frame. So this guy is this guy here, here. So keep it there. And then this is
our current frame, simply need you if there is a phase in the footage that
is detectable, enable this. In this case, it is
not, so we can keep it off and then simply
apply the match. This should usually be done
before applying any grading. So actually, technically,
we should first disable the secondary color correction
here and also any grading. A here, disable the basic well, actually, the basic can
stay on if you want. We need to disable the creative
pressure. Okay, right. So now if we actually go
to the match and we apply. Alright. So now, it starts you definitely
feel a little more similar to this situation
here on the left, right? So that's the
point. And the only then start your grade,
do what we want. So if you need to match, do the match before any grading. You know, if you want to
have a more objective point of view for your colors, well, you need to simply
enable the scopes. So let's go to the main
timeline for a second, and we go to window, and then lumetri
scopes. Alright? So let's keep these
guys on here. So there are many scopes to represent the
colors and lightness, but the easiest to understand
is simply the parade. So we go here, right
click, parade. Okay. Simply, the parade shows the
three channels separated, red, green, and blues, alright? And the vertical axis is
the intensity of each. As you can see, goes 0-255, because this is the
eight bit color space, which is the standard for
everything, you know? Unless you're working
with HDR in case you do in case you have a loss
loss footage fundamentally, which HDR, you need to change the vertical axis max to HDR. Alright, or whatever
you have here. You know, if you
have floating, use floating or HDR, you know, and this allows you
because if you have HDR, fundamentally, you never
really burn the colors. You know, they may
look burnt, right? But you can actually you still have information
that allows you to bring down the whites into
the visible range, right? That's why it gives us
this additional space. You know? In this case, this video was shot
at eight bits, so we don't really
have that information, so let's keep a bit. And that's it. So
the color parade is very interesting
because it allows you to understand what the lumetri does when you
change the sliders. So if you go back to
the Lumentr here, what I invite you to do is to study what happens
when you change, for example, here, anything in the creative and the basic. So if I change the contrast, let me show you. You
see what is happening? It's changing the dynamic range. In fact, it's compressing or expanding the difference between lows and highs in
the spectrum, right? Same thing if we change
the temperature. You see what's happening?
This obviously changes the complete balance of the
three dominant colors, right? And that's why the
footage becomes darker, becomes warmer or colder, right? That's the reason. And same
thing for everything else. You know, if you the
saturation, the tint, the exposure, obviously will kind of kill completely
the footage. So if you want to study these sliders in a
more objective way, definitely watch
carefully what they do on the scopes while
you change those, right? But let me tell you
the ultimate truth. The thing is that
once you develop your own eye for your footage
and your type of videos, you will never need to
watch the scopes anymore. So you kind of end
up closing this unless they ask you a
specific standard to respect. If you do a very, like, TV broadcast job where you need to respect a specific
standard of colors, normally you will not watch
the scopes anymore too much. That's the point. But they are useful in the
first stages when you need to understand more a little better the parameters, right to become more
confident. That, for sure.
17. MOGRTS Motion Graphics Templates: Alright, so in the
intro session, I already showed you
that in premiere, when you don't
have a lot of time to edit things manually, you can use motion
graphics templates, right? So here we can access those from the graphics
template tab, right? Remember that you can
open it from here, window ends that's
where it is, right? And then you can simply
drag and drop these things. In the timeline, for
example, in this case, we have a timer and we have a custom timer
here, ready to go. I can overlay it to
my footage, right? Like this, and I can also customize any aspect
of this timer, right? So I can simply go to
the properties window, and it's going to give
me a specific set of features that I can change
from the timer, right? So, so so for every
single thing. So there are some Mgurts
there are simpler, odors are more complex, but they're always going to have specific features that
allow you to drag in stuff, PNGs, videos, We we
want, fundamentally. So you can create your
own Moga using per fax. If you don't have Arafax, if you don't want to
use it, it's fine. There are some
places that you have free Mogat that can be
very useful, right? One of those is to
use an extension called premier composer,
this guy here. Alright? So this
fundamentally Asi you have a pretty much decent set of free mogars that you can
use right off the bat. And CNT is pretty handy. You can simply click
here, Star Pack, and it shows you all things
that we have for free. So let me just maximize
this step here. Alright. So all these
things are completely free. So as SCNT, you
have tax presets, transitions, then we have
some call to actions, things. Every aspect of these
things can be customized. So you can simply drag in
this into the timeline. You can customize with your PNG, with your logo, where we want. As you can see, we also
have arrows, everything. So this is kind of a
good quick solution to speed up your work throw, in case you need these
things in your edits. And as you can see, we also have sound effects. This is
just the free version. You know, the paid
version is kind of 20 times bigger, you know? So, but the way it
works is the same, the standard way as
any standard mogart. So, for example, suppose I want to transition a
different footage, so I snap these two
clips together, right? So right now it's simply jumping to the different clip, right? And let's just use one of the
transitions, for example. So we go here and we
go to transitions. Else, let's use, for example, a shake shake transition. Let's see where
here, there's one p. So simply drag it in, make sure that the point is the one so make
sure that the line coincides with the cut. So this line here needs to coincide with the cut
here, and that's it. Let me show you what is
happening. Let's go. Let's see. Ooh. That's it. You know? So Alright. So also, if you want to repeat
the same scene repeatedly, automatically simply
select, you know, here, Mark in, mark out. Here. And then just enable the loop button here in
case you don't have the loop you can add
it from here from the set and then enable this, and we'll automatically
play this area repeatedly, so you can evaluate what
is happening, right? Wow, you know, and same thing for every single other
preset, you know, so if you want to
also add some texts, go here and just navigate
the one that you liked more. So, for example, this one here, let's drag in again
on top of everything. Why not? You go here. And you can customize
every single aspect of this by just clicking it and go to the edit tab or premiere composer or the
properties here in premiere. So you can tweak
everything, you know. So just like this, just
type something like, hello. Change the font,
wherever you want. Completely free, you know, enable whatever
feature you want. Chambleu. It's all here. So you can really go detail with the customization of every single one of
these things, you know. Alright, let's enable this. Let's give it a time to render. Sometimes you may struggle
playing the preview in real time because
maybe it has additional effects
like motion blur. In that case, you can simply pre render that area of the
timeline by pressing Enter. Like this. Just wait a couple seconds and
it'll become super fluid. Alright, Woof, you
see what's happening? That's it. That's it. That's it. And the way to install this extension is to
go to the website. So let me show you
introduce website here, I'm going to leave you
the link right now. Here, install it,
follow the guide. So it's available for
both systems here, Mac, Windows, and then
install First, Mr. Horse manager, that's
how it's called, right? Open the manager here. Once you have installed it, you go to Premiere Pro and then install the Star pack
or the paid pack in case you do the
full version, right? You just install all
and reboot premiere, and you will have the extension ready to be opened from here. So you go back to premiere window extensions,
premiere composer. And then you can simply dock the plug in window
where we want. Mike as you can see, I integrated this on
the right, right? And that's it. So that's how you use
premiere composers. In case you want also
other sources for Mogart. You can also go to Gumroad. Gumroad is a very
interesting website. So you go here and
you can simply search Mogart and you will find other more free
resources to download. These are all $0 things. You can simply download and
these work the same way. So you simply install
those in premiere. So these are going
to be probably Mogart files with
this extension here. And the way you to install
these in premiere here, go to the graphics template tab. And then just simply
press this button here. Install Motion
Graphics template. And then simply let all click on the file that you download
from these websites, you know, so it's a dot
moved file like this. Alright? So install that and it will appear
here in the list, and then you can
suddenly drag it in as if it was a normal
template like this. You know, that's it. There's also a paid, cooler version of
this of Gum Road, which is called motion v.com. So you go into this
website in case, and this has cooler results fam, you know, in fact,
it's the paid option. So you go here and you
search simply where we want. As you can see, it will
show you clean preview of what it does. And same way. You just install
it, and then you can drag it in in your timeline, and you can customize all
the things that you can do. So you can drag in your
content, type up the text. You can have pretty
much fun with Ida you can see 200 page.
18. Effect Presets: Is to use presets. So presets fundamentally are streams of keyframes that are already polished for you to use straight on any
clip you want, alright? In one of the most common cases are just transitions presets. So those are
accessible from here. You issue a fax, inch
the preset folder, you will find additional
you can install the preset. So normally you probably have
this folder slightly empty. So I'm going to give you one of the packs that I have for free. So that contains
30 shake presets. So to install it,
you need to simply open actually rightly
on presets here. Import presets and then double click on the file
that I just sent you, right? And then you will see the
folder appearing here. And the way it works
is dog you simply select the number of
transition that we need. So as you can see,
there are 30 there are many variations of the
same type of transition. As you can see, there
is many sub types here. And as you can see, each one has the same number
twice in and out. So as you and yes,
we need should drag out to the first clip because we're going out
of the first clip, right? And then we're going
into the second clip, it means that we should drag in one of the ends
into the second clip. So let's choose
this one type for the in for example,
tubulint plus rotate. In 22 in, drag it into the
second clip. All right. And you will notice
that the clip now has something has effects busy
by this icon changing. So if I go back, you see
that this returns blank. So that means that now,
again, we have anything. So let's go forward. Alright. Okay? So now, in theory,
we should have a transition from
this as we exit, and then one as we go into
this, right? So let's see. Wo You see what happened? That's it. Alright. So, so because fundamentally, what happens is that
we're combining this. Right? Boom plus this. Alright. And so you can see
this presets, for example, goes automatically at the end of the clip or at the beginning,
the new clip, right? So you can set these things
up in premiere or use again, just preexisting
presets like this. And using making cool
transitions then become as easy as
dragging these presets. In case you want to try out
different ones just go back with Control Z until
this returns blank, and then you can try
different combinations. So again, for example, 18 out this time for
the first clip. And then for the
second one, let's try four te in like this. Okay? Let's see. Woo. You know, so so that's well, welcome to the
presets world, right? So as you as you can find online so many packs of transitions
that have this format. So you can just install
those in the presets folder, and that way, you
can apply those on your specific items
in the timeline.
