Learn how to Edit Videos | Adobe Premiere Pro CC 2020 | Complete Course

1. Course Promo | What you'll learn: When you are not, Thanks for checking my course on how to make the ultimate pizza. I gotcha. If you're approaching video editing or Premier Pro for the first time, or you simply want to refresh your knowledge about the software, then this is the course for you. Video editing is exciting, challenging, and sometimes it can fix the work of a videographer. Oops, I said it. So it comes with greater responsibilities and rewards. Here we would build together solid foundations of the whole video editing process through Premiere Pro to also get ready for more advanced techniques, rolling action. Ciao, my nickname is malware of being video editing since 2001 and I've built my career as a professional video maker and video editor, working for a decade for companies such as Sony Pictures and MTV, for which I was editing and cutting trailers for movies and television content. I'm now a full-time digital content creator and a huge tuber. And I worked with companies all over the world actually filming and editing a huge and varied amount of videos. If you want to know more about me and my career, then please visit my profile page at the beginning will cover in depth the main features of the software for you to become familiar with the interface. And we'll then move to the basics of the video editing process. We'll learn how to create and organize projects, how to elite, apply effects and transitions, how to mix your audio, how to color correct and color great your videos, how to add captions, how to export your final product in different aspect ratios for the online platforms. And of course, we'll cover also the most useful keyboard shortcuts. It would be a lot of fun as we'll work together on a different project for each section, different kinds of footage, including many dogs, interviews, travel blogs, and sports videos. These will give you the ability to learn different editing styles and also to become very flexible with your workflow. At the end of each chapter, you will also find a quiz and an exercise to complete on your own. But don't worry, because you will find also an exercise review where I complete the exercise myself. So you will be able to double-check your work. Are you ready to challenge yourself and learn a lot of new skills? Hi. 2. Welcome: Zhao and welcome, good to see you here. I knew you would have made the right choice. Thanks for picking my Adobe Premier Pro Course. I'm looking forward to spending the next hours, days and weeks with you through this course. And I'm also looking forward to sharing some of my knowledge about video editing and Adobe Premier Pro, I will teach the course through my personal workflow. Of the workflow I have learned through 15 years of career working in television and the media field, but also want to give a different options so you can choose at the end of the course what best suits you. Also bear in mind that certain subjects and concepts are crossing over. So I might talk about a specific subject in the beginning briefly, and then we'll cover it in depth later on in the course. But in any case, I tried to be as linear as possible so we shouldn't have any problem and you should understand everything clearly. Fingers crossed. If something is not clear anyway, please go to the Q and a section and dropped me a message there and I'll do my best to reply as soon as possible. Also, this course includes some basic knowledge of photography and video making. The first sections will be literally about Premiere Pro, about the software. And then we get finally into the video editing process. I really, really want to give you solid basics of the software first, it might be good to know that I created the course with my Mac. It's a Macintosh, an Apple computer. And some commands on the keyboard are different. So whenever I say comment in terms of key, you wanna press control in your Windows machine. And I also built this course in the most practical way I could. So you can literally use the mouse and follow me along. So don't just listen in your boredom, but just follow every step I take. And I think that's the only way to really learn and practice a lot to learn. Get your mouse ready. We are starting right now. 3. Material Download & Guidelines: Hello, it's now time to download the exciting material that we need for the course and also for the exercises of the course. First of all, you will need 2.5 gigabytes, at least of free disk space in your computer to be able to download the material and work properly on the course. I'm going to guide you through the download process, how you can download the material, where to save it, how to name it. And also I'm going to show you a little bit of the workflows so you can start getting your mind into a, now that you are inside the course, right here, on the right-hand side, you will see your lectures. First of all, let's go down to the projects and resources tab. Down here. I divided the course in 18 different sections. And you can see the name right here recognised by the S R1. So this the first section and then the title of the actual section, which represents the subject we are going to cover in that specific section. So we will have S1, S2, S3, and so on. If we go back to the lectures on the right-hand side of the course, you will see the section number then S, U1, but also the lecture number, another or one. So this will be the first lecture of section one. That would be the second lecture, and so on for the rest of the sections. Now this is actually a more cups, so you will have more lectures then what you can see right here. But that's how the course is divided. Important thing. Let's go back to the project and resources. If you scroll down after the course content, you will see different links. So the first two links, material download part one and part two. These are the links where you can download the material from. So everything that you will need in the course is inside this two files. So to download it, you just need to click on each link. And the download will start, as you can see down here. And you can do the same for download part two. Here we go. Now. I also included some preview videos for the exercises. So for specific sections during the exercise, you will actually be able to see a preview video. And you can see this preview videos in this folder. So you just need to download it by clicking on it again. And there it is. That's the third file. And last but not least, I actually included some shortcuts, at least of keyboard shortcuts that we will cover inside the course. And once again, you want to click on it and the download will start. Now, I show you another couple of things and then I want to show you the actual workflow. And now we are going to work with the folders from Section two. And unfortunately it's not visible right here, but you will find an exercise at the end of this section. Let's take Section four for example. So it's available right now. As you can see here in section four, there's an exercise description and an exercise review. These are two different videos. If I click on the exercise description. This is where I'm going to describe the tasks you need to cover through the exercise. And you will find also lot of titles telling you what you have to do during the exercise. Then if you go to exercise review and once again, all the exercises starts from Section two. In the exercise review, I actually do the exercise myself. And this is a good way for you to double-check your work. So always bear in mind when you are in an exercise to double-check if you actually have a preview video, the one you've just downloaded there. But anyway, I should mention it during the course. Now let's go in Finder and I want to show you how to set up your folders. And I'm going to go in my Downloads folder. And you will see that two files now downloaded. You will also see the name of them. Premier Pro 20-20 beginners course material at 0102. These are zipped files, which means they're being compressed just for the upload purposes. Now we need to open up an abrupt these files and you can double-click on them or select them both. Right-click on it and click on open. Even the Windows users should be able now to open the zip files. As you can see, they're opening up. And we are going to have two new folders, which are actually visible now. So we can literally see what's in there. As I mentioned, I had to split all of the material into different folders. And in these folders we have all this section. So all the materials for the 18 sections we're going to go through in the course. In material 01, you will find a section from two to 11. And as you can see, there is not Section one because there's no actually material needed for that specific section. But we will start using the footage and the material from section two in the folder called material 0-2, you will find the other sections from 12 to 18. Now what I will suggest to do to open up a new window here in your computer and create a main folder where we're going to drop all the sections. So I would recommend to use your desktop or wherever you want to save your course basically. And this is, this is going to be our structure for their, for the old course. I'm just gonna do on my desktop. What I'm gonna do is to copy literally the name of one of the two material folders. But I'm I'm just going to leave behind the word material. I don't need that. So I'm just copying Premiere Pro 20-20 Beginners Course. I go on my desktop, I create a new folder, and I placed the name of the folder just copied. So this is going to be my main folder for the course. And now I'm going to drag the first sections from two to 11 inside the new folder on my desktop. And I'm going to do the same with the Material folder number two. Just click on it and I'm going to copy from section to section 18. Nice and clean. Now I can close the Downloads folder. I don't need that anymore cause all my material is on my desktop. And also you can see here this is my new folder now. So there's the folder we're going to use throughout the course. We said we have 18 sections. And inside each folder, let's start from section to, for example, create a project. Inside each section four there you will find an SO2 lecture folder and one called S or to exercise. So the ES refers to the number of the section. So we are in section two at the moment. If we go to section three, it will see SO3 lecture. Lecture stand for the folder where we are going to save the main project for the whole section. At the beginning of each section, we are going to create a Premier Pro project, which we are going to use throughout the whole section, the specific section, in this case number two, and from the lecture folder also, we're gonna grab our material needed. Now there is no material needed in section two either. But if, for example you go to section four, section for lecture, you will see a folder called material, but I'm gonna guide you through this process on each project. So don't worry about it is just to give you some heads up. The second folder, you will find the exercise. This is where we're going to save the exercise project for that specific section. And in some of the sections you will find the material for the exercise. Of course, these are more or less all the guidelines you need to start working with the course. I hope everything is clear. If it's not pleased God, to the Q and a section and leave me a question there. Now, let's get started. It's going to be fun. 4. S.01_01: Launching Premiere: Hello, so here we are, the very first lecture of your course. I bet you're excited as I am. We are going to learn the most important thing about the software, how to open it up, and that's not it. We also going to see how to update it and now to quit it. So let's carry out there's a couple of options to open the software. If you have creative cloud, then we can open a new Finder window by pressing comment end. We go, we got to applications on the left-hand side. Then you go to this folder and double click on Adobe Creative Cloud icon. This window will pop up. As you can see, I've got all the apps from the Adobe Creative Cloud. And I just go to Premier Pro, the one I want. Go through the three dots, more actions. As you can read right there, click on it and press open. This is one way to open up the software. If you don't have Creative Cloud, then let's close this for a second. Again, we go to applications in Finder and you just scroll down to find your software. Adobe Premiere Pro 20-20, That's my folder. And I just double-click on the icon or right-click on it. And this