19. Full Captions Workflow: Yeah. Alright, so it's time to learn how to
use captions, right? So first of all, let's drag
in this amazing video, which is a take of a
longer video, right? And here, fundamentally,
I repeat the same thing. So we need to kind of
filter out the bad takes. And also, I have a bad
recording with a camera, so I have a second recording recorded with a good
mic at the same time. So first of all, let's
place this on a timeline. Okay. And as you can see, you have the bad
recording, let me show you. It's very roomy, right. Sometimes, you do
everything the right way. Okay, so first of all, let's synchronize this with
a good recording, alright? So let's put this in the
middle of the timeline like this and drag in the good
recording like this, and just put it below and then
right click on everything. Synchronize and then simply
audio audio track channel, select this, and
then simply confirm. This will automatically
synchronize Pooh. The bad track with
a good one, right? And at this point, we can
simply delete the bad audio. So right click link and
delete the bad one, then simply trim
the good audio with a clip and then link them together so they
become one thing. Link. Alright? Okay, so now we have bad the good audio
linked and synchronized. Yeah, so ties, you
did everything the right way. Alright,
way better, right? Okay, so at this
point, we need to, first of all, recognize
the words of the video. To do that, you need to
go to the text panel. If you don't see
it, trigger it from here, Window and text. Okay? And then simply
go to transcript. Premiere will detect
automatically all the clips in your timeline. In this case, we have only
one, as you can see here, and we simply recognize the
words, first of all, right? So just click Transcript. The first time you will use
this will take some time, maybe 30 minutes, maybe 1 hour, depending on how fast your Internet is
because it's going to download the AI model to
recognize this stuff. Then the second time on, as you can see it is going
to be super fast. And yeah, then here, we're going to have the full transcript
already recognized. So this is a what I'm
saying in the video, right? And as I play, as you can see, there is a little
highlight show. You do everything right way. So ties. You see
what is happening? So the pauses are also indicated by these
three dots, right? So those are the pauses
where I stop talking. Alright? So times. You do everything the right way. You can also determine what is interpreted as a
pause by going to the three dots here and then
go to view options here. And then reduce this
slider longer or shorter. So as you can see, if obviously the minimum
pause length is higher, it's going to
detect less pauses, right here, as you can see,
they are decreasing, right? So in this case, I want you
to be as fast as possible. So let me decrease the slider
all the way to the left, minimum, like this confirmed. And you can jump at any
point of the video. As you can see, when
I click on any word, they will automatically
jump with a playhead at the exact spot of the
video. It's amazing, right? And also, I can select ranges of words by selecting the script
itself like this, right? So it's going to automatically select that part of
the video, right? And obviously, I can copy only that segment by really
pressing Control, see? And then I can paste it
elsewhere, like this. So I go here and I paste. So now we just extracted
that section of the video where it says those words that I selected in the script, right? So this is called text based
editing. It's crazy, right? So before we do anything else, let's remove for
sure, the pauses. We don't need the pauses. So let's go back
at the beginning. Here, select the clip, and then simply go
here on the filter. Well, let's highlight
all passes, and then click Lead and
then lead all. Alright? Happened. So right now, let me show you
before and after, we're already saved
all the time, right? So now we start to remove all
the useless pauses, right? So let's go here. Let's see Now the video should be ery already
a little more smoother. Sometimes, you did
everything the right way. Sometimes, maybe you think that maybe you think that you did everything
the right way. Right. But for some
reason that you don't see, you didn't
close the deal. So it becomes already
easier to remove the things that are clearly
wrong in the video, right? So first, all these things at the beginning probably
we can remove Sometimes, you did everything in the
right way because they are kind of incomplete
sentences, right? We can remove all these
things like this. Let me remove this, okay? So we're working with
this clip now, right? So let's suppose
that don't you find a better alternative
for these words, which is probably even worse. Which is probably even worse. We can really type that here, which is probably even worse. And it's gonna tell
us, Okay, right now, you said that four times in
the entire video, right? So it means that we have
four versions of this. So we can really jump
to each version. So the first one is the
one we have in the clip. Let's go to the next one
here, and we can watch it. Which is probably even worse. Right? That's version
two. Let's do a cut here. Okay. And then let's
go to the next one. Three, right? It's lily going there with display,
so I can simply play back. Which is probably even worse. That's version three. And then let's go
to the fourth one. Which is probably even worse. Okay, maybe number two is
my favorite. Let's see. Which is probably even worse. Alright, so for example, it's
suppose that won't choose. At that point, just cut it. You can cut it
from here or there again by selecting
this like this, right? So you select the script
and then Control X, right? So it kind of removes
it from there. And then just paste it. Just go back to the first one here. And here I can simply
paste. You see what it did? It inserted the new one
on top of it, right? So we remain fully in sync
fundamentally fully like, which is probably even worse. You see what happened?
And then just remove any debris that
remain like this. And this is fundamentally
how text bat editing works. So you can simply jump back and forth on any part of the clip. Copy and paste,
multiple parts, remove. So you can remove parts that are needed by simply
navigating the script, simply delete it
as if you delete a word from a document
file. That's it. Alright, so and
then at this point, let's actually make
it even tighter. So as you can see,
this micropase didn't get detected
because it's too fast. So they just manually close it. Like this right, fully like, which is probably even worse.
Okay, let's see the flow. You didn't move this micropas.
You didn't close the deal. Also, this here's
Let's go slowly here. Let's do a cut. This
spot Ant. One here? Let's just in a way you
don't's a little faster. You didn't close the
deal. Okay, here as well? Or you You didn't
close the deal, or you closed it in a way
that you don't fully like, which is probably even worse. Okay, Ant let's add a slight
pause here for timing. Maybe it's better
to add a couple of frames here
between these words. Like, which is
probably even worse. Alright, so at this point,
let's actually add some fade, so we select everything on Link, and just shift D, and we automatically apply our default crossfit that
already shows you the chapter. Alright, so at this
point, we are ready to create the actual
captions, right? Before you do that, do
a favor to yourself. Double check the proof
reading of your text. So just go back to the
clip that you selected for the final cut and then simply double check
everything is spelled correctly. So double click here, you know, double check everything is
spelled. The right way, right? And only then you can proceed to generate
those captions, right? So we simply go
here on captions. In case you do the transcription
with another software, you can simply import the caption file from the
outside if necessary. In this case, since we generated this transcript
from within Premiere, we simply proceed with
creating the captions straight lets and in
case you want faster, one word per caption, simply reduce the
length like this to minimum and enable
single mode here. These are the things that
trigger that behavior. Or in case you
want longer lines, increase the length like this, experiment with
wherever you like more, you know, I this case, we want a very fast one word per character, like this right. And yeah, so I'm going to show you later
what the sounds do, and simply just confirm, create Okay, wait
a couple seconds. Alright, now we see
these weird things at the top of the project. Let's just snap everything
to the beginning. Alright. You didn't
close the deal or you closed it in a way that
you don't fully like, which is probably You see
what is happening, full. So now we have exactly one word. Per object. Let's go
here at the beginning. You didn't close the deal or you closed it in a way that
you don't fully like, which is probably even worse. Alright, you totally
close the deal. As you can see, the
timings perfect. The only thing that is off right now is the style of
the text, right? So we need to create
our own style, okay? So you can use pre made styles by
downloading those online, wherever you go to
YouTube videos, whatever. I'm going
to show you later. Or you can generate
your own by selecting all the captions
objects like this and then go to the
properties here. And then here you
can choose we can create our own
first style, right? So first of all,
let's make it bigger, alright? We chose our font. In, yeah, let's use the size, and then just choose
whatever aspect you want of the text. As you can see,
there's full freedom. You can center it the way you
want. Let's keep it there. Ins then let's
make a background. Let's make this maybe black. Let's round, customize every single aspect of
the text that you want, you know, there's full freedom. Kayla's added some shadow,
as well, like this. Then at that point, when
you designed your style, you can save it, so
you can reuse it later quickly when you generate the
captions themselves, right? So let's save this
at style four. Like Okay. And check on this usually is
why you have these both on, and at that point,
you can simply toggle between all your styles. You know, Let's make
a second style, just to make a test. Let's suppose that we want to have a second
choice, you know, for a smaller style like this, and then you can
toggle, obviously, at any time, between
these two, right? At this point, you
have a choice. You can simply stick with this. If you simply need
static captions, that's already what
you need. You know. That's a deal or you closed it in a way that you
don't fully like, which is probably even worse. Alright, and you
can change the size of specific words if you
want by going like this, you know, like this,
you know, that's it. In case you want to animate
the captions, right? We need should escalate this. So to do that, we
need to go here, select all the caption
objects and then go choose graphics and
then upgrade, right? Boom. Okay, so at this point, we can delete the
captions track here. Right, so far, nothing changed. We simply have
still our caption. Close the deal or you lose it around that
you don't fully like, which is probably so now we need to simply
animate one of them, and then we apply the animation to every single older word. That's the way it works, okay? So let's go to the
first word here. Let's make a loop here. Okay, I'm going to make a
loop just for the first word. All the words at
this point can still be edited by double
clicking like this. As you can see in
the properties, we can still edit the words, wherever we want, okay? So now we actually
create one animation. So here we have two choices. You can make it manually, right, in case you need custom
styles, very specific things. You can simply go to your effect controls
at that point and apply wherever animation you
desire for that word, right? As it was a simple
object that I already showed you in the
other chapters, right? You simply centre it
like this, you know, change the anchor point
in case you want this to maybe scale in a specific way or morph into
something else, right? So you can apply
animation to this. Let me just do it quickly,
you know, so let's go here. Let's suppose that we want
this to scale simply 0-100, you know, like this, right? And then we make it
easy. Alright, okay. So and then you can simply and then we work as you simply copy. Just select a single word where you apply your
custom animation, copy, and then select
all the other ones. Simply just select
all the other ones. And then Ri Click got
any of them and paste attributes and then
simply confirm, you know, that will
automatically synchronize. You didn't close the D O S what happened closed it in a way
that you don't fully like, which is probably even
worse. See what's happening. You didn't So that's
the quick way to create your own animation and then apply it on all your
captions at once, right? So now let's go
slide more advanced. So we can use pre made more advanced presets
for animations, alright? So I'm going to
give you right now a mini pack that is fantastic. Okay? So let me show
you how to install it. We go to aft and then go through presets here and Richlikimport. And then double click on the
file that I just sent you, and it will make a new folder appear called fin tax presets. Okay, so let me show
you how it works. So just go back to when there was no animation.
Didn't close the deal. So right now, there
is no text yet. So at this point,
to use the presets, the way it works
is that you simply select all the text as once, Lcus and then you drag one of
these into the text layers. So for example, let's
use stretch length, co and release it. And then let's go
at the beginning. Let's see what's happening. You didn't close
the deal, or you close them in a way that
you don't fully like, which is probably even worse. Alright, that's it. You know? And then, in case you
want to try on at once, you can control Z again, try a different one, like,
for example, rotate. Make sure you you
can obviously apply to specific words or to
all of them at once. Let's go with all of
them, in this case. Alright, didn't close the seal or you close it.
You know, whatever. And I didn't tell you
that you can also stack multiple effects and change the style
for specific words. For example, let's supose
the second part of the word, you want these to use
the second style, right? So when you make a
style in premiere, you can simply go to
the project and see and see if we have the styles
that we created here, and you can simply
drag the first one, the one that has
the words bigger. Drag it issue the selected
tax layers like this. Oh, and it will automatically. In a way why you don't fully like without screwing
up the animations, you know, which is
probably even worse. And let's suppose
they want you to add a different additional animation
on these bigger words. Well, we can go here.
Fox, let's use the skew, for example, drag all
on those like those. And let's see what exactly like, which is probably even
worse. Oof, right? That's or you closed it in a way that you
don't fully like, which is probably even worse. Suppose that okay,
when I say which probably it's
probably even worse. Let's say that for these words, I want you return small. So I simply go back here. Use the Style five,
drag to those, and they were transma. That's it. The animation stays
intact. Alright, it's see. You didn't close the deal or you closed it in a way that
you don't fully like, which is probably even worse. Alright, oh. You
don't close the deal? Alright, in a way that
you don't fully like, which is probably even worse. I mean, what do you
want more than this? Finally, in case all of
this is very scary or you don't have time to build your own custom
animations for captions, you need to install one
of these extensions. So you can install submachine, which is fantastic is the
option that gives you the highest flexibility because in case you also know
how to use After effats, you can customize
these templates and create your crazy
systems, alright? For example, I know
a guy that made one preset that build um, captions from the
bottom to the top, right, which is crazy, right? And you can make those things
with this plug in here or you can just use one of the templates they
already give you. They are fantastic,
very versatile. You know, you see what
is happening here. And yeah, so that's the thing. Or you can go with Captioneer. Captioner does exactly
the same things, maybe with slightly
fewer options or flexibility,
let's say, you know? And these are the two
options for for premiere, you know, captioner
or submachine. My recommendation is
to use submachine.
20. Stabilization Methods: Alright, so to stabilize
footage and in premiere, you have two major approaches. The first is to simply drag in effect called Werb stabilizer
here, this guy here. So before we do that, let's watch the clip without
stabilization. Let's actually loop only the
first part of the video. Like those hour let's
actually trim it. Okay, I just watch this part
of the video. Enable loop. Yeah, so let's see
what's happening. Okay, so this is without
stabilization right now, okay? So now let's apply
the web stabilizer, so just drag it
in into the clip. We'll then analyze the clip. And this process takes usually 10 seconds,
you know, 5 seconds. Alright. Okay, let's
see what is happening. Poof. Alright. So now it's stabilized. So I see in D, there
is no much anymore, too much shake on the grass,
you know, let me show you. This was before. See that this area here is way more
controlled, you know? Let me just return to stabilize. You know, I just return to be
kind of kind of attempt to make the movement to become a smooth motion fundamentally. That's what this effect does. And the only cost of
this is that I will sacrifice slightly the
borders of the screen, so it will kind of
zoom in a little bit. And it may introduce some slight artifacts
on the borders, you know, here, here and here. I kind of form
slightly the footage. So in case the
artifacts are too high, you can go to the
effect controls and reduce the smoothness level,
you know, maybe to half, like this 25, and
you can also go here to advanced and you can
enable detailed analysis. Disabled fast analysis. And finally, you can do a trade off between
let me show you. You have this slider here. So crock less versus
smooth more, right? So, in this case, since
we have some artifacts, maybe we can increase
the smoothness. 70% smoothness. Let's see. Alright, way better.
So now the tree behind doesn't change too
much compared to before. Alright. In case you can change, again, the degree
this even more 12. So find the sweet spot.
This depends highly on your content on how
much movement there is. So just play around
with these things. But in most cases, you just need to apply
this automatically and just choose the level
of smoothness from here. You know, this kind of
fundamentally the amount, the overall amount of
work that we will do. And in case you need to
escalate the situation because the smoothness
by this is not enough. We need to use After efats. So we go to the clip actus
and right click on the clip. Replace with Apafax. This will transfer the
clip obviously in Apafax. And once we're here, we need to apply one effect called mocha. So we apply this effect
here into the clip. So drag it into the
clip like this. Okay. And then make sure that
you are in quality, full quality here, enabled. Alright. So after that, simply go to the
logo here, mocha. And this will transfer
us to the software, so so with a couple of seconds. Okay, so this is
how it looks like. So here we need to first simply apply a simple mask
around the area where we need to kind of lock the
footage on so we can make a big mask around
this area here. We need to keep this area
kind of locked in, like this. Alright, so just click a click and then close the mask
with the right click. Okay. And then finally
press this button here with the S.
Like this double hat that rectangle is at the
center of the focus area, you know, so just in
this case, we need to lock on around this
area like this, disable everything
except translation. So just everything like this
and increase pixels to 99%. Okay? And finally, simply
just do track forward. So just press this button
here and we'll track forward. Cream after the full
video is tracked, we can simply close
this weird window, so we close it, save. And here, finally, we
can simply click on tracking data and
then create data. Confirm, and then inert
and finally, go here, just click Transform and then change the layer X
for to the layer itself, so layer one in this case,
and then simply apply. Alright, so now in theory
should be stabilized more. So let's see what is happening. All right. Okay, so it's way
more stable, but obviously, we need to sacrifice a
little bit more footage, so we need to simply
create a null object. So we simply right click
down here, New null object. We call it controller, and then we connect the video the clip to the controller with the
cable here, parent connect. And finally, scale
the controller up using S, as you can see here, we can see the scale and
then scale it up until we don't see the black
bars anymore, like this. Okay, let's see
what is happening. Just double check that it
doesn't go out anymore. So as you can see, we need a little more scale
here at the beginning, so we scale this
up a little more. Alright, let's see
what is happening. Now should be fully
stabilized more, even better than premiere. That's the point. So let's see what is
happening this way. Pooh, hin. That's even more stable now. He,
that's the point. So as you can see, there are
two levels of stabilization. So you can stay in
premiere if it's enough. In case you need to escalate, you need to go with Aperfax.
21. Auto Reframe: Alright, so let's
suppose that we have this video here is a
horizontal composition, and we need to make a vertical
version of this, right? So we did our edit, everything is done, right? So when that happens, you don't need to become crazy. Simply use this feature, select anywhere
in your sequence. Then click on sequence. And then auto reframe sequence. This is the guy we need
because then you can simply select your new
aspect ratio that you want. So in this case,
it's going to be a YouTube video going to IG, so it's going to become
vertical, right, or square. In this case, vertical. And we simply choose how
much motion there is. In this case, what they're doing the video is kind of ready fast. So let's select faster motion. And then just select
Ded Nast clips. Usually it is the best option. And then simply, let's
call this vertical crop. And then simply confirm, wait a couple seconds. And now when I will play the
timeline, let me show you. Whoa. You see what's happening? I stay in frame automatically. So, fundamentally,
premiere automatically tracked myself and stabilized, docked on the footage
to keep me in frame, even if normally
in the original, I move all the way
around, right? If you remember, I
just move like this, you know, left,
right, left, right? So this then becomes
automatically this, right? Otherwise, we would have had
to do this manually, right? So with key frames, position, losing all the
time, instead, boom, boom.
22. Auto Edit On The Beat: Alright, so let me
show you a feature or premiere that is
very interesting. Fundamentally, sometimes, especially if you
work on a radio, I need to make edits very
fast on time with the music. One of the most amazing
techniques is called auto edit. So fundamentally, you have a music track. Let me show you. Auto. Alright, let's suppose
that we want you to place some stock footage on time with the beats
of a song, right? Let me show you the
clips I'm going to use. I have so many clips here. You can download these from this amazing website I'm
going to show you here. So that's an amazing
way you have free materials to practice
fundamentally, right? So we're going to integrate these in some kind
of random order. It doesn't really matter,
but it matters that they need to be on time with
the music, right? Do that. We don't need to get
crazy, you know, arranging those like
this one by one. Instead, we can simply listen to music and press on time with
the beats, first of all. Alright, so I'm gonna press while listening to
the beats. Let's go. Watch. Alright. Okay, so
you see what is happening? While I was listening to music, I was pressing on time. This is called tap tempo. Now, as you can see, obviously, the markers are evenly spaced in time because
that's how music works. It's math in the end.
So let's see how we can insert all the clips automatically on time with every one of these
markers, right? So we can simply jump
back at the beginning, and let's go to the
project window. And then we simply
select all our clips, so we can simply lily
select everything, Control A, and let me just deselect the song
and the timeline. Alright, so now I just selected all the clips
I have all at once. As you can see. And then
all we need to do is to press this weird button
here and just press it. This button here. And then this is called
Automatu sequence. Alright. So and then
simply copy my settings. So, in this case, we need to insert these
clips to the markers. You can insert the
clips in the order of selection or the
storing order, right? In this case, let's go with the selection order.
Doesn't matter. And finally, let's
make sure that they actually overwrite
the edit exactly, because if we do insert edit, it will kind of make a hole in the song. We don't need that. We actually want overwrite. Okay? And finally, in this case, in case you use images,
we can play with this with the length of
each still image. In this case, there
are videos so let's use in route range. And finally, we need
to ignore the audio in case any of these clips has accidentally
some audio, right? So let's ignore that. And
finally, let's execute this. Whoo. You see what happens? Every one of these clips now is perfectly on time with music, right? So let me show you. Ooh. Alright. You see how amazing it is. So let's do a step back. Let me show you a couple
of additional things. First of all, it's
possible to trim the clips already
from this view. So you even need
to double click on the clips and open those
and the source view. I mean, if you like
doing that this way, you can still do it
for like this, right? But the cool thing about this
technique is that you can also trim clips from
the thumbnail view. So if you click this and you see the thumbnails
of all the clips, you can simply take your time to simply hover each
clip with your mouse. As you can see, you can scrub
through the clip, right? And then if you press I and Oh, you can already trim the clip. So for example,
okay, I want you to use this clip from here, so I press I until here. Oh, I and O. That's it. So you can just do this very quickly on every
clip like this, right? So so yeah, just so this obviously before doing
the auto edit, right? That way, when you
press finally this, it will actually use
the in and out points that you pre selected
on each clip, right? And then one trick you randomize the order these
clips is to either, well, you can just attempt to select
these randomly, right? Like, pick these in random order in case you
make sort selection. Or if you want to use the actual sort order
here, the sort order. You can randomize
it by doing this. You go to the list view here, and then you change
the sorting method. You know, you can use, for
example, media duration, and that will kind of
order the clips in a weird way that you cannot
predict too much, right? So in only then, you can then select
all the clips and then use the
auto insertion here. Okay, so the second use of this technique is for
storytelling situations. Alright, so let's just listen this sequence,
first of all. Well, yo, I'm about to. We spent so much
the first time Dig L. But now it's all over. There's only one thing to do. You know what it
is, wife? Be right. Okay, so we have some kind of
cathartic sequence, right? There is a voice telling
this here, right? And then we have a music
increasing the intensity, and then we have
some kick drums, you know, ready that
I just prepositioned. For for us, you play some
quick editing of something, right, quick editing
of clips, right? So she she kind of remind some specific scenes
of flashbacks, right? So when we use this technique, you play markers in sync
with these mini cuts, right, with this soundfft here. Right? So we can simply
go, first of all, on each of these mini cuts
and just press M. One, two, three, four,
five, six, right? So we're going to do
six clips, right? So instead of manually
selecting the clips, if it kind of doesn't
matter too much the order of the clips, you can simply go to your
clips selection, right? Here. And for example, let's just select six randomly. So for example, the maybe just ones that show
the face quick closer. One, two, three, What else? Four, five and six. Alright, so we have six clips. Okay. Remember just one thing. When you make the auto edit
insertion of multiple clips, it will take account of where you are in the timeline
with the playhead. So if we are here before
inserting these clips, it will kind of ignore
these markers, right? So it means that when
you place, the play hadfe those markers. So here, and now it will work. So if we go here, and
now everything is ready, so we simply insert and confirm. Now they should be exactly. Wow. You see what happened? So one, two, three, four, five, and then obviously the
six is gonna be longer. And let's just
fill this gap here and start out these clips
on a different lane, and then we can place simply
a first footage here. So it's going to be interrupted by these quick flashes, right? Something like this is very
simple, that's very slow. So let's just fill the
frame with everything. Right, click Fill
frame automatically. Alright. Okay. So
let's try. Let's see. We, um, I remember about you. We spent so much
first time Digo. Right? So, and that's it. And then from here, you can
start to you can simply integrate some transitions
for every single clip. But the point is that
this technique can also work with non
musical things.