drop-down menu will pop up and we click on open. So let's do that. Now. Premiere Pro will start to configurator preferences and everything it needs to load up. Here we go, a brand new software. That's how you open Premiere Pro. Now stay with me. In the next episode we're gonna see how to update and now to quit the software, lets go. 5. S.01_02: Updating and quitting Premiere Pro: Perfect new lecture. Now that you know how to open Premier probably going to see how to update it to the latest version and now to quit if first of all, you want to know what version you have at the moment. And to do so, we are here in this panel. Go to Premier Pro, drop-down menu, top left hand side, and you go to about Premier Pro. Click on that. And now you see this tags version 1410. That's the version I'm using for this course. Alright, I press Esc to exit this window. Now we're gonna see how to update the software. When you are in Premier Pro, you can go to help again top menu and go down to updates. And you're gonna click on it. And here we are again, the same window as before. As you might have noticed, I've got all my software is to be updated by the one we need is Premiere Pro. So you just click on update and you will be asked to type your security password and you'll be ready to update the software. Now I'm going to cancel for now, and I'm going to show you how to set an auto update if you wanted to do so. Again, we are inside Creative Cloud. We go to the top right inside this time, this wheel is the preferences settings. Will we click on it at the bottom, you will notice this bottom. Always keep Creative Cloud up-to-date. So you'll want to make sure you ticket and it becomes blue and click on done and you're ready to go. And that's how you update the software to the latest version. Now there's one more thing to do, which is to learn how to quit it. Well, simple, we are going to exit Creative Cloud. To quit the software, we have a couple of options. One is pressing on your keyboard comment queue, and it will close down. And I always recommend to use shortcuts. Or if you are here, you can go again to Premier Pro, menu, quit Premier Pro. And this is the way you will create Premier Pro even as you're working inside the software. So let's click on it. Quit Premiere Pro. It's all close down now. And that's how you open, update and close this software Premiere Pro. Very well done. I'll see you in the next section. 6. S.02_01: Creating a project: Hello and welcome to the second section of this course. In this part, you'll learn how to create safe, close, and reopen a project in Premier Pro. Also, you learn the most important keyboard shortcut ever, which is saving your project. Now let's launch Premier, and I'll see you in there. Here we are. The first being are going to learn is to how to create a project. And as many other things, premiere gives that the options to take one action in different ways. As you can see in this window, we go ready to buttons there, say new project or create new project. One is here on the left-hand side, new project. So we could click on that, but we don't yet. One is at the center of the window. Create New Project. Again, we can just click there. The third option is here in the drop-down menu. If you go to file to the top New and projects. And that's how we create a project with the buttons. If you want to use shortcuts than the shortcut for this action is old comment. And unless tried to do that together, so old comment. And at the same time, this window will pop up. As you can see, many settings. I'm going to guide you through the first times than step-by-step through the course. I will ask you to do these on your own so you get familiar with the software. The first being Premier, is asking us to do is to create a name for our project. To do so, I would suggest to go down in the material, you download it. And you will see the structure of the course that we'll be using throughout the course in section 0 to create a project. We're literally going to copy the name of this folder. So as 0-2 lecture, we just copy with comment c. We go back to premiere. And here in the name of the project we just paste with comment v. Okay, in front of the S, there is a space because of some chronological order in Finder. I just I just added a space in front of S. When you are here in Premier before the S, just delete the space. Here we go. As you can see, it's moving back. The second thing we're going to browse where to save the project. And there's a button right here on the right-hand side, browse, so let's click on that. And here we got a new Finder window will pop up. And we're going to save the project in the material download. And now that's actually our structure for their, I'm not gonna call it Material folder any longer. So I saved it on my desktop. Again, you browse where you saved the download. I got two as 0 to create a project. And again as 0-2 lecture. And here now we need to create, this is my workflow, personal workflow, but I would like you to follow this workflow is while during the course and then you will be able to do whatever you want after the course. But what I usually do is I create a sub folder down here in Finder new folder. And I'm going to call it a project, which stands for Adobe Premiere project. And in here I will say it, everything related to my project. So this is the folder where I'll find my project for this particular section. Okay, create. And here we go. We got the new folder, API projects. And then we click on choose at the bottom. Done. Now, as you can see, we have a few settings to go through. There are different headers. The first is called general in video rendering and playback. If you click down here at this tiny arrow, and new menu will pop up and you will see three different options, at least in my case here. And if you have it, I recommend to use the mercury playback engine, GPU acceleration, metal recommended as you can see, if you don't, don't worry, the software is still working perfectly fine. It will be a bit slower to render certain files. So if you can just click on that, if you, if you don't have the option, then just go down to monetary playback engine software only. I click on the My option. And now we see the video option here, display format time chord. We live it on time code, which means our timing on the timeline and in the project would be set on time codes. The other option is frames 50t plus frames. This is more for films, actual films. We're going to choose the time code option. In audio display format is fine as it is. So display format audio samples. The capture opportunity is when you actually want to capture suffering from tapes, which people rarely do nowadays. And we could always change it inside the project if we wanted to, then very important settings. If we go here next to General, you will see scratched disks. Click on that header and list. A long list of options is popping up again. The scratch disks is actually the location where we're going to save all the capture material or the rendered file, as you can see here, as you can read all your previews, everything that premier is rendering out will be saved in these locations. So it's very important, and usually what I do, I save it in the same location of my project. Whether recommend to do is to go through each option and just select same as project. Just the same for each of them is same as project minor already selected, same as projects. So that's what I need. Make sure the auto save down near is saved in the same location as your project. And we're gonna explain that in the next lecture. You will notice a third header right here called ingests settings. And for now we don't really care about that. So I'm happy with the settings. Click OK, and we're ready to go inside Premiere Pro. And here you are. You have created your very first Premiere project. Now make sure you keep this window open cause we're gonna need it in the next lecture. And I'll see you in there. 7. S.02_02: Saving a project: And here we are in a new lecture. We are inside Premiere Pro with our project called as 0 to lecture. So make sure you still have that project open. The next important thing we're going to learn is to save our project. This is key for any workflow, so make sure you remember how to save the project. The first thing we're going to do is to set a no to save and that's our safety net. If something goes wrong as we are working in Premier Pro to set an auto save, we want to go to the dropdown menu at the top. That drop-down menu is actually the main menu of the software of each software. So here you will find different features options as an settings of the software. So let's go up here to Premier Pro, and you will find these preferences header. And then we go down to auto save, and we click on that. And here we are with the auto save. We're basically creating an option S2 premier every taught minute, save my project. And we're going to set that amount of time ourselves. As you can see, these option automatically saved projects, automatically save every I would put five minutes just in case the computer crashes or you've got some issues with electricity and the computer shuts down. So five minutes is a good time. Bear in mind. You can do a lot of work in five minutes. So if you want to do two minutes as well, it's up to you, but five minutes for me is fine. And then you see these option as well, maximum project versions 20, which means that Premiere will create 20 projects, auto save projects. And when it reaches the amount of 20, it will override the very first and go down again, overwriting the other. So in this way, you are creating 20 different chronological projects. Also, you have an option to save on Creative Cloud. So Premiere will save a project online actually in the cloud, and I'll show you in a second how to do that. So I click that just in case. And also Auto Save also saves the current project projects. So I click that as well. And we press OK. Perfect, that's one of the most important thing for your projects. So whenever you create a project, make sure you check the auto save again. And before carrying on, I want to show you where to find the auto saves just in case you want to go back to them. If we go to Finder, we go back to our structure folder again. And we go to we got to ask you to create a project as 0-2 lecture API projects. And now, but you will see a new folder called Adobe Premiere Pro auto save. And here it is, our first auto save of our projects. So whenever you want to go back, you need to go inside the your project folder. You will find the subfolder called Auto safe. Great, let's go back to premiere. Now let's learn where premier saves the auto saved in the cloud. If you have Creative Cloud, you we can go here again, top right and click on the icon, Creative Cloud icon. We've got our usual window. And if you go here to this cloud icon at the top, cloud activity, click on that. You will see similar settings again. But if you go to open sync folder, I'm going to click on it. Here we go. It will show me on my machine, which is actually an external folder linked to the cloud. So this is not actually on my computer, but it's saved online. As you can see here, Creative Cloud files. We got to Premier Pro 14, that's my version. And then you will see this folder, Adobe Premiere Pro auto save. We click on that, or you've got all the auto saved projects. So if something goes wrong on your machine, you always have a backup or line. So I'm back in Premier, and of course we can save our project from the drop-down menu to, so we go here to file. And then you can choose safe. And this is the most important shortcut ever guys Premier is suggesting to use the shortcut comment s. So we're going to do that together. Go to their workspace. I'm going to explain what this is in the next section. So just click here in the gray, somewhere in the gray and press comment S. And you will see you have noticed the saving bar coming through. Also, don't forget, you have to save your file always as you're working as well. So I know you have your Auto Save setup, but also really make it a habit to press comment as on your keyboard every five minutes. So don't forget this shortcut comment as the most important ever. If you have some energy left, I'm sure you do keep this project open and I'll see you in the next lecture. 