23. Double Speed Editing: Hey, I. Sometimes you
may feel the need to play back your timeline
faster than normal, right? So you can actually check faster if there's an error in your video in
your edit, right? Or simply edit faster in
the first place, right? So normally, when you
press the spacebar, it will just play
a normal speed, where you know it? Let's see. Right? But let's suppose
that you already edited this or you want to playback
faster, right? So to do that, you can simply press L. So when you press L, it will double the speed of playback. Let's
see. I that's true. Right? So that way
you can listen at double speed and quickly just scan through
the content, right? So you can easily find
errors, wherever, right? So, obviously, the way it
works is that you play, you just start playing
and then press L, and then simply
stop the space bar, so it will return
automatically a normal speed. Just stop and it'll
just return normal. So let's pose out here, I found the need to do a
cut. So do a cut here. And then I just continue. Okay, for example, here,
I said, Okay, here, let's do another cut, right? And then continue. Right, so double speed. And the more times you press
L, the faster it becomes. So almost reaches the point
where it becomes useless. But just in case, if you press multiple times, it will become super
fast, like times four. Four, eight, so obviously becomes so fast that
it becomes useless. So it can become
useful in case you're searching for a specific
visual cue, right? That's and the use
of this, right? So you can also go backwards
in case you press J, but it's kind of more niche. But in case. So L back. So imagine this as if you have kind of a magic wheel that allows you to rotate and control the speed of playback
of the timeline without changing the speed
of the actual clip, right? If times two is too
much of an increment, you can go 10% at a time by just pressing Shift L.
So if I play back and then I press Shift L.
Now it's going 10% faster. Then if I press. Every time
you 10% faster, right? See what's happening? So it
goes 10% faster every time I press Shift L. So that's
my personal preference. I like to increase the
speed maybe to 1.5, 1.3, not to faster than normal. That way I can still fully
understand what is happening, and I still get the advantage of editing fundamentally
on average faster. So that's the point. This
is called shuttle playback.
24. Make Your Custom Mogrts: Step. Alright, so the only way to be able to create custom Mogers is to be
able to use Afterefat, which is the source
program that is able to export Custom Mbar
for premiere, right? This means that if you're
not able to do this, you need to skip
this class for now or just stop this course, go to my other course about
Afrofax so you become confident with that
and then come back here so you can actually watch
this class finally, right? If you're able to use Affrax, just stick around or we're
going to continue with this, otherwise, just go
to the next class. Alright, so three, two, one. Mbars are fundamentally
after effects templates that you can use
for premiere, alright? So to create one, simply go in Aftereft, design your animation,
or wherever. So in this case, for
example, let me show you have a wiggling shape. The scales in and then goes out. So we can use it to then make a placeholder where
we can just drag in our image in premiere
and we'll apply this animation to whatever
element we want, right. So after you prepare your
animation with key frames, expressions, first of all, you need to trim the composition
to the desired length. So in this case, this animation ends pretty
much here at 4 seconds. So let's go there with
the work area and we trim the work area,
right, trim here. This way, this is
the length that will appear in our facts when we drag this into
the timeline, right? Otherwise, it will be
unnecessarily long, right? So after you do
that, save, okay? And then let me show you. First of all, we need to
design the interface. For how it will look
like in premiere. So to do that, we go to Window and then
essential graphics here. And here we can drag
in the things that I want to see in premiere. So first of all, let's
select the composition. It's called Main, okay? And let's also make a thumbnail
so we know what it is. We set poster time, and
then we give it a name. So let's call this scale
in scale scale in one. Okay? And then we simply drag in the parameters that we want to
regulate from premiere. So for example, we have a simple multiplicator for
all the wiggles at once. So this is very simple. So double click on
the property that you want to use in
Premiere, double click, and we'll show it
down here and then simply drag it from here
to the interface here. Okay? And then here we
can just rename it. So, for example, wiggle let's simplify it
even more as a name. Wiggle, simple, like this. All right. And so this number by
default is going to be one, but we can also constrain the maximum range
of this slider, as you can see, for
example, it's going to be 1-10 max, okay? We need to precompose. We need to precompose
this shape layer, right? So we control shift seam,
precompose it here. And we call this container. Again, just leave
all and confirm. Okay, everything's still
working, still fine. And simply at that point, drag the composition into
the interface like this. Alright? So that way in
premiere, we would just drag in our stuff here. Let's also disable
the default shape at this point, height. And yeah, and that should
be pretty much ready to go. These two things are enough. Let's keep those at the top. So you kind of design some
kind of mini template, yeah, you know, second
tea is very fun. And finally, we're ready. So we just export it
from here, export. And at this point,
you have two choices. If you need to send
this to people, you need to export it
as in the local drive. So you will just place
the actual file into that position in the folder and send that file to people,
the mogart, right? If you need to synchronize
straight to your premiere, simply choose the first option,
local templates, alright? And then don't use
anything else, just keep everything disabled,
and then just confirm. Okay, wait a couple seconds, then Let's go and
premiere. Let's see. So in premiere, you
just initially go to the Essential
Graphics window here. If you may in some
premiere versions, you may show this as
a different name, but fundamentally it's just
here. You know, find it. EccentralGraphics.
And let me show you. Now if we go to the list of
templates, we should see it. Let's see. Let's scroll
down. Scale scale. It's called scale. Who,
here's scale and one. Alright. So and then you use it, simply drag it into
your timeline here. And then you access the editing. Just click it here. You can trim it as if it
was a video like this, trim it, select, and
see what happens? When I click it, it will show the option that we designed
in Afro fax, right? So I can choose
the wiggle amount, and I can drag in now
any image I want. So let me just drag. Maybe one of these videos should be fine. So let's drag one
of these videos itself into this container.
See what happens? Just drag in like this. Boom. Alright. And then you can scale it in
case it's stretch, design it, tweak the
scaling from here, and seems fine for now. Then let's go back
to the timeline. Let's give the
time shoot update. Poof. That's it. So it's using my custom element, and then doing
exactly the animation that I designed in
Arterfax, right? And obviously, I can choose
now the wiggle amount. So don't be misled by the fact that here you see
on the integer numbers. As you see it only looks
like it's jumping 0-1, but actually you can still
use floating numbers. So if you input 0.1, it will still update, Alright. As you can see, it's still
even though here is zero, the element is still
shaking because it's actually doing 0.1. You
see that it's moving? Al. And yeah, so you
can control the amount. You can make a crazier
wiggle or more subtle. Let's make crazier,
for example, here. And obviously, now it will
be out of control, yeah. So let's go maybe
a little lower 2%. And finally, let's
suppose you need to import Mogert back into Apefat because you want to reverse
and engineer those or study or just edit those
in a more advanced way. Well, in that case, you need
to be in Afrofat obviously, and go to file and then
go to open project, and then simply go to the file
where you have the mogart. So in this case, I just
export the die here, scale in one mogart. Double click the file.
And it will unpack it. It will tell you, Okay, where
do you want to save it? Okay, extract here. And, we have the
actual source project ready you should go for our
customization at this point, as you can see it looks exactly like the one that we created. As you can see
everything is there. And I can then do a custom version of D Mogart in a more advanced way. Alright?
25. Dynamic Link With After Effects: Alright, so I already
showed you that you transfer something in
refrax from premiere. You simply need to trim the element that you need
to treat in trafrax. So in this case, for example, let's suppose that this
was a video and we want to treat this from here to
here in Arafraxthow here, and then simply right click and replace it with
frat composition. We already know this, right?
And this will automatically transfer the clip
or the image here, and then here we can treat
it in whatever way we want. This is not a Afrofx course, but just to show you that here, then you can do crazy stuff. You can make stuff move
right in special ways, special animations that
otherwise would be completely impossible or very hard
to achieve in premiere, you know, so we can make
this thing rotate like this. And then all of the t is synchronized already
with my premiere. So as soon as I go here, here, as you can see
the clip changed color, and now has the animations that I'm doing in Aprofex.
You see what's happening? So that's how easy the two
softwares communicate. It's just a straight
connection, you know? There's no need to export
the BB It's amazing. This is called Dynamic Link. Alright? So, the second way
to communicate with Aftereffx is to import Aftereffects
projects straight into here. So, which is fundamentally
the same thing. So let's suppose that
this was not there. So suppose that I actually
worked already here natively, you know, in Apropax, right? So I was doing here something. Let me make some
crazier animation here. For example, let's make
this wiggle, like this. Arnt nunc a little
crazier, right? And then let's
suppose, Okay, we want this to be available
in premiere. Well, in that case,
we can simply go in premiere here in
the project panel. And I can simply drag in the actual after effects
file project. Straight hint you here
as if it was a video. So at this point, I simply
do that. So I double click. I go to the folder,
and here I can simply just import
the project file, the AEP file like this. So confirm, double click. And now it will tell me, Okay, which composition do
you want to import? Obviously, there is only one, so just double click.
And that's it. So now here, I have
one element that I can just drag it into straight
into my main timeline, and fundamentally, guess what? Is going to be exactly
the same thing as if we simply used
replaced with Afrofax. But there are cases where
you may need to do this, you know, especially
for a template, right? Poof. That's it. And the coolest thing
is that all of this, again, is still
synchronized with Apraefx. So if I do any changes to that
project file, for example, if I simply disable
this weird wiggle, now, whoo. You still have it? It will it's still connected
to that project file, right? So, so, so these are the two main ways you
communicate with Apfats. Obviously, if you
don't use Afrofax, you don't need to know this, but if you do, instead, you will understand the
importance of this trick.