8. S.02_03: Closing & Re-opening an existing project: Welcome back. Here we are again in our project as 0 to lecture. So make sure you've got that project open. In the previous lesson, we learned how to save the project. And now let's say we wanna take our cat for a book or a dog. And we want to close the project. Again, different ways to do that. If you go down here to this panel and I'm going to explain what this is in the next section, you will read project as 0 to lecture. And then you've got a menu like three tiny lines. You want to press on that button with the three lines. This menu will pop up and you will see the option close project. So we can either click here, but we don't. So wait a minute. We just click anywhere in the gray area in the background. We go again to the drop down menu file, and we go down to close project. And as you can see, Premiere is suggesting a shortcut which is shift comment W. But for now, let's click on the menu and see what happens. Close project, all gone. Okay, so our project is now closed. And now we're gonna see how to re-open an existing project. Premiere Pro created a very easy way for us to open an existing project, something we worked on before. Here now at the center of the window you will see a list of your projects you worked on before. Now we only have one, Of course we created only one. But if you worked on five different projects previously, you will see them listed right here. This is one way to open an existing project. You just click on the one you need. Or you can go here to the left-hand side, open project. Now you can go and browse in your folders where the project is. You just double-click on the file, or you click once and then click open again, cancel. For now, I show you another way. We are back in Premier and you can go to drop-down menu, open recent. And here again you will find a list of the previously opened files with also afforded tree. So you can actually see where you saved the file and find it in Finder if you wanted to do so. And of course, the last option is to go directly to Finder and double-click on your file. But for now let's do it from here. So file open recent and we click in to lecture. And we have our project ready to go. Great. Now you can save the project, close it and close premiere as well. If you are tired for today, very well done. High-five or I'm sorry, you're right. Don't forget to fill in the quiz and an exercise is waiting for you as well. I'll see you in the next section. 9. S.02_04: Exercise description: Exercise time. This is the very first exercise for you. I hope is going to be helpful. So what I would like you to do is to create a new project. And you can name it, taking the name form our structure. So if you go to Finder and we are still in section 0 to create a project. Then go to the folder as 0 to exercise. So this is the name I would like you to use for your projects. And also I want you to save the project in year, make sure you create a subfolder called API project, as we did in the lecture, older API projects. So again, create a subfolder year called API project and save your project in there as you're creating the project, make sure to check the settings and the scratch disks. Don't forget that's very important for your auto. Save your capture audio and video. So make sure the scratch disks are set to this folder as well. When you are inside the project, I would like you to create an auto save and you can play maybe with the amount of time for the auto save, maybe got to two minutes instead of five as we set up in our previous lecture. Make sure all the boxes you need are ticked in the auto save preferences than when you are inside the project. Make sure you save it with the shortcut comment.'s. Then close the project and you can check the exercise review where I do the same exercise and you can compare what we've done. I'll see you in the next lesson. Well done. 10. S.02_05: Exercise review: Hello, so this the review for your exercise. I hope you went well. I'm gonna do here as well and you can compare what you've done. So what I asked you to do was to create a new project and that's what I'm gonna do. File new project. I'm going to go a bit faster already. And I had to save it with a name S 0 to exercise, which I can't copy directly from my folder in Finder. So we are still are in S 0 to create a project that's 0 to exercise, I just copy the title and pasted here in the name of my project. I'm gone, of course, browse where I want to save the project. So I go back in my original folder and this an exercise. So here, now I create an API project as we have done before for the lecture projects, create and choose. So that's my path. General settings. Again, that's fine to me. Time code, this is all good. Audio samples. Hdtv, I don't mind scratch disks. Very important. Same as project for all of them. And that's all I need to check and I click OK. Next thing I will do is to set the auto saves. So I got to Premier Pro preferences and auto save. And here I'm going to play with the amount of time I won my auto save to be at. So this time I put two minutes. But you can do again, you can choose whatever you want. I make sure I save the backup on Creative Cloud. And I also make sure the last option is ticked or to save. Also say the current project. Press OK. Then when you are inside the project, make sure you save it with the shortcut comment S. Perfect, this is our new project and this time I'm going to close it with the shortcut Shift comment W. And here we got, we are ready for a new project. 11. S.03_01: Workspaces and Panels overview: Hello, section number three. In this section you're going to learn what a workspace is, how we create one, customize and save it. This is very useful to optimize your workflow and also the space inside your monitor. Make sure Premiere Pro is open. I'll see you in there in a second. And we are Premiere Pro. I'm gonna create a new project, new from the top menu Project. Now I'm gonna go into my main folder in Finder in section or three workspaces and panels. And I'm going to copy the title of this folder, section, section or three lecture. This is the name of the project. I'm going to paste it and remember to delete the space in front of the s. Now I'm going to browse where I want to save my project. And this time I want to, I'm going to show you the all path again for another time. So this is my main folder. I've got two workspaces, section three, lecture, and I'm going to create the API project folder. Here we go. And I'm gonna save my project in their press. Ok. I check all the settings general does my graphic card is fine, everything else is fine. Scratch disks makes sure there, same as projects. Perfect, and press OK. Now that we are inside Premier, all these windows, we welcome you so don't get overwhelmed. The first thing I want you to do is to go here on these menu, you will see lot of different headers. Assembly editing, color effects and blah, blah, blah. So click on editing only once. As you can see, your workspace changed layout, ok, to make sure we are the same layout. Just going this tiny menu with the three lines, click on it and click on reset, reset to save layout. Right? Now everything should look the same for you and for me. So what is a workspace in Premier Pro? If you were an artist, this would be your studio, the room where you create, but also where you keep all the tools and the things you need to create. The workspace is made of different panels. And so what are the panels? Well, they're just basically different areas of the workspace. Again, in the case of the artists, these are different rooms where you kept Maybe the pains and the tools and the canvases. So each panel will offer us different gadgets to enhance our video. We'll talk in depth about each individual panels. But for now I want you to build with me a simple workspace to get familiar with it. So that was a quick introduction of the workspaces. I would love you to keep this project open and I'll see you in the next lecture. 13. S.03_03: Exercise description: Hello and welcome to your exercise of section three, workspaces and panels. For this exercise, I would love you to create a new project and save it in its relative folder. So we open our structure folder and we go to section three workspaces and panels, section three exercise. And here you will have to create an API project folder where you can save your project and call it s O3 underscore exercise. So we're using the same structure as we did in section two. The aim of the exercise is to create a workspace similar to what I've created in advanced for you. And you can find this example again here in this folder. Same structure. So3 workspaces and panels exercise folder. In material, you will find a screen grab, so you want to double-click on the file and open it up. This is your reference workspace. I would love you to copy and recreate this workspace inside your project. Once you are done in recreating, the workspace, saved the workspace as we did before as a Custom Preset, giving your name underscore one monitor, underscore basic editing, exactly as we've done in our previous lecture. After that, you can save the project and either keep it open and check the exercise review with me or you can close it and I will see you in the next section. 14. S.03_04: Exercise review: I hope your exercise of Section three went well. Now we can double-check what we can do together. First of all, I'm going to create a new project. So opening up premia, create a new project. And I'm going to call it SO3 exercise. Again, you can double-check the structure in your main folder. And I'm going to section three, workspaces and panels. And I can just copy actually the name of the folder and I'm going to paste it in the name of my project. Then I'm going to browse where to save it. And I'm gonna go again in my folder, my main folder, and go to section three workspaces and panels this time exercise. And I'm going to create my API projects. As always, create. And I choose and click Choose. Now I check quickly their settings, its sole Okay, scratch disks are fine. Press OK. And here I am inside Premiere Pro. Now I asked you to recreate a special workspace, which you can find in number three section three, workspaces and panels, exercise material. So just double-clicking here to see what their workspace looks like. And I've got a project panel on the left-hand side, Media browsers and source, program, Tools and timeline and they all your meter, let say if I remember. So I go back here and I need to delete a few panels. So this should be the workspace I left you with in lecture 3.2. If I'm not wrong, so I'm going to close the essential sound which I don't need. I need the program monitor, I need the source monitor. And what else do we have? Let's have a look again. Media source projects, okay, so in this panel group, I only need the project panel. So what I can do, I click on the name of the panel and got to close other panels in the group. So I'm left only with this, but there's a problem. I cannot really extend it vertically. So what I can do, I'd put it back here and now drag it back again until I see the green box grade. And now it's now we can cover entirely the vertical space, which is great. Then here I needed the source monitor and also the media browser. I'm going to click in the Source panel and choose close other panels in group. Great, I don't think I have the media browser, so I'm going to Window and selected media browser. Here it is. Now I'm going to create a panel group together with a source panel. So I'll just drag it in here. Perfect. I'm going to adjust the space. And the tools are, ya don't need much space. There is the timeline audio meters as well. I'm gonna decrease its size. And now we have project panel meter, browser, source, program tools, timeline, and audio meter. Let's have a look at our original workspace. And that's what I needed to do. Great, let's go back to Premier Pro. I just need to save my workspace in window workspaces and save as a new workspace. And I'm going to call it with my name, underscore, one, oh, one, monitor. And then basic editing. And click OK. Now that I'm done, I'm going to save the project, comment S or file. Save. And I'll see you in the next section. How did they exercise go anyway? 