26. Best Export Settings: Alright, so when your
video is complete, obviously, you
need to export it. Alright? So I'm going to
give you multiple options. First, the laziest
option possible. You simply select
everything in your project. So Control A, and
then right look anywhere here in the time
bar, Mark selection. Alright, and then just
click on Export here. Wait a couple seconds and then just give a
name to your file. So for example, export one, choose the location where
this is going to go, and then don't change
absolutely anything. So just make sure
that you see here, Matt ore adaptive high bid rate, wherever here, and
simply confirm. So here, just press export and it will export
the file for us. Alright? Ooh, that's
the first option. Then let's touch you go
a little more advance. For example, let's suppose that you want you up control on the actual file
size of the export. In that case, in open
the video button here and then scroll
all the way down more. And stall even more until you
see this nice slider here. So this allows you to increase the quality of the final
MP four fundamentally. So as you and see
the highest is 50, you may see different settings
in your specific premiere. But usually, anything
that is above 25, some should be
unnoticeable, you know. So if you want to
make sure that it preserves the highest
quality possible, just crank this up
to at least 50, maybe even 100, you know. And most importantly, you can determine the final
size here so you can see the actual final size right now is going to
be 160 8 megabytes. Alright? So you can control the
size specifically. Thank you to this slider here. You see that it's becoming
smaller. Alright. Okay. And then finally here, these are kind of more dirty things,
but fundamentally, CBR is going to grant you a faster export but
slightly bigger file. VBR is going to do the opposite. So if you have time,
use VBR to pass. Otherwise, just CBR, you know. And yeah, just crank these up completely 50 50 in that
case. And that's it. So this case, let's stay with
CBR and that will be fine. The export will be still
pretty fast, let's see. Yep, took a couple seconds less. Alright. And finally, in case
you want to preserve the last last quality instead because maybe you initial
return into another software, so you're still not
done with this export. You need to use the MOV format. So we go again, to export, and we change the
container to QuickTime. So we go here format and change the container
to QuickTime first of all, and then make sure do here on
Karak you select animation. Don't be scared by the name. Even though it's
called animation, it's a lstless compression it's completely versatile
for everything. So just select animation. And this is going
to be exporting the biggest lastless
file fund mat, you know. So here we call this
asless one ants. Just press export. Again,
don't change anything else. In that case, you can upscale the material if you need to do that by just unchecking
this guy here, frame size. And you can give it a custom
size in case you need to upscale it or downscale
the video to a specific size. Same from the frame
rate, you can reduce it. Obviously, if you
increase the frame rate, it will not magically
create more frames. But you can go down
and de, right? Okay, so in this
case, let's keep it as is and confirm export. Let's see. And so now we're going to do
a final comparison of the size of the files. Okay, so as you can
see export one, which was the one at about ten k kilobytes per
second is 30 megabytes big. The second export was obviously
way higher bit, right? In fact, it's way bigger, but still pretty contained
170 2 megabytes. And the last list format, obviously is the
big file, right? So full quality,
but obviously makes a way bigger file 2
gigabytes, right? So for YouTube import or for IG, try to use MP four. In case you want to preserve
full quality, you can do it. You can import in theory
MOV files in YouTube, it will be able to
encode it correctly. But make sure that's
kind of risky, you know, So trach always
stay with MP four. If you want to preserve the
highest quality ads possible, you can try to use h65, which is a new dec. So you can go here. You
select h65 instead. So let's go back to here. We see here. So
format Hoxix five. And this fundamentally gives you a higher quality preservation
per the same size, fundamentally, which
is crazy, right? So you can then
click match source and then just crank
the slider up, obviously, so just crank
this up as much as possible. And never use the slowest here. Use the higher. Otherwise it will take too long to export. And finally, one trick for YouTube is to upscale
the video slightly. So even though the
video is 1080 by 1080, if you upload a slightly
bigger video than normal. So for example, 144, zero, it will kind of mislead
YouTube to create a higher quality ten ADP
version of the video, right? So do always this trick
if you can, alright? And then just export. And finally, let's
suppose that you continue editing while the
program exports, right? So to do that, we need to have Media Encoder instald, right? In that case, you simply
click. Just for the exports. So this software called
Media Encoder allows you to simply export the video while keeping premiere
free to work, right? So you can simply the
change the settings again here in case you need to double
check these. You go here. For example, let's go
back to the slider. Let's see if we can
crank this up even more. Okay, 20 is the max, in
this case, and that's it. You know, we can
simply export here. And while this export, we can return in
premiere so we can work. You know? That's the
point. That's the point. Finally, if you wonder if
there is a way to have a MP four that still preserves the highest quality as possible, the answer is yes, but that will require slightly
more nerdy solution. We need to install a
specialized encoder called Wood Coder for Windows
or handbrake for MAC. Alright? So they are exactly
the same software fundatry. So you simply open
it and drag in the MOV version of the
export first, drag it here. And then it just needs to
click this gear icon here. And then simply
copy my settings, so let me just give you my
preset for YouTube blslsEpot. So you here a container, just set MKV, and then go here, make sure that these settings are exactly the
same on your side, make sure that the
input and output match. Let's give it some upscaling by increasing the
resolution here, right? Exactly. And then we
go to video filters. They need to be all off. And then here, just copy
exactly my settings, right? H two, 65, same source. Crack this to the
left, collect this, enable grain, and this needs to be on this
exact position. And finally type here,
hyphen hyphen lstless. This is the trick for the ultimate lstless
compression, right? And finally, just
go here to audio and crank this up
with flack format, which means that
even the audio will not be compressed,
which is crazy, right? So just enable this flat 24, and compression just
increase to max. Compression is just
the final size. It's not the loss
in quality, right? And finally, you simply close. This weird window from here, top right, and simply confirm. So just press encode. In this now we'll probably
create a MP four that is the biggest than the all ones that we created because
actually, it's MKB file. So it's a very special
format that Asa should useless MP four compression plus lossless and audio
at the same time. So, which is the reason
why this trick works only for ultimate
YouTube compression. So you cannot do this. You cannot import MKV file
in IG or TikTok, right? So this is for YouTube. And yeah, as you can see, is, um 800 megabyte final file. It's crazy, right?
As you can see, it's the biggest than all the compressed versions of
the X four that we did, but it's still
significantly smaller than the pure MOV format, right? So, so these are this is kind of an optional
thing in case you want to have the true lossless compression option
for AB four, you know?
27. Share / Archive a Project: Let's suppose that you
finish a big project, and now you need to
kind of archive it or send that to a
collaborator, right? So you need to make
sure that the folder is as small as possible while also containing all
the files that are necessary for the project
to open correctly, right? So to usually.in short, you need to simply click anywhere in your
project timeline. So in this case,
here, and then click on File Project Manager. And then here, we can simply
select all the sequences of the project that we need to
include in the final export. In this case, I want you
to include everything, you know, all the sequences
of this project like this. Alright? You can
calculate how big the final folder will
be of this project. As you can see, it says
3.9 gigabytes, right? And make sure that these check boxes are all
checked on like me, you know? So because, for example, if we disable exclude
unused clips, the final size is
going to increase, right? You see what's happening. Now it's going to
be 6 gigabytes, because it's going
to include things that I also didn't use. Right? There are cases where
you may need to include those unused clips because maybe the project is still
work in progress, right? But if instead, it's just a final version of the project and just
tie archive it, right, you may need to enable
this on, right? Like this. In my case, I use this
feature mostly to do the final archival
of my projects, or in general, I
prefer this to be on, you know, then it's
as easy as this. So then you simply select
the destination of the final folder and then
simply ask for it like this. A second D is pretty
fast, you know, simply fundamentally
copying all the files coming from different
places all in one place. So that way, you will have a single project file that opens standalone
fundamentally. So whenever you need to send
the project to older people, you will be 100% sure
that they will not have any missing file error. That's the purpose of this
or simply to optimize the size before
the final archival of a project that is complete, you know? So, okay, that's it. So and then obviously,
here we have now simply a single
folder that is about 4 gigabytes big
and contains simply, all the medias and one
single project file. Let me show you. So we have all the medias that have been
included in the project. Don't touch anything,
and we have a single project
file that will be just opened and it will give
zero missing file errors. Alright? That's the
point of all this.
28. Proxy : I sub. Proxies are a lighter
version of your files. The fundamental allow
you to work when you faster and only
then at the very end, you reenable the full
quality file, and that's it. So fundamentally they simplify your life by making everything
a little faster, right? So to create proxies, you should right click
on the problematic clip. First of all, so
here, right click. Then scroll all the way down and click on Reveal and Project. Okay. Then simply right click again on the clip you
will see high it here. And then proxy and
create proxies. Alright? So you will see this
weird window open. You need to select
P four, so h64. And then low resolution proxy. That's the cheapest,
fastest proxy. So the lower it is, the higher the speed gain will
be fundamentally. Alright, so in this case,
we want the cheapest, fastest one. So we click Low resolution. And finally, simply confirm. So make sure that make sure that the proxies are created
in a local drive. This is a general
rule. All your medias normally should be in
your local fastest drive. Don't use USB cables. Don't use external drives. Use the fastest drive, which is usually
internally, right? So usually your local drive
for everything. That's it. So just confirm wait
a couple seconds. Okay. So at this point, we can recognize the
fact that this clip has a proxy by the fact that if
we go to the thumbnail view, we now see additional icon here. So as you can see
now it's turned off. So to enable the proxy, you simply need to
enable new button here. So click Plus in
the program view, and just drag this to the set. So now we have this new
button, the proxy toggle. And this now is
simply the toggle. So we can enable the
proxy by enabling this. So as you can see
now is enabled, and now we're using the
lighter version of the file. So let's go here,
and as you can see, we can see the double
confirmation from this icon here. And now we have a faster, we have a hybrid higher
speed than the project. That's it, you know? That's it. And in case you're
still having issues, try to decrease the preview
quality to one fourth, 18, even lower, right? In case you still have issues, go to sequence settings and then decrease the preview quality
to this format here, change the format
video previews it needs to be on IFrame only here, and then change the resolution
to 720, even lower. You know, half your normal
resolution fundamentally, right? So, and then confirm. Yeah. And in theory, after all of this, you should start to experience some
speed gain, you know? And finally, when you're
ready for the export, remember to disable the toggles because they do not disable
automatically, right? So when you're done
with your project, simply toggle this
off, and that's it. It will automatically
use, again, the full quality version
of all your files.
29. Project Retrocompatibility: Suppose there is a premiere project file that has been saved with premiere 2030
or 2035, you know? But you need to open it with
older version of premiere, maybe premiere 2024
or 2019, right? So to achieve that, you simply need to import
your newer version of premiere project file into this amazing tool
here. Let me show you. This guy here is called Premiere Pro downgrader
and it will give you back a Premiere Pro file project that can be opened to older
version of premiere. So again, if you
have a newer version of premiere, and
for some reason, if you open it from
older premiere, you can do it with this
tool here. Alright?