15. S.04_01: Importing Media: So how are you doing? Welcome to your section number four. I hope you're getting familiar with the interface. I understand some notions can be quite intense, but we need to build solid foundations to become great editors. In the next videos, we'll work with some travel footage and we'll understand how to import media, will understand the project panel. We learned the different types of media and also we'll understand how to organize the project. So let's get started. Make sure you open Premiere Pro. In the previous section number three, I left you with an exercise to build a custom workspace. So we're gonna open the project of the last section as 0 free exercise when you open Premiere Pro is should be still listed here in the recently opened files. As you can see, it's right there. If you don't see it, you can go down to finder in the structure folder section or three workspaces and panels, and then go to SO3 exercised API project and issued beat right there. So we're going to double-click on the project and it's going to open up in Premier prefer as if you've done everything correctly, your workspace should look like this. If it doesn't, then I show you what to do. For the last time. We go to the Window menu, appear in the drop-down menu, we go to workspaces and we're going to choose the one we created, saw your name, one monitor, basic editing, click on that. And it should appear like this. If it doesn't, then you should find your preset appear. Double-click on it. And this window will pop up asking you if you want to reset and you press yes, and your layout should now appear more or less like mine. Good start. Now we need to save this project for section number four, and we do that by going to the drop-down menu again file. This time we got Save As a final folder will appear and we go to section number for import media and Project Panel. I got two S 04 lecture. And I'm going to create my usual API project folder. Create a new folder API, project, click, Create. Awesome, and need to change the name of my project. Of course, I'm going to call it as four because we are in section four. This time lecture. That's going to be the project for all Section four Lecture. Save it, and we are ready to go. So you're now ready to import some material. I'm going to show you four different ways to do so, and then you can choose the one you prefer. The first way is by going to the project panel. It should be right here on your, on your left-hand side. And as you can see, there's a text, say import media to start. So we can double-click anywhere here in the gray area of the project panel. And let's do that. Here we go. We are in Finder again. Now, this time we need to go to the Material folder. And we are in S or for Section four Lecture. So we need the material from the lecture material right here, we go to audio and we import the old audio folder. Honestly, I would import the all Material folder at once, but as I wanted to show you different ways to import the material, we're going to import item by item. So you can actually see different ways. So we go to audio, the folder and click on Import down here. Something happened in the project panel. Before we carry on now, I want you to do a quick actions. So if you are in project panel here, go down here and you will see this icon list view. So just click on that for now. And then I explain in the next lecture, now we have a better view of what's going to happen here. The second way to import the material is by going to the media browser. Panel B should find it in a panel's group with the Source panel as well. We're going to click on media browser. Now we're going to browse in our machine where we have the material which is personally on my desktop. And of course you need to browse your folder tree. So we're gonna go again to Section four Lecture material. This time we got to footage folder. And here you will see two different folders, a role and be role. The video material, I'm going to right-click on a roll and go to Import, and I'm going to click on import. Something again appeared in the project panel and we have a role folder and audio. Okay, great stuff. Another couple of ways to import the material is by going to file and go to Import. But again, Premier is suggesting to use the shortcut Apple I. So we're going to do that. We go back to the project panel, just click in the background and press comment i. And here we are again in the Finder folder. And this time I want you to go follow the, this path we are in Section four, Lecture material footage. We are going to be a role this time the Bureau folder. We click on the Bureau folder and we click on import. And our B-roll folder is now in Premier Pro. The last way to import the material and to Premier is by dragging and dropping it from the Finder folder. So what I'm gonna do is to choose my folder I want to import. I'm in Section four, remember lecture material and I have these photos folder. So what I do, I just click on it and drag it inside the project panel. And here we go. We got all the material needed for lecture four inside Premiere Pro. I know there's different ways, but again, I want to show you different ways and then you can choose the one you prefer or the one that's most appropriate for your workflow. Now save the project with comment S. Don't forget, and we need it open for the next lecture. 16. S.04_02: Understanding the Project Panel: Hello and welcome to the lecture number two of section for make sure you have the project S four lecture open and this video we're gonna see how to organize the project through the project panel. So what's the project panel, as we said, is the project panel right here. And here you organize literally your project and you can preview some of your media items. Now we have different folders. If you want to look inside the folder, you will notice a tiny arrow on the left hand side of each folder. You just click on it and a list of the items inside the folder will appear. And you can do so in all of them. I'm going to close them again 1 second. Another way to see what's inside of folders is double-clicking on a folder. But this time, as you will notice, a new panel will appear. So double-clicking on a folder will isolate the specific folder into a different panel. But I never worked this way at is just now my preference. So I'm gonna close this panel for now and we are back in our project panel. Let's adjust quickly the workspace. I'm just going to drag and extend that panel, the project panel, because it's too narrow for me. Now I want to show you something here. If we go to the audio folder, let's open it up with the arrow. Now I want to show you something that happened when he imported the audio for the, for example, I'm going to go in the Finder folder. In audio, as you can notice, there were two subfolders in the audio folder. One was for music and one for sound effects. And inside each folder, there was only one item. So one soundtrack in the music folder and one sound effect clip in the sound effects folder in Premier, when you import a main folder like the audio, which contains other sub folders with only one item in there. What Premier does, it deletes the subfolder entirely and it will just import the individual file. So basically our subfolders disappeared. And what we need to do is to recreate a subfolders inside Premiere. Kind of a weird thing. I don't understand why. How do we create folders in Premier Pro, which are actually called bins. And I'm going to show you four different ways and you're going to pick the one you prefer. First way is to right-click anywhere here in the project panel. These menu will pop up and we go to New bin. And I'm going to do that. Click on new bein. Here we go. I knew being appeared in the project panel, we're going to call it as the one in Finder, are just going to show you again. So there are two subfolders, music and S effects. We're going to call this music. So back in Premier music, and I'm going to drag it inside my audio folder, which is my main folder for the audio. And literally it just works as Finder. You just drag it inside. And now I'm going to put the music inside that sub folder. So I'm gonna take my truck. You can recognize the truck by the name music. We just drag it inside the music folder. Perfect. Now we're going to create another beam for the sound effect in a different way. This is our sound effect forests. This time we go down here in the project panel, you will see these icon new bin. We're gonna click on that new Bean. We're gonna call it S FX, that stands for sound effects. Enter. And again, I'm going to drag my sound effects in their perfect, it's getting nice and tidy. Now the audio folder is done, so I'm going to close it down. Also want to create a folder for the fruit edge, for the a role and the B-roll. So we're going to reproduce what we've got right here, audio footage and fathers. And for now we only have audio and photos inside Premiere Pro. Another way to create a bin, of course we have a shortcut which is common B or control be if you're on Windows, make sure we are in the project panel where you have the blue outline in the panel. And we're gonna we're gonna press comment. By this time I'm gonna call it footage. Press enter. And now I'm gonna move the a role and the B-roll folder inside the footage folder. I'm gonna save it to show you the last way to create a bean actually need to take a step back. So what I'm gonna do in the footage folder here, I'm going to open up and select both the subfolders a and B roll. If you hold shift and click on the folder is you will select both of them or many folders at the same time. And I'm just dragging them outside of the folder footage. Okay, now what I'm gonna do, I actually show you how to delete a bin as well. You can either click on the beam footage and know your keyboard. You can press Delete button or the backspace. Or also, you can go down here. And there's actually a trash bin. But in Premier Pro is called clear delete as you can read down there. So don't confuse it with the beam, which is actually the folder. And I'm going to click here in the trash. The folder is gone. The last way to create a bin Now, I'm going to select the a and B roll. So I click on the a role folder, hold comment, click on the B-roll, and now a drag them both inside a new bin. And in this way you will create a bin with already that T2 subfolders inside. I'm going to call it footage again. And that's it. That was a great first step. Now I'm going to show you what's called metadata display. I would like you to go in the footage folder, open there a role folder. And now on the right-hand side you will notice some information. You will have different column with different information. So if you increase the size of the project panel, again, just drag the line. You will see different headers here. These are all information about your media items. And I want you to understand how to customize this columns so you can actually use the information you want. And these information are key because they are very useful to create sequences, which we'll see in the next section here, Premiere will tell you, for example, the resolution of your clip or the frame rate used to film this clips. And again, I'm going to show you my personal workflow and what's important to me to customize the metadata display. That's how it's called. You right-click on here. So basically on the headers and go on metadata display, click on that. And now we have a long list of information. You want to click on the first option, Premiere Pro project metadata. Here on the left-hand side, there's a sublist and I'm going to antique Some of them. So basically we just leave the label, the frame rate, media duration, and video info, and click OK. And as you can see here, things changed again, so we only have a few information. And again, you can change the size of the columns by going here, there's a very, very dark gray line you can barely see, but you can drag the line and change the size of the columns, the metadata display or quite useful to order our folders as well. Let's say we wanted to order the files, the media items by the media duration. Let's open the B-roll folder as well, for example. And click on media duration. Now we've got again a different order, or you can go by name. And as you can see, the items are changing order. I want to show you also how to change the size of every icon and the media items in here. If you go down to the bottom, you've seen before, I asked you to change the view in list view. If you want it bigger folders, for example, if you want to see bigger text, we can click on the project panel and click the plus key of your keyboard tray that while look at this. If that's the big, you can always press the minus key. And we'll go back, have a look at this level at the bottom of the project panel. When I press plus, it will increase the size. So you can also drag the lever up and down and change the size of your items, but usually work this way so I can see more items in the project panel. We have different types of view as well. So again, down here at the bottom, you will see icon view. So press on icon view, and now you have bigger icons, but this time we can't see what's inside the folders unless we click on them with double-click on them. And as I mentioned before, this action will open a new bin. And these are very handy for me because I need to go back and forth. The third option down here, it's free form view. So click on that. This is a kind of weird view. You can literally drag your folders around the area. Let's double-click on the footage folder. For example. Let's double-click on a roll folder. And that's interesting because here you can actually see a preview of your files. So if you go on the actual clip and if you hover the mouse from left to right, you can actually see what's happening inside that clip. So that's quite interesting. But again, I never use these meth. My favorite is just going by here in list view. And I go back to the main folder, occurs the beans I don't need. I'm back here in my main project panel, but I go and change to list view. So I can see all the items in my project. On the left-hand side of each item, you will notice squared like a colored square. This is called label. It's very useful to highlight certain material for specific reasons. So for example, if you have a good shot, you can give it a color. If you have a bad shot, you can give another color to change the color of the label, we want to click on the name of the item or anywhere on this line of the item. Basically, we want to go over the text label and you will see a list of different colors appearing. So if I go to Iris, now the color of my label has changed and you can change all the colors you want. And just going to go back to Caribbean. Also, we're going quite fast. Well, I hope we are saved the project, keep it open because we'll need it in the next lecture. 17. S.04_03: What is a clip? Understanding the media items. : So I left you in lecture or for make sure you open that project again. We imported the material in the project and now we want to understand what are these types of material. First of all, I want you to open all the folders in the project panel. So go to the left hand side arrow and open up every folder. Let's order the items by name. So let's go to the header name. You should have these arrow pointing up. So you should have the audio folder on the top, each item as a different icon. One green, one purple and green one purple. This is a completely different one. So what are these icons? Green icon represents audio waveforms. So it's basically an audio clip. I want you to double click on it, click on SO4 lecture music right here on the icon. What happened? Who Something happened in the source monitor. And I'm going to explain more about that in the next sections. These waves represent the audio, basically our soundtrack. What I want you to do is to go in the Source panel, click on it. So make sure you've got the blue outline with a mouse click on the waves and go at the beginning of the waves. Okay? And now I want you to press the bar, the space bar, or you can also play it going at the bottom of the Source panel and click on the play stop, toggle. Ooh, what's happening? So the sound is coming through. This is our audio clip. You can start by pressing the bar again or by going down near in their stopped toggle. I'm going to stop it. So that's it. No, you're fired. Same thing in the sound effect as you can see, there's another green icon. You can play that if you want. So double-click on the sound effects and the waves are changing, of course goes the ADI waves are different for each audio clip. But you can play with these as well. So by going here, click anywhere the panel and listening to what's in the clip. Now let's go to the next icon. We go to the footage in a row, you will notice an icon made by audio waves and a purple film that actually represents a film to create movies. When you see, when you see these type of icon with a purple film and the audio waves in green. That's a video clip with all video, let's double click on the first one in a roll 01. And again, the eclipse starts from the beginning already, so you can just press the spacebar. But you've got a video with audio underneath. So as I mentioned, is a travel vlogs is the beginning of our video. And you can also check the next one. So double-click on the role to this the end of the video in the Philippines, let's go to the Bureau folder. And here we are still talking about video clips, but this time we only have a purple icon, which is a film icon. So in this case, it means there is a video clip without audio, double-click on B-roll 0-1, and nice drawing shot in the Philippines. You can double check the second one as well. Another drawing shot, amazing location. I'm going to show you a last icon. This is for photos. As you can see, there's a photo JPEG. We can double-click on it. And the photos are represented by these JPEG icon, which is very common in the computer world. So double-click on it and we have a nice part of the same location. Again, you can play the photos as well, but nothing is happening because it's a still image. So if we go in the Source panel, you press the bar, nothing is really happening. Icons are a very easy way to identify our media items. Now we'd like you to save the project and keep it open because we are close to the end. Let's go to the next lecture. 18. S.04_04: Organising your folders: Right, so we are still in the project S O four lecture. Make sure it's open. And in this lecture, I wanted to give you some tips on how to organize your project as well. First of all, we need to learn how to be as tidy as we can. In particular, when the projects are getting bigger, that's when you have to be very organized. So make it a good habit. A good way for me to be organized is to go in Finder and literally copy this folder trees inside my Premiere Pro project as well. So I make sure my folders in Premier Pro literally match my folders in Finder. So we can keep the same structure in Finder and in Premier Pro, as you can see here, let's go back to Premier Pro. I've got audio footage and photos exactly as in my Finder folder, audio footage and fathers and the subfolders, again, they are identical. Everything is reflected in both folders. Sound effects, music, and so on. And from this steep and another one comes basically whenever you use an item inside Premier, make sure it's also in Finder or given example, if you are downloaded as sound effects from YouTube and you drag and drop it directly inside Premiere. Premiere will create a link to that file directly to the Downloads folder. And you don't wanna do that because for example, if you take this project somewhere else in a hard drive, but that item is still in your downloads folder inside your machine. That's when you're going to have some troubles and your media will be offline. So whatever you use in Premier Pro makes sure is also inside your API project folder. As last thing for this lecture is I want to show you how to change a clips name. Let's go back to Premier Pro and I'm going to adjust the workspace. So if we go to footage and I've got my a role and bureau clips, this name is a name I gave to the Eclipse. This is not originally from the camera. Usually the clips from the camera comes with a number. It's a serial number. So I change this name for you and you can change the name of the clip as you wish. For example, let's clip on a roll number one this time. And I've got and I've got me speaking. Let's say I want to actually ordered the clips according to the scenes or according to what I'm saying in the clip. I can just go to the clip in the project panel. Single click on it. And now when it's highlighted and I have a white box, it means I can type something else and I can call it, for example, marmot talking in borehole. And then I press enter and I can go to the next clip and name it. But for the purpose of the course, I named the clips with the serial number B-roll 0102 and so on. But that doesn't mean you cannot change the name of it if you wanted to. But again, we'll understand more of this workflow as we go through the course, but very well done for this section. Now the quiz and the exercise are waiting for you as always. 19. S.04_05: Exercise description: This is the exercise for Section four. And here I'm going to ask you to build a new project which you are going to call es, or for exercise. And I'm going to show you in a second where to save it, but also would like you to import here the material from section five. So I'm gonna give you a couple of guidelines. Let's go to our main structure folder in the Finder. If you go to section four, important material and project panel, section four exercise in here, you will have to create your API project folder as we've done in the other sections and saved your project with the name S or for exercise. But you will have to import their material from section five lecture. So we go to ASL five sequences. As of five lecture and material. These are the folders you will need in the exercise project of Section four because we will use that project actually for Section five. Once you have imported the material inside the new project, may sure the folder's match with the Finder folders, which means you will probably have to create new beans inside Premiere Pro. This is all stuff we have learned in the previous lectures. If you don't remember, just go and rewatch the videos. Also, once you are in Premier Pro, remember you can check the media items, icons, and you can actually play with the files. But if something goes wrong or you don't remember something, don't worry. I will be waiting for you in the exercise review. See you soon. 20. S.04_06: Exercise review: Hello and welcome to the exercise review of this section for what it asked you to do was to build the exercise project, but importing the material from section five. Let's do that together. I open up Premiere Pro. And of course I'm going to create a new project, a new project. As always, I'm going to name my exercise project with the name of the section. So section for exercise, and I'm gonna browse and save it inside my exercise folder. So section four, section for exercise, I create my API project folder. And I'm going to click on choose. I check all the settings here. That's fine. Scratch disks, same as project, perfect. Press OK. I need to reset my workspace and I'm gonna go in workspace, mammal one monitor basic editing, but I also need to reset it. So go to the workspace presets here at the top and click on my workspace and reset to saved layout. Now need to import the material from section five lecture. What I do this time is going to Finder. I open a new window. So desktop I go into my main folder is always section five sequences section five lecture material. And I'm gonna drag and drop the three folders inside Premiere Pro. Now it's taking a moment to import. I've got all the folders and need to double-check. They have the subfolders as well. So the footage is fine. We go the subfolders a role and be a role. The photos are fine, but again, in the audio folder, I'm missing this subfolders, so I'm gonna recreate those. And again, I can go down here in the new Bean icon. Click on it, and I'm going to name one music. Drag it inside my all your folder. And I'm going to expand this. And I'm going to, I'm going to drag the music file inside the music folder. Now I need another beam, and this time I created one with Apple B. And I call this sound effects S FX. Perfect. Drag it inside audio folder and drag the sound that the actual sound effect in the folder. Great. I'm gonna change the metadata display. I'm not sure if you've done that. I actually didn't mention it, but we covered it in the previous section so you could have done it, right? And I just right click here on the adders metadata display and click on the first option, Premiere Pro project metadata. And again, I keep the label, the frame rate, and I keep them media duration. And get rid of all the others until the video info which I need. And nothing that's all. So scroll down, check everything. So labeled frame rate, media duration, video. That's what I need. Press okay, and here we are. I'm going to save my project. Nice and tidy, perfect. I'm gonna make some pasta and I'll see you in the next section. 