30. Where To Find Templates / Plugins: If you need specific
templates that allow you to achieve very
cool aesthetics with simply placeholders where you simply drag in PNGs or videos inside nested sequences or change the text of text layers, you can use motony.com. This is the paid
option fundamentally. So here, same as subscribe, and then you can doload
all these cool things. Here, you can search
what we want. You know, if you do
something for socials, you just search like
reals like this, for example, there is literally everything
you may imagine, you know, in this
website, alright? Alternative to motion
ray.com is gum Road. So here you can find,
again, paid templates, but they are
significantly cheaper, and they are just with a one
time purchase option, right? And you can also
find free stuff. So here, Motion Ray Li doesn't
have almost nothing free. But here, Gum Road instead has an amazing catalog
of free stuff. So if you just set up
maximum price zero, we can find free stuff. And many of these
things are pretty cool. You know, you can find
presets, effects, templates. You know, you can load more, and there are so many
things, you know. So remember, motion array and Gum Road are two
amazing resources to find template projects or
effect presets or mogers. Alright? Then if you really want to go a little
more advanced, you can go to aescrips.com and go into the
Premiere Pro category, and fundamentally here, you can install special plugins, right? You probably remember
that we dedicated a class about premiere
composer, right? A plugin looks like that. You know, they are additional
windows that you can install into your premiere to simplify your wgflow, you know? And there are things
for everything. You know, there are things for animation,
automation, right? So you can explore this here to find where it
may inspire you. Or if you want some
accommodations, you can go, for
example, with this. You know, this one of
the most useful ones. It's called Drag Zoom Pro. So this fundamentally
allows you Zoom in Zoom out into your projects very easily without
using keyframes. You simply have additional
interface, as you can see. And downloads you
should move in, move out without key
vans fametc, right? N also supports motion, which is very, very important. You see what is happening here? So this plugin is very cool. Finally, gives you a very
big podcast, for example, and you need to
automate the automation of specific ranges of
markers in a specific way. You may like this a lot. So this is called
automation blocks. So this plugin allows you
to automate the actions in your redundant actions in
your timeline by simply using a object based
programming language, right? So, you don't need to learn
any programming language. You simply use these objects
select and you tell it, Okay, just export from this
market to this marker, then do this, then do this. You can completely automate a routine that normally
may take hours, right? So for some people, this may
be a lifesaver, as well. If you want to maximize
your captions, quality, use this plug
in here, submachine. This is the ultimate way to achieve ultimate
captions in your videos, you know, so if you
do social things. Can definitely
install this plug in, right? So this is amazing. There are so many options, and also these can
be customized. Obviously, all these
things I showed you have either a membership option or a single time purchase,
which is amazing, right? And most of these things
have also a trial you can try install right
off the bat and see if that makes sense for you. Alright, in case you make
a podcast sooner or later, you may need to try this out. It's called autopod, right? So this plugin I fundamentally use the separate audio tracks of your speakers to seamlessly switch between the video tracks of your speakers themselves. Right? So you just switch
Speaker one, Speaker s, Speaker three, or
just a general view. If you have fourth, fifth camera, it will
do just do it for you. So definitely check out this plugin in case you
allow podcast, right?
31. Full Audio Setup & Record: Premiere has a very
powerful audio engine. So you can record mix and process audio within the
software, if you can, right? Let's set it up to do that. First of all, make
sure that you can see the mixer on the right of
the program where we want. So the mixer looks like this, allows you to enable effects on the audio
tracks like this. And on the very right,
there is always an additional slider for the master, right? We
already know that. If you don't see it
on your premiere, make sure you trigger
it from here, Window, and then click on the third Audio
Track Mixer option. Just ignore this, never open. These, these are
completely useless. Open the third one,
and that's it. Alright? That's going to be
the mixer of this timeline. Alright? Okay. So after that, let's set up the
track that we're going to record VoiceOver
or we're going to sing on. We can do what we want. We can play sound effects,
music tracks. Regardless of that,
we need to do this. So create new tracks
in case you need more lanes by right
clicking here and then add track or tracks like this
tracks and make sure that, in this case, you
create a mono track because we're going to
record voice, right? So we need to create the zero beatle tracks and
actually one audio track. And let's place it at
the top automatically. And make sure that
it's gonna be Mono. The main choices for main
people are simply standard, which means stereo,
left and right, or Mono track, which
fundamentally has one channel. In this case, we
can go with Mono. So let's go Mono because
we need to record a voice. Usually to record voice, you need only one mic, right? Finally, just keep everything
zero, zero, and only one. Alright, just to confirm, Okay, so now we're going to work
with this track here. Okay? So if you don't see this
meter here on your track, you need to enable it by right clicking anywhere
in the track like this and then go to customize and just add this
button here, the meter. Alright? So just add it to the set in your case, like this. Okay, so then let's name this track so
we know what it is. Let's call it voice
one. Okay, very simple. First of all, we need to
tell this track that we are going to record the signal
coming from our mic, right? So to do that, just
right click once more on the track and then go to
Voice Over record settings. And then simply select your physical input that
is available in your case. So if you don't have
any external mics, you're probably going to
see at least one option, which is going to be
your webcam mic, right? So, or if you have a audio
card, a professional card, and then you have one
of those big mics or you have a USB mic, those options are going
to appear here, for sure. You know, Those are
the physical inputs. In case they don't appear here, you should probably
install the driver to make the system recognize
you're mic, right? So that depends on
you. Eventually, you will see the physical
input available here. In this case, I'm going
to use studio mic. In my case, this one here. Okay. And then you can
have confirmation by the fact that when you talk, it's gonna react in real time
here on the meter, right? So that's the confirmation
that we're ready. Alright? So, okay, so
then simply confirm. Okay. And now let's do a
test recording, right? So we press simply the button. And it's ready recording. As you can see, automatically
starts to play, and it's ready recording. So I can do well I want. Okay, let's see. Alright,
that's it. So let's see. I can do well I want. All right. Okay. So, and that's it. So then you can simply start to edit to your truck, right? In case you want some kind of pre count before the
recording to start, you can simply
enable it from here. Right, click, go back to
the voice record settings and enable the pre roll timer. So you can do, like, three, two, one, and then you
know that you need to start talking, right? So in my case, I like this to start immediately,
so I don't use it. But if you like it, just
enable that and it will give you a pre timer
on the video view. Let me show you. Right,
three, two, one. R. Let's see. Okay, you
know, very simple. On the mixer, we can see
the corresponding channel moving as well, so
that's a good sign. So we can start to
regulate the volume, for example, like this, right? We can start to also pan it
in case the voice should be specifically on one of the two channels, left or
right. Let me show you. Right? So you can hear it. Let's just look this
track like this. So we loop it with
Mark selection, and let's loop let's
loop from here. Loop playback. In case you have the loop playback,
add it from the set. You know, it's simply a button
that Los this button here. So, in case you have
the loop, make sure that you add it to the
set like this, alright? Okay, the same. So right now, the voice is only on the left. Now we can move it.
Double click here to make it go back
to the centre. Okay. So by default, premiere
kind of place back the input of your mic back to your earphones while
you record, right? That's called live
monitoring, right? Sometimes you don't need premiere to do
that because maybe your mic does already a live
monitoring natively, right? So, in case you need to
disable the live monitoring, just go here, edit
preferences, audio. And then I simply check this on mute input during timeline
recording, right? So in this case, I have
this on because my card already plays back
the input signal in my headphones, right? So I need you this I don't need a live
monitoring of premiere. You know? Before we
continue with more things, let's understand a very
fundamental difference, the difference between a Mono
track and a stereo track. So Mono track has a
single channel here. As you can see, has one big
lane like this of audio. Whereas a stereo
track, as you can see, the track below here is a
stereo track has two lanes, left and right. You see here. In fact, if I move the clip, which is a mono signal, if I move it down here
on the stereo track, right now, it will
kind of play normally. As you can see,
still a mono track, it still has one
signal at the center, but is going through two lanes. So that's called dual mono. And this comes with
some big advantages later. I'm going
to show you why. Actually, the big trick
is going to be to record a mono track on a
mono track first, but then shifting everything
to a stereo track, even though this signal is mono, because that's going to create better reverb effects, right? At this point, you
may think, Okay, why not recording natively
on a stereo track, then? Well, in theory, you can, but only if you understand
what you're doing. So if I record a mono
signal to a stdio track, it's going to do something
that may be a little annoying. Let me show you. One, two, three, four, five, six, seven, eight, Okay, you see
what's happening? We just recorded the tracks. Boy, as you can see, it's
only on one channel, only on the left.
Let me show you. One, two, three, four,
five, six, seven, eight. It's completely
panned on the left, because this is a modus signal. And since we have two lanes, fundamentally goes by default only on one of those,
which is very annoying. When you become more advanced, this doesn't really
matter because you already know
that at that point, you can simply right
click on this track here. And then we go to audio
channels and simply make sure that both have
the same check box. So as you can see, the signal right now is on
the left channel. So we simply tell
the right channel to have the same
signal as the left, like those check
check, left, left. And obviously, now, it's going to mirror the
signal on both. So we just converted
this track to be a simple dual mono clip. One, two, three, four,
five, six, seven, eight. A set now, it sounds
like as we as if we just moved the natively mono track
into a stereo track, right? So this is just to make you aware of
all the possibilities. But if you want the
simplest solution for now, just record natively on a mono track and only
then shift through a stereo track
unless your mic is natively dual mono or stereo. For example, I have right now a second microphone
coming from the camera, which has indeed, a dual mono
signal from the mic, right? So that means that
you can simply change the input in the stereo
track at that point. Like this, right? And we
change our webcame like this. And as you can see now is engaging both
channels. Who, right? So in these cases,
if you have that, you win everything because
you can simply record natively on a Sero track. But obviously, you may lose
quality of recording, right? This microphone is not
my best microphone, but it kind of allows
us to skip one step. In fact, I can do this now. The thing? Wow. You
see what's happening? We have natively occupying both channels on a serio
track. In fact, you can see. Mm hm. But you and see the
mike is more roomy, right? Now you're really aware of all the possibilities to fix the recording
part of premiere.
32. Full Audio Repair & Processing: Now that we know how to record, let's see how we can improve the quality of our recordings. Alright? So, let's go
with this. Let's go. Let's drag in a track that already has a problematic audio. So this trick is valid also for things that you record within premiere,
obviously, this guy. Let's suppose that we
have a problematic recording from the camera. Maybe it's too Romy, okay. Before we proceed, remember
that you need to ignore. You need to always use stereo
track for playback, okay? So as you can see, this track accidentally plays the
audio on the Mono track. Right? But this is just for recording, if you
remember, right? So, make sure that the
audio of this track actually goes on a stereo
track. Okay, like this. Okay. So and then let's see, first of all, let's listen
to the problematic track. So we're going to mark the mark selection
around the track and enable the loop so
we can listen this. Literally clearer
and more controlled. I don't know how to
fully describe that, but right off the gate, I feel that it's
more controlled, compared to the Irish one. Literally. Okay,
so as you can see, we have a bunch of issues, okay? So let's see how
we can improve it. First of all, make
sure that you can see the essential sound tap. So, click on Window. Then go to essential sound here. Okay? This may have a
slightly different name, but I'm pretty sure
that's going to have essential in
the name, okay? So let's go here. And we dock this new window on the very right of
the program, okay? So let's make some space. Alright. So first of all, click on the click that we need to treat. So click this guy. And we're going to see a bunch of options available, okay? So let's scroll all the way up, I'm going to guide you
completely one by one. So first of all, enhanced speech is one of the coolest ones. Fundamentally, it regenerates
the audio using AI, and that comes with some
advantages and disadvantages. The advantage is
that I is able to eliminate the
roominess completely. The disadvantage
is that I may make the voice too robotic if
we increase it too march. Fortunately, we can choose
the amount, starting 0-100%. First of all, let's
enable this enhance. Okay, with a couple seconds. And then we're gonna
have a slider here. So we're going to
start with very low, maybe 20%. Let's see. Let's also loop a low part of the audio so we can
notice this more issuing. Let's go from here.
Outside tube here. And then enable the loop in case you don't have a
loop enable it from here? How to fully describe that. But I don't know how to. Okay, 20%. Let's see 50%
fully describe that. But I don't know how to fully describe that,
see what is happening? It's very changing to fully
describe that. Let's go 75. But I don't know how to
fully describe that, but I don't know how to
fully describe that. And finally, wondered.
I don't know how to fully describe that, but I don't know how to
fully describe that. As you can see the reverb
is completely gone. Woo. What you can see the
voice is becoming too Robotic. Literally clear. What control. Completely unusable,
completely destroyed. Why? So 100% is highly not recommended if you want to keep the
audio professional. Maybe you stay around 50 or
four or lower than that. That's my personal
recommendation. So let's go, in this case, maybe around 40% seems to be
doing a good job. Let's see. I don't know how to
fully describe it. Alright, you know,
right off the gate. I feel that if you put in told, compared to the ivory set
you make it too robotic. So clearer. Let's
keep it around 40%. So we can reduce the roominess while keeping the natural
property of the boys. Okay, Luke. We're
going to reduce the rear in all the ways. Okay, so that's
the first passage. Then let's go to the next
one, which is the loudness. So enable the loudness module, and just click on Automatch. This will simply
take care of it. It will kind of optimize the
volume of the track already. So let's just press this
button, and that's it. Okay. Then let's go
to the next module, which is the reaper button. So here, fundamentally, you
have a series of mini effects to restore the clean
audio gradually, right? So, how many of these you need depends on how problematic
the audio itself is. So in this case, it's
pretty problematic. So we're gonna probably use
all these a little bit. So let's go with the denoising
first by taking this. And let's go gradually increasing this to show
you what is happening? I don't know how to
fully describe that, but right off the gate, I feel that it's
more controlled, compared to the resi one. See what this is doing,
it's kind of reducing the microphone
bear noise, right? So the typical right
dance is going away. But if you increases
too much, again, it may make some artifacts
visible, audible, right? So let's keep it maybe medium. Literally clearer
and more controlled. I don't know how to
fully describe that, but right off the gate, I feel that it's
more controlled. Okay, since this is good enough. And then let's reduce
also the rumble. There's not too much
rumble in this case, but let's keep a little
bit of this. Maybe 10%. Compared to the or one, okay? No. Same for the D hum. There is no static noise sound. Let's not use this. And finally, dasing is very important. You will always need some dasing on the recordings, right? So let's enable this, and it will kind of
reduce the sibilant sound which are very annoying
for the audio. So let's blast this to the max. This is very important instead. Really clearer and
more controlled. I don't know how to
fully describe that, but right off the gate,
I don't feel that. So this fundamentally
takes account, reduces the volume only for
the sibilant consonants, you know, the Ss, the F, the you know, or wherever else. Or the C, as well. That's also very problematic. Okay, then we have
the D reverb module. So let's enable this to kill even more the roominess.
So let's see. It's more controlled. What happened to be
blasted more controlled. Okay, as you can see,
if this is too high, it will eliminate
the voice too much. So let's reduce it until we find the sweet spotter
to the Irish O. Literally clearer
and more controlled. I don't know how to
fully describe that, but right off the gate, I feel that it's
more controlled, compared to the IrisonO. Literally clearer
and more controlled. I don't know how to
Okay, in this case, we can say around
15%, not too much. Okay, and finally,
let's enable clarity. So this fundamentally it makes the reduces the jumps from low volume to
high volume, right? So if you have a recording
that jumps too much between low intense voice
and high intensity voice, this is kind of kind of flatten the dynamic range of the voice, which is usually a good thing. It makes it kind of feel like a radio voice, very constant. Let's use a little bit of
this maybe 50% like that. But right off the gate, I feel that it's more, if you increase too much,
it makes it too punchy. So let's simply maybe
50%. Controlled. Compared to the Irish.
Maybe a little bit. Clearer. More controlled. I don't know how
it hot. And then we start to equalize the voice. So the spectrum
of the audio goes from low frequencies to
high frequencies, right? So the low frequencies are like High frequencies are right? So we're going to fundamentally
use one of the presets, so you need to get crazy
with this search enable EQ, and then use one of the presets. Fundamentally, there's
one for podcast. So let's go here. Vocal prestens or podcast voice
usually are very good. So let's use this. And
just use the amount of this to increase or decrease
those equalization. Usually, 40% is good. You describe that, but
right off the gate, I feel that it's more control. This helps the voice
cut through the mix in case you have multiple tracks going on at the
same time, right? If you have sound effects, music, this is going
to be very important. And finally, let's here. We have some additional modules. Vocal Hanser is fundamentally, in this case, for
the equalization. We don't really need
too much of this. Let's not use it.
We can actually add a generated reverb
on purpose, right? Because maybe sometimes
after all these processes, the voice becomes too dry. So paradoxically, make
sound more natural if we add a fake reverb after
everything, right on purpose. So let's actually use
a little bit of this. Compared to the ivory? What, not too much.
In this case, there is already the issue in the first place was the
fact that it's roomy. So let's actually use
just maybe 10% of this Oly clearer and
more controlled. I don't know how to
fully describe that, but right off the gate, I feel that it's
more controlled. Okay. So in this case, if we want to keep the natural
properties of the voice, this is as good as we can get. Because as soon as we increase
the resynthesis too much, it will become robotic. Compared to the region. Clearer. Let's compare it to the original so we can see
how much we improved. So we double click
on the source, and we simply drag the audio
only like this, alright? Okay. And, you know, let's create also a double
track so add track. Okay. Let's keep a cheer below. Alright. Okay, so
let's call this. Let's rename this
track enhanced, and the one below is
gonna be the original. So the yellow one is the
process at one, okay? Let's watch. Let's listen to
these carefully one by one. Right off the gate. I feel that it's more controlled.
Right off the gate. I feel that it's
more controlled. It's more controlled. It's more controlled. You can see the original is
definitely way more roomy and it kind of it kind of feels a little
more distant, right? So thanks to the
treatments here, we kind of record the
voice a little bit, right? We kind of make it more close
to the listener, right? Right off the git. I feel that. It's more controlled. In theory, yeah, we can completely eliminate
the roominess, but then again, becomes
inatural. Right off the git. I feel that. It's
more controlled. Right off the gait. I feel that. It's more controlled. That's obviously a kind
of subjective thing. You may think that actually
this is still very good. So in case, yeah, you can do it. Sometimes there's miracles. But this kind of a limit case. The performance of
this depends highly on how bad the initial
recording was.
33. Ultimate Repair Method (Advanced): It. So at this
point, if you want, I can show you are even more advanced way should recover a bad recording
quality voice. But this is gonna be
slightly more advanced. So if you are advanced, definitely watch
this, otherwise, skip this part, okay? So, let me just show you. First of all, we need to
install a program called UVR. So I'm going to leave you
the link right now here. So just install it on Windows
or Mac, where, right? And then just open that
program. So let's open that. Okay. And when you see that, you need to go to
VR Architecture and click on the
models list, okay? We're going to download
this model here, D eco D reverb. Alright? So in this case, I already have this
and download it. But in your case, you need to click here, download more models
and then go to VR, open the list, scroll
all the way down, and you will see the option
available for you, right? So you will see in your case, the echo reverb or
something, the reverb. And then simply download here. Alright, you will
see a confirmation when the download is
complete, like this. See the slider increasing. So download the D reverb model, and that will become
available from here, right? So in this case, we
select the model here, and you simply drag in the problematic audio or video
recording straight here. As you can see you
drag in MP four already with a problematic
recording, right? And simply select the
output folder, right? So right now I'm talking about the original audio recording, not the one that we
just processed, right? So the most problematic
version of the audio already? Okay, at that point, if you have a GP on your computer, definitely
check this on. So that will take just
a couple seconds. Otherwise, it will
take slightly longer. Increase window size
to 1024 and then check no reverb li and then increase the
aggression to 50, okay? At that point, we can simply process this audio recording. So we just start processing. Wait a couple seconds. Whoo. Okay, son.
So at this point, let's create a new
tracking premiere. We're going to call this UVR. Okay, so now let's drag in the one that we just process it. So, fundamentally, this software allows you to completely remove just the roomy sound without
resynttizing your voice. That's the important
part, compared to the enhanced speech because
this will actually use AI to also fundamentally make AI talk instead
of you, right? Whereas this method allows us to use AI to remove
only the roomy part, but then keep your
original voice, the human voice intact. Okay? That's the point.
So now we're gonna listen the one without
reverb only, okay? Right off the gate. I feel
that it's more controlled. Right off the gate. I feel
that it's more control. Let's listen to the original. Right off the gate, I feel
that it's more controlled. Oh, my gosh. You
see how bad it was. And also, let's
listen to the one processed by premiere.
Right off the gate. I feel that it's more
controlled right off the gate. I feel that now listen everything
in order. The original. Right off the gate.
I feel that it's more controlled premiere.
Right off the gate. I feel that it's
more controlled. UVR Right off the gate. I feel that It's
more controlled. You see how clean it is. So
that's the true way to have a truly clean voice completely restored with the
weird artifacts that AI resynthesis does, okay? Obviously, that way, we need way less
processing, you know? So we can simply go to the
central sound for this. Here. And first of all, we don't need a speech, right? Because already it's
so good that we don't need to involve AI,
right? So we don't use it. So we simply go here. Maybe we just
increase definitely use the day that's gonna be
still important off the gate. I feel that. Okay,
it's more controlled. What else? Then we can maybe use just a little
bit of denoising, just a little bit, but
it's already gone, right? Right off the gate. I feel that it's more controlled.