21. S.05_01: Project set up: Well, you're already here. I couldn't even finish my spaghetti bolognese. One journal. I hope you're doing well today and I hope the course is going great. In this section, Section five, we're going to learn how to create a sequence and will understand what a sequences will also understand the need of creating different sequences and how to relink offline media. Then we'll explore how to create different aspect ratio sequences for the most common social media. We're gonna do all this today through the Troubled footage you prepared in the exercise four section four, if I remember well, I left you with a duty to create a project for the section for exercise. But importing the material from section five lecture, I got my main folder. And it's always my course folder. So let's go to section four, important media and project panel. Let's go to S or for exercise. And you should have NAP project folder as well with the Premier Pro exercise file, I'm going to double-click on it and open it up in Premier Pro. And these are your Premiere Pro project should look like inside. You should have three main folders, audio, footage and photos. The audio folder with the music and sound effects subfolders. And of course, the two items in the footage folder, you should have two sub folders as well, that a role and the B-roll, we should have two clips, each subfolder. And then in the photos folder, there's only one item. You should have taken this material, again from the main structure, but this time from section five sequences as of five lecture material. So these three folders should reflect the folders you have in that Premier Pro folders. If you've done everything correctly, great stuff, but don't forget we're still inside there S or for exercise projects. So what we need to do now is to save it for section five lecture. And we do that by going to File Save As. And we're going to browse where to save it. We are still in our main folders. Here we go to section five sequences, SO five lecture. And here we're gonna create the API project folder as always. And create. And we're going to change the name of the project to S or five lecture. And this is the project we are going to use for all section five. Press OK and save it. Awesome staff, a lot of things ahead. One more thing to finish setting up our project. We made sure our workspaces match. And again, we go to window workspaces and you click on the one you created at the beginning of the course. So your name one monitor basic editing. And again, let's make sure we reset it here at the top, reset to save layout. And here you go, we should be on the same page. 22. S.05_02: What' a sequence?: We are in Premier Pro with our project S 05 lecture open. And in this lecture we'll understand what the sequences are and how we create them. First of all, I need to give you a quick introduction of the Timeline panel, which is here. Down here, it should be right there. If you have my same layout, the timeline is basically the panel where we play our sequences. We'll explore more about this panel in the next sections. What is a sequence then? And to answer that question, we're going to play with the eclipse now, let's go to the project panel and open up the footage folder. And let's go in a role folder. And now I'm just going to adjust quickly The panel. We can drag some clips inside the timeline to create a sequence. Let's click on Clip one as of five lecture a role, one, and drag it inside the timeline. As you can read, the a premier is suggesting dropped media here to create sequence. That's what we're gonna do. So dropping their drop your file there. And here we got something happened here in the timeline, but also in the project panel you will see these item. So that's your new sequence and the sequence is an actual item. Also, you will notice that preview of the video already in the program monitor before carrying on a one to organize my project now, so I go in the project panel, click in the gray area somewhere here. And we're going to create a new folder with comment b. If you remember, we have a new bin and I'm going to call it edits. You can also call it sequences or whatever is, is better for you, but that's my workflow. Now I'm going to drag my sequence, the new sequence, and as you can see, we have a new icon. Now. We're going to drag it inside the edits folder, and I'm gonna rename it. So to rename a sequence, you click on it once and then you press Enter, and now you can type the name you want. I'm happy with section five lecture, but I'm going to delete a role and I'm going to add, this is part of my workflow. Again, I'm gonna usually add the duration of the video and I already know my final video will be 25 seconds. So 25 and then quotation marks, which stand for seconds. Then I'm gonna add an underscore, and I'm going to add my aspect ratio of the video, which is 16, column 916 by nine, and I click OK. Now what we can do is to take clip number two from the a role folder. We click on it and we drag it next to the other one on the timeline. And as you can see, it will snap to the first clip. I'm just dropping in there. Great. So here on the timeline, this blue item is actually your clip, and the one next to it is another clip. Now, that's how they look on the timeline. You will see this grey line here dividing the upper deck and the lower deck. In the upper deck, we will see the video of the clip. And in the lower deck, that's the audio of the clip. You want to make sure the video part is on V1, as you can see here on the left-hand side. And you want to make sure the audio is on A1. You can just click on the clip and drag it up or down. So make sure they are on. B1 and A1. So finally we are editing and let's finish this quick vlog. So let's go back to the project panel in audio this time music. Let's take the music and drag it into a2. Down here in this truck. Make sure you go to the beginning of the timeline and you will not be there. Now this is our sound truck. Now bear with me. We're going to play it very soon. Let's go to sound effects folder. Same thing. We click on the file and we drag it under the soundtrack. So in a three, as you can read here, we go back to footage and we go to beer all this time. And we're going to take, you can actually select different clips at the same time. So this time let's go to B-roll one. Hold shift on your keyboard and click on the second B-roll, basically clip. And now we're going to drag both together on V1 next to our previous clips. And here we are. We have our first edit done, and now we're going to play together. So to recap, a sequence is a container for our clips, and we can play these clips from left to right on the timeline panel. Let's make sure you have this program monitor open and also make sure we click on the timeline panel. So your panel would be outlined by the blue line. You will notice on the timeline this blue line with the player had. So there should be already at the beginning of the sequence, but if it's not, you can click here at the top of the timeline, as you can see, and the playhead will move. So we can click on the head, the blue hat, and drag it at the beginning of the sequence to also make sure we are at the beginning of our sequence, we can check this code. This is called timecard, and he represents the time passing on the timeline. These four numbers represent from left to right, the hours, minutes, seconds, and frames. And as we play the video, keep an eye on the time code to what I want you to do now is to press your space bar. That's the magic begging. You can just watch the whole video if you want to. Why not? As you can see the timeline, we stopped playing with the last frame of the last clip when you are at the end of a timeline and you want to play it again from the beginning, what you can do is to press Enter also if you're in the middle of the sequence, somewhere here, for example, you can go directly to the beginning by pressing enter. If you receive a warning board saying that the software as to render the files, don't worry, Click OK. And again, Premiere will render those pies and play your sequence from scratch. When it's done, let's click on enter now. And here we go. Our video starts from frame one. I'm going to stop it with the space bar. And now save the project, keep it open. And I'll see you in the next lecture where we see different ways to create sequences. 23. S.05_03: How to create a sequence: Here we are a new lecture of section five. Here we are going to learn how to create sequences in different ways. I showed you in the previous lecture, how to create in one way. Now we're going to create it in two different ways. A quick interruption to ask you if you have one minute, please go and leave a review to the course. And what I'm asking you is not just to leave the stars, so don't just drop starts from one to five. I really appreciate if you do, but also, it's more important for me if you leave a comment telling me what you're enjoying about the course or what you are not enjoying, because that's the only way for me to make better courses in the future. Some people are actually quite naughty and they just leave one star just for the sake of it. But that's how the online life is, the online world is. So please, once again, very important. Also, write a few lines about what you are enjoying or what you are not. Thank you very much. And quickly and getting rid of the sequence we've created together. But don't worry, you don't do anything for now. I'm just going to recap what we've done before and we are from scratch. Now the first way to create a sequence and we've seen was dragging and dropping the clips inside the timeline. I'm just going to readjust and rename the sequence, put it back where he was, and quickly recreate our edit. Again, you don't need to do or this very quickly. Here we go. We've got our edit done this way to create sequences only works at the beginning of the project where you don't have any sequence inside the project. So you can only do this once. I show you the second way, which is probably the fastest way if we click on a clip, for example, if you go to a role folder, a role number one, and you drag your clip inside this icon here, which is a new item icon. You just drop it in there. And now you've got a new sequence with the right settings inside the project. What we have to do now is rename it and put it in the edit folder as well. I just renamed it for now, lecture or two. So we've got two sequences now in our edits folder, let's check another way. And now I want you to click on the edits folder directly and you will understand why in a second. Before we do that, I want to remind you the metadata display. Remember in the previous section we talked about the information of the video clips. We'd need to create sequences. And as you can see, we have clips at 25 frames per second in full HD. We try 1920 by 1080 pixels. So these are information we need to keep in mind now that we're going to create our new sequence. The third way to create a sequence is by going to File. And remember we are still inside the edit folder. So make sure you click on edit. We go to File New. And here you will find a new sequence header. So we can click on that, but also we can press the shortcut comment n, And we're going to do that. So we're going back to the project panel. In the edit folder and we press comment n. Now we have the usual settings panel. Here. You will see different headers here. And in sequence presets, there's lot of presets of settings for different cameras and different type of footage. I want you to go on the very first Folder array. So this is a brand for cameras. And here you will have two options then ATP or 28 ATP. So let's press on the first 110 ATP. And now we go, you see you've got different frame rates and we press on the 25 FBS, which is the third option here. On the right-hand side, you will see all the different settings. Perfect, but we want to go on settings the second header at the top. Now we can double-check everything. The frame rate time-based is 25 frames per second. Perfect. This is the Resolution, 1920 by 1080, full HD, square pixels. That's the shape of our pixel. Perfect, and everything matches are right. So this would be the perfect sequence for the footage we are working on at the moment in our Premier Pro projects. So if we click okay, that would be perfect. But I want to show you another thing. Let's change the time base, 230 frames per second, for example. So it's the wrong frame rate. Click on that, and let's click on OK. Now as we clicked on the edits folder before the sequence appears directly inside that folder. So that's a trick and the shortcut, we're gonna rename the sequence again. I just copy this name from sequences 02 and I'll call it sequence 03. So, SO five lecture 03. Also you will notice on the timeline, we now have three different sequences, 123, and you can see the names of the sequences here on the headers, which is great. But the third sequence is empty at the moment, we didn't put any clip in there, and let's do it right now. So let's go back to a role. Click on. So five lecture, a role number one clip and drag it inside the sequence and see what happens. Aha, warning board again. So what is happening here? We just now created a sequence at 30 frames per second, but our footage is at 25 frames per second. And when we drag that clip inside a sequence, premier recognized there's a, there's a mistake, is asking you, do you wanna keep your settings or do you want me to adapt the sequence to the right settings of the clip? And let's change the sequence settings so we're actually creating the right sequence for our footage. So let's go and click on change sequence settings. And now we have the perfect settings for our footage again, great. We said we have three sequences. Let's close the sequence from the timeline. To close a sequence, you will see this tiny acts on the timeline next to the sequence name, we click on it, and the sequence disappears from the timeline. To reopen a sequence that was sequenced number three, we want to go in the project panel, Double-click on, on the sequence we want to open, and it will appear again on the timeline. What I wanna do now is to delete those two sequences recreated cause we don't need them as they are. So to delete a sequence, you can either click on it and got to the Delete button on your keyboard or the backspace. And it's gone. And I got to the second one. And I can also deleted with a trash bin or the clear delete being down here in the project panel again. And I delete that. So we should have one sequence left in our project, and that's how you create sequences in different ways. Now, let's take the project and I'll see you in the next lecture with the same project to open. 24. S.05_04: Why using different sequences?: Hello, we are still in the project, SO five lecture and near one to explain why we should create different sequences in our project. First of all, I would advise to create one sequence for each version of the video you want to work on and take the chance actually to introduce you another feature of Premiere Pro, which is that you can actually open different premier projects at the same time. And I talk about that because I actually want to show you an example. I have here. My project from Tuscany might travel to Tuscany. And I want to show you what's happening in my projects. Of course, my trip was made of different days. And for each day I wanted to create a vlog. So that's a good example. Use one sequence for each day of my trip. And also I had different concepts in mind for the blogs. So as you can see here, I've got different folders with different videos, of course, also it's good to create sequences for different versions of the same project. For example, if you have a video with different durations, as you can see here, I've got 60 seconds video. And one could be a longer troubled blog or shorter drop. A blog could be a teaser. So you can create one sequence for each duration of your video. And also you can have different aspect ratio of the same video as you can see here. Again, I've got one-to-one or nine by 16 or 16 by nine. These are some reasons why we should use different sequences. Let's go back to our project as so five lecture. I want to teach you how to duplicate a sequence now. And this is actually a TPP. Let's go to our edits folder. We should only have one sequence left in the project. You want to click on it and right-click on it as well. And now you will see at the top of these menu, there weren't duplicate. So let's click on that. We have an exact copy of the sequence in our project right now, a reason why we should duplicate a sequence, and that's the tip I wanted to give you is to create progressions of our work basically. And here again, what I usually do in the edit folder, I create a new bin, common b, and I call it for regressions. So having a duplicate of my original sequence will help me in the future. If I wanted to go back to a specific, to specific stage of that edit, I can always find it here. You can name it, you can put a timer on it as well, so it's easier to recognize it when you, when you go into folder, I just drop it for now in the progressions folder, and I would like you to do the same. So duplicate the original sequence. You can leave the name as is or you can rename it as you like creative progressions folder and drag the new sequence in that folder. Now I leave it there and I actually close the progressions folder. And once in a while, I duplicate my sequence and put it in there just for safety. As we mentioned before, we can create different sequences of the same video with different aspect ratios. And that's something I wanted to cover so you can actually create your social media videos and formats. Now, let's take the project and I'll see you in the next lecture with the same project open. 25. S.05_05: Creating sequences for social media: We are in Premier Pro with our project as of five lecture open, as I mentioned before, we can also create different sequences for different aspect ratios for the social media, for example, I want to show you two ways to do so. One is very simple. It's an automated feature of Premiere Pro. So for example, let's click on our main sequence here, and let's right-click on it. You will notice these title, auto reframe sequence. Click on that. And now Premier is asking us, perfect, I'm gonna duplicate your sequence. But what aspiration do you want me to use? Here? In target aspect ratio, we can actually choose that ratio. What do you want to do is to start with a one-to-one format, which is a squared format that you can use on Instagram posts, for example. So we click on one-to-one and we don't really care about the others for now. So click on Create. And on your project panel you have a new folder that says Auto reframed sequences. If you open that folder, you will see a new sequence with a one-to-one aspect ratio. So it keeps the same name, but with a different aspect ratio. And also the sequence is opened on your timeline and in your program monitor here you will see already the preview of the video with a square aspect ratio. And what Premier does here when it creates the new sequence, it will try to reframe your images as well. Sometimes it doesn't work very well because it takes lot of time for the project to actually render out or the images. And also most of the times it doesn't reframed the image as you wanted to. So I don't recommend to use this method to be honest. But it's an, it's a quick fix for short videos, I guess. And now you can go on your sequence and plate if you want to. So all the images have been adapted into a square format. You know what, I'm going to leave this folder here so you can always go back and have a look at it. But I'm going to close it. And I'm going to show you the manual way to create social media sequences. So we go back to our original one as of five lecture 2516 by nine, and we right-click on it. And this time I duplicated again. So I got to the top, I go to the top of the menu, duplicated. And here, manually I'm gonna change the aspect ratio in the title. So going up type one by one and press OK. And I duplicate it once more because I want to either different aspiration, which is the nine by 16. So again, right-click duplicate. And we're gonna create a vertical format, which is the 916, as we said. And click OK. What I'm gonna do now is going on the one-by-one sequence. Right click on it and go to sequence settings. And now this panel will pop up again, which is the one we've seen at the beginning when we created the sequences. And now during the video editing process, if we wanted to change the settings of the sequence, we can through this panel, we wanna go to video here in the video section. This is your frame size 1920 by 1080. But we want to create a one-to-one aspect ratio sequence, which is eventually 1080 by 1080. So the same amount of pixels. So in 1920, I'm going to actually change it to 1080. I'm gonna click OK. We're going to have a warning board saying, do you really want me to change the settings? And we click OK. Now let's go into timeline. Let's close the automated sequence and let's double-click in the project panel on the one we just created one-to-one. It's exactly the same as the one they're premier created for us. So we can play. This time. I want to show you how to reframe yourself that images. And to do so, I need you to open a new window. Let's go to window, let's go to Effect Controls. So let's click here. We have a new panel now woud that's new. We're going to we're actually going to cover it very soon. But for now, bear with me. I want to teach you just a quick thing. Let's go down to the timeline and click on the third clip here where we have the dome. Okay? I want you to click on the DOM. And as you can see, it's a bit out of frame, but we can adjust that position by going to the affect controlled spinal in motion. Here at the top, there's a position texts. If you hover your mouse on the first value here, 540, you see there's a couple of arrows around the finger, around the hand. So you want to click on the number, drag it to the right, and look at what's happening to your clip. So if you go to the left, the clip is going to the left and if you go to the right of the clip is moving to the right. So that's a perfect centered image for now, and I'm happy with that. And we can do the same for all the clips. So let's go, for example, to the clip number four on the timeline. Make sure you're on the timeline and move the playhead as well on the fourth clip. So we drag it. And let's say I'm not happy with this image. I go back to the effect controls panel and I drag the first value, right and left. Great. That's how you reframe your sequences for social media. And let's go back to the project panel. So right here on the left-hand side. And let's double-click on the nine by 16 sequence, which will appear in the timeline. But we didn't really change the settings here yet, so we need to do that. And again, we right-click on the sequence. We got to sequence settings. And this time we need to change the frame size again by ES to be narrow. The right amount of horizontal pixels in a, in a nine by 16 aspiration image with attained ATP vertical amount of pixels, It's actually 607.5. So we type 607.5 and click OK. We have the warning board and yes, we click OK. And now you have a nine by 16 aspiration sequence. And you can go down into your sequence, make sure you are in the right one on the timeline. Move the playhead. And here I am already out of frame. So I go back to the effect controls panel. Click on the first value of the position and adjusted their positions. And you can do so with all the other clips. Great stuff. I hope that's helpful for your social media and online content. Save the project. I will see you in the next lecture. Well done again. 26. S.05_06: Re-linking offline footage: Welcome to a new lecture, still IN, SO five lecture Project in premia. From here we're going to learn how to relink offline material. But what does that mean? So what's the offline material? Basically, when you import some media items inside the software, Premiere will create a link directly to a specific folder tree, as we mentioned before. Now if you break their links amount may be just moving some items out of the original folder. Premiere Pro will not be able to find them in this project. So five lecture, we import the, the material from the SO five lecture material. So if we go to finder, this is our folder tree and the Premiere Pro created a link to find the material in these folders. Let's go back to Premier Pro, and I show you a couple of things. If you want to know from inside Premiere where your clips are stored originally, you can go on any clips or let's go on in the a role folder inside the footage, right-click on the first clip, a role one, and go up here to properties. You will see a fight path in these new panel and he will tell you where your clip is actually stored. So as you can see, it's in my Premiere Pro 20-20 beginner course as of five sequences. So five lecture material and so on. The quick way to find out where your material is. And especially if you wanna see it straight away, you can right-click on it on any clip, even even from the project panel or the timeline. Ashley, Let's try from the project panel. We right-click on it and we go to reveal in Finder. Click on that. And the finder folder will open up my clip in there already as we are in find there. Now, let's move these clips after the folders and see what happens in Premier. So we are in a role folder inside the footage in section five. I'm going to I'm going to select both clip of the a role and drag them out inside the footage main folder. Perfect. I want to do the same also in the audience for this. So going the audio in the music folder and drag the soundtrack outside of the music folder. So