Right off the gate. What else? Then reverb obviously is Dre so
we don't need this. You know, D reverb has
already gone, right? Maybe increase the
loudness, for sure. Feel that it's more controlled. Right off the gate. I feel that it's more
It's crazy, right? Because this is still my
original performance, the original voice
of a human being, right? And then we
simply go here. Let's increase the
spectrum. Cut off the gate. I feel that it's
more controlled. Cut off the gate, I feel
that it's more controlled. What else? And then finally,
actually, in this case, since actually became too dry, we insert a fake reverb
on purpose, okay? So to do that, we
simply go here, reverb on and just use a
little bit of this, let's see? Cut off the gate. I feel
that it's more controlled. You know, so we just need
to choose the reverb, for example, warm rum
tridus right off the gate. I feel that it's
more controlled. Cut off the gate. I
feel that it's more. So it kind of opens the
voice a little bit, right to make it sound more
natural, right in the end. Kind of collocates the sound on the real environment
and just and that's it. You know, that's the
bigtor for us, you know? Me controlled. Cut off the gate. I feel that it's
more controlled. So that's the way to have the ultimate restoration
for audio, right? And at that point,
you can simply delete all these weird things
or disable, though, so we can simply like disable like those we're
gonna use only this, right? And that's it. That's right off the gate. I feel that it's
more controlled. In all your audio projects, remember to place a nice
limiter on our master track. So on the very right here, plays a nice limiter here. So go to amplitude and
then hard limiter. Always, one of these needs
to be on your master track. That way, it will kind of prevent distortion. You know,
you just need to know that. Remember just this. If
you're more advanced, you're, you know, what
this does in detail. If you're not, just play a limiter in all your
project master track, one here, and that's
it. And that's it. So then right off the gate. Now, everything's
going to be safe. I feel that it's
more controlled. Let me show you one
of the most mind blowing features of premiere. You can natively use not only internal effects
on the mixer like this, but you can install external plugins that you
normally use in kind of professional production
of music programs like DAWs like QBs or ProTools, FL Studio, Ableton Live. You can ally install VSDs, and Premiere becomes
aware of those. To do that, simply install
your VSDs on your system, first of all, or place the DLL. Format files on a folder, and then go to your
edit preferences audio and then go to
manage audio plug ins. And here you can simply choose the folders that contain
the plugin files, right? In this case, I already placed
these two amazing plugins here and just scan the
folder, and that's it. Simply confirm and premiere becomes aware of those plugins. So let me show you two free word plugins that you need to
absolutely have. Okay? So one is called OTT. Fundamentally is all
around compressor increases the loudness of
a voice like crazy, okay? So to make it sound very kind
of more punchy, you know? So simply go here on the voice track
channel, in this case. I feel that. Like this. In this case, let's
disable the reverb on the essential sound
because we're going to use reverb
separately later. So we go here essential sound, click back on Auro Clip. Throw all the way down and
disable the reaver for now. Okay. It's more. Okay, let's go
back to the mixer. Controlled. Care off the gate. So let's go to the first channel here to the first insert slot. BSD Effect. And then you're going to see if you install this correctly, you will see this
option available. So Xfer Records and OTT. We can also control the
knob from here quickly, so click on the knob and
just increase it. Listen. It's more controlled.
Care of the gate. I feel that it's
more controlled. Care of the gate. I feel
that it's more controlled. Okay, so the advantage
of this plugin is that I quickly make the voice
more punchy and bright, but as you can see brings up some weird additional
noise, right? So to remove that
residual weird noise, we can simply use a plugin
that takes care of that automatically without
introducing any artifact. Okay? So we're going to use the second plug in that I'm
gonna send you right now. Okay? That's the
second one. So install that plugin in a
folder where we want. Make sure that premiere the text that the same way
you did for OTT. And finally, just go here. And add it the second
effect after the OTT, where you're here via C
effect, and we have this here. Were in and use the
stereo version. Obviously, even if your
track is just a voice, use always the stereo one. Okay? And see what it does? Now, let me just show you
what it does without that. Cut off the gate. I feel
that it's more controlled. So we have the
additional noise, right? Let's see what happens if we have simply this
plug in after that. Right off the gate. I feel that it's more controlled.
Alright, Head of the gate. I feel that it's
more controlled. Head of the gate. I feel
that it's more controlled. Alright, so the additional
noise now is gone, okay? So simply use one of these
and in case it's problematic, disable it or use less
OTT compression here. And that's it, you know. But usually, this is a
very good thing, you know, to remove specifically the
noise of our recording, right? So if you are close to a fan, right, this will automatically
remove it, okay? And finally, the last
issue of all of this is that obviously the
recording is to dry. There is no room. So
we need to introduce a fake ambient to make
it more natural, right? So the most natural
reverb of premiere is not the one that we used in the essential sound down here, but it's actually in the mixer. So we go here, and
after all these things, we use a so called
convolution reverb. So you go here,
reverb convolution. This is fundamentally
a real reverb of a real room in
real life, okay? So the other reverbs
that we use so far are just a algorithm called
reverb, right simulation. And then let's right click edit. We're going to use
the interface here. So first of all, let's
select a preset. Okay, for example, let's
try distance source. I feel that it's more control. Okay, it's too much, right? So let's then choose a impulse. So this chooses
specifically the real room that we want to use. Okay, let's just place
it in a living room. Okay? What about
that? And finally, just choose the amount of this from the mixed slider here, slider, alright? So let's see. Put off the gate. I feel
that it's more controlled. Put off the gate. I feel
that it's more control. And also let's reduce
the room size. Controlled. Pair of the gate, I feel that it's
more controlled. Beat of the gate, I feel
that it's more controlled. Bet of the gate, I feel
that it's more controlled. Pair of the gate, I feel
that it's more controlled. Okay, so just play
around these things. Obviously, you don't need
to use those at all costs. I'm just giving you the
most amount of ideas, you know, to maximize the quality with the least
steps possible, right? Right off the gate. I feel
that it's more controlled. Considering that we
started from this, let's see how bad
the original was. Right off the gate. I feel
that it's more controlled. Cat off the gate. I feel
that it's more controlled. That's definitely
a good job, right? Considering that we started from that bad recording, right?
34. Ducking: Alright, so docking is the ability to
reduce the volume of the music automatically only
when the voice talks, right? So this is
fundamentally a way to increase the intelligibility
of the voice itself. So it's very easy to use. First of all, drag in the
voice track on your project, and then we have the music
track just below it here. So and then we need to open
the essential sound tab here. So, in case you don't
see this, go to window and essential
sound, and that's it. Okay? So first of all, make sure that every clip
is tagged correctly. By default, premiere does
it automatically for you. So as you can see,
already recognized the fact that this is
a voice track here, and this is the music track. In case you see the wrong tags, you can assign those correctly
by selecting the clip. Go the very top, clear tag, and then select manual the ones. In this case, this is music,
so it's going to be music. Okay, and then let's first
of all, listen the issue. So right now, the
music is going to be maybe too high. Let's see. I ever thing about you. We spent so much Soni gar. You see, what issue
we're dealing with. So right now, the music
is so high that kind of cobert kind of masks
the voice a little bit, and we cannot fully read what the voice
is telling us, okay? So to fix this, we can do it by simply decreasing the
volume of the music. Okay, obviously, that's one
way, so just let this, right? I'm about to we spent so much
getting the guy. Then we. Okay, yeah, that's one solution. But let's suppose that you want to keep it a little higher. So you want to keep the
music on average higher and all you decrease the music
only when the voice talks. So that requires
the docking, okay? So let's see how we can do it. Let's go to the central
sound and make sure that you select the music clip
here, this guy here. Let's give it a different color. All right. Okay, so we
select the music here. And then scroll all the way down to the central
sound features, and you will see this docking. Okay, so enable it. And then we need to
just make sure that it docks against the dialogue
here, in this case, right? So the dialog
fundamentally is going to decrease the
volume of this track. So that's why we select
dialogue in this case. And then we just need
to tweak sensitivity. So, on average, you need to keep it probably a little
lower around here. And then let's go here. The doc amount is
going to determine how much the volume is going to
decrease when the voice stas. So let's not decrease too
much. Maybe like this. -12, let's use that. And the phage duration
should be a little lower, so it's going to be a
little more reactive, maybe around 200 milliseconds. And that's it. So then just click Generate. Ooh. You see what's happened? So now only when
the voice talks, it's going to decrease
the volume of the music. As you can see, there's an
issue with the sensitivity. Right now, it's not
detecting one on one, only the times when
the voice is talking. You see that it's not
corresponding perfectly. So it means that we need to
regulate the sensitivity. Let's go back here
to the sensitivity, and let's just make
it a little high. Okay, and then
simply regenerate. Mm. Alright. Now is definitely way more precise.
See what is happening. And let's increase the
amount of docking here. So it just becomes
apparent for now, like this -24. Regenerate? Okay, yeah, let's see. Mayo, I'm about to. We spent so beautiful
time together, didn't we? You see what is happening?
Now is obviously compressing too much
the voice, right? So let's decrease the amount. So maybe -12, minus eight. So is gonna be a more subtle and also slow down a little bit. It's right let's see. Good. Oh, yeah. I remember about you. We spent so much good for
Stan Diga, didn't we? Oh. Okay, yeah, that's good. And also, let's
decrease it even more, maybe minus six, regenerate. Oh, yeah. I remember about two. We spent so much good
for standiga. Only. Woof Okay, so fundamentally, it's gonna do this
for us automatically. So that's the
point. And usually, you don't need to decrease
the volume too much. Otherwise, it may feel like
a radio and not a story. So to keep it more subtle, play with minus six as an
amount, you know, around that. You minus seven, minus nine. But that's kind of
the range where it's gonna deliver some docking
without being too apparent.
35. Loop Music Automatically: Sooner or later, you will have to deal with
the issue of having a too short music track against a too long
talking track, okay? So to top that,
you have two ways. The manual way was you
duplicate the music like this, like this, and then
cross fading each copy, hoping to align the
beats perfectly, right? So that is kind of
advanced method, and you can only do it if you really know
what you're doing. If you want a more
automatic method, simply use the Remix
tool in premiere. So you go here on the
Ripple dditTol and you click LT until you see
the music symbol like this. Alright. So when you see this, you simply extend your track
to your desired length. So when you go about 2 minutes long, let's do it.
Just extend it. Lets. It will
automatically create perfectly aligned beat loops to make the track feel
longer. That's it. So let's see how seamless the transition is.
Here. Let's see. Is to make this music more integrated into
the environment. Maybe let's add a
nice convolution here. All right. Let's see. A So you see how seamless is the transition of every micro loop
into the music. It's completely unnoticeable. That's the miracle that this
tool is able to do, okay? And that way, we can cover
a longer span of time. As you can see, in this
case, we went from 26 seconds all the way
to almost 2 minutes. This tool works also
the other direction. Allows you to shrink a track by keeping it perfectly
online with the beats. So just shrink it like this
and skip it a couple seconds. And obviously, this
case is even better because we have for the AI, it's easier to align by removing stuff that was already present instead of creating
more stuff, right? So, in this case, you should be completely
perfect, let's say. Be white. Bu. That's it. That's it.
That's it. Also here. Here. Here whispers. Words closed eyes. Completely unarti.
That's the point.
Eyevenear, Teacher in Audiovisuals, AI, Coding AND Pizza.