inside the, the audio folder. Great. Now let's go back to Premier. So clicking the software. And oops, something happened here. So our material is offline. Basically we broke that link we talked about. You can read here, Premier is saying, hey, these three clips are offline, so how can I find them? And you can relocate your items in different ways. Let's click on the second item that premier is listing saw. So five lecture, a role or one. Just click on that and go to locate, click on the button. And now we want to browse in our finder for there where this clip has been moved on the left-hand side, you have the least avoid your drive in your computer. So. We're talking about the a role which has been moved into the footage folder now. So I need to click on the footage folder and that's my clip, a role one. I click on that and go to okay, to the OK button. Click OK. As you will notice, premier automatically found also the second clip of my a role folder. So that's great. It's actually helping me out. And I didn't want really to relieve the music from now from this panels. So for now, just click offline. As you can see, two clips have been linked by the music, hasn't been yet. So click offline for the music. And you will notice on your sequences, the music is still red. There's nothing there. And if you play the sequence, the music will not be there. If you also go in the project panel. There's a question mark in your icon because again, they're footages offline to reading the material from the project panel. You want to right-click on it and go down to link media. And now again, we want to locate it. Premier is showing us the original form where the soundtrack was, which is not there anymore. And we need to click on audio because our music as being moved, their perfect. And I'm going to click on the music on the soundtrack and click OK. Now my soundtrack is back online, but it's not finished because we need to move our items in Finder back where they were. So our footage would be offline again. Let's go back to Finder. And we are in the audio folder. I'm going to move the music which is now in the audio folder, again in the music folder. Perfect. And then I go back to footage. And my two a role clips be moved inside the a role folder. All done, let's go back to premiere and again, get ready for the worst call. I forgot to mention. Also look at your program monitor now, even their premiere is telling you, hey, the material is offline and is going to tell you in different languages. Now, I don't want to link the footage from this panel, so let's select all the clips. So what you wanna do is click on the first once, hold Shift, go to the last clip, and now you have everything selected. Click on offline. Oh, so we leave our material offline because I want to show you another couple of ways to reading the material. Let's go to the timeline this time and right-click on the clip, one, on the very first clip on their sequence, right click on it here there's an option called reveal Him project. Click on that. So if you click on that option, premier will show you directly the clip you selected on the timeline. So you could potentially removing the material from the project panel. Let's do that again. Rewrite, click on the a role. Number one. Go to Link media. And now we're going to locate the media again, which has been moved in a role folder. We click on a roll clip number one, click OK. And that's back, but still the Arab clip number two is offline, so we need to do that again, or we could have done it previously with their clip number one together. So right-click on it, link media and locate. I go back to the a raw folder, click on clip number two, and press OK. Now if we go back to the sequence, you will see the soundtrack is still offline. Right-click on the soundtrack. And you can link it directly from the sequence. Same procedure, just a different way to do it. So a link media and we located again. And now we go to the audio folder. Music. Double-click on the music and all the material is back online. Now you know how to relink offline material. Don't forget the quiz and the exercise and the exercise review. I will see you in the next section. 27. S.05_08: Exercise Review: Exercise four, Section five. It's good fun to actually put what we've learned into practice. So I'm gonna read the exercise a key points I brought for you. What I would like you to do is to create a new project and call it s or five exercise. And of course, you need to save this project inside the relative folder that you are going to create the API project folder inside the S R5 exercise main folder. Again, if you don't remember, check the previous exercises structure, then I would like you to import the material actually from lecture as 04. So it was the other travel blogs in the Philippines. So I would like you to use them material for this exercise. Once again, SO4 lecture slash material, that's where you will find the media items for this project. Do not forget to set up your workspace, the custom workspace you created. So your name underscore one monitor, underscore basic editing. I want you to create basically a meanie vlog, mini troubled blog. And this is a video reference of what you will be achieving. I was a comfort is a 100 years old K23. And then I was asking to someone but we couldn't really communicate. So I explored and that's where I find myself right now. Guys, if you like what you see, let's explore the world up to see you in my next video. Thank you and God bless. So I want you to create a new sequence and name it. We saw how to name sequences before. The duration of this video will be 30 seconds. So that's something you will find out. But I'm telling you already, if you want to put the duration of the video inside the name already to create the new sequence. You can just drag and drop the first two a role clips inside the timeline, exactly as we did in the lectures before. Bear in mind the editor. This time will not be as linear as before, which means the clips will not be in the right order. So that's a good thing because you can start actually editing and create a story yourself. So make sure you double check the preview video and match the position of the clips on the timeline. You know what I'm talking about when you actually see the eclipse. Then I want you to create other two sequences with the other two methods we have seen before, one with common n and one by dragging one clip inside the new item icon in the project panel. Once you've done, delete those two sequences with trash bin, we've seen after that, duplicate the main sequence left in the project. And I want you to create a progressions folder. You want to drag the progressions folder inside the edits folder and drag the new sequence inside the progressions folder to then again, duplicate the main sequence. And I want you to hear to rename the two sequences with the two new aspect ratio. So we need to create one with a one by one aspect ratio, and the second one with a nine by 16 aspect ratio. So I want you to go and the sequences settings and change the actual ASP or ratio of the sequences. Then you will have to reframe your images inside the sequences with the effect controls panels. You will have to open up their panels and remember to go in the position values and change the horizontal position at the end, I'm asking you to move some footage from the original finder folders so your media will appear off line inside Premiere Pro. At that point, go back to the software, relink your media as we've seen before again. And to finish off, repeat the media where he was originally a relink it again inside Premiere Pro, so everything will match as we left it, hit Command S to save the project, and that's all. And I'll see you in the review. 28. S.05_08: Exercise Review: Did you manage to do everything in the exercise? I really hope so. We're gonna check it together now, this is the exercise review of section five. Let's go. I'm gonna check the notes as well for the exercise, so we do everything correctly, hopefully. So we had to create a new project. And first of all, I'm going to open my structure folder here. I'm going in to premiere. And I create a new project and I call it the name was S 4-5 underscore exercise. Great. Let's check all the settings as always. That's good. I see that. That's something that changed saw bear in mind guys. Always double-check the scratch disks. I don't know why that changed actually, but I'm going to select same as project for all of them. Perfect. Ok. And then the name is correct as of five exercise. And I'm gonna browse where to save it. So we want to go in our structure folder, section five, exercise. And here I need to create my API project folder. Oops, always some mistakes. Create and choose. Press. Okay, um, now inside my project, my workspace is completely broken because I was working on something else. So I'm going in my preset, mama one monitor, basic editing and our resetting it anyway, just in case. Great stuff. I'm going to import the material now from lecture four. So, SO4, lecture I double-click in the project panel. Got to again, the same for the tree, but this time in section four, lecture material, and I'm going to select the three folders. I need all your footage and photos. Great. I check my folders if everything is in there. And of course I'm missing again, they're subfolder, so I create some bins with common BY a couple of them, and I drag them inside the audio folder. I call one music, and I drag the music in there. And the other one, I call it as set facts, and I drag the sun effect inside. Now, everything should be fine in terms of media before it creates sequences, I'm going to double-check my preview video, which is there for me, you should find these videos in the exercise explanation does a preview there. Let's play. So one clip of me talking. That's okay. Then we have a drone shot. I'm just gonna fast-forward. Then we have a second drawing shot, and then we have me talking again. So for clips. But in a different order compared to what we've done in SO4 lecture. We add the two speaking clips at the beginning and then the two B-roll. So now we have one speaking to B-roll clips and then speaking again saw a role, B-roll, B-roll, a role, right? If you make sense, so you can start getting used to editing as well. So I drag the first a role clip inside my sequence, inside my timeline, sorry, to create a sequence. And now I have it right there. I'm gonna change the name of the sequence into exercise this time because we are in the exercise section five, so 05 exert size. And I'm going to delete all this stuff, is going to be a 30 seconds sequence. And the aspect ratio is 16 by nine. I'm going to adjust my workspace, create a new bin for the edits. And I'm going to drag my edit inside. That been righty. Now let's finish the edit. But one more thing before I create the edit, I'm going to double check the Eclipse. So if you remember, we can double-click on each item here and have a preview in the source monitor. So make sure that the order of the eclipse matches the order of my Video Preview. So that's the first clip where I talk, I go back to the project panel, click on the second one. That's the second talking part here, which is actually at the end of the video. So I need to remember that. Go TO project panel again, double-click on the BI roles. This my first drone shot so that my second clip in the edit. This my secondary shot, which is actually the third clip. So what I understand is I have a first talking shot here on the timeline. Then I have the two B-roll shots. I'll drag them down. And then and then I have the last talking shot. Makes sure the video part of the clip is on v1 and the audio part of the clip is on A1. You can just drag it up and down on, on the timeline. Then we're missing the music. Up here. I'll drag it into A2. And as you can see, the duration is perfect. And then I go to the sound effects drug the sound effect as well. In a three. You can play their blog. That was over a 100 years old, cancer-free. And then I just fast forward again. And now the elite of this clips matches with the Video Preview I left in the exercise description above. What we have to do now is to create two other sequences in the other two ways we have seen in the lectures. And one was by pressing comment and I just go inside the edit folder, common Dan. And yes, we went in the RE preset. So that was good for me. 25 frames per second grade stuff. I could drag a clip in there just to double-check if the settings are correct? Yes. No warning boards appeared so the settings of the sequence match the settings of my clips. The third way to create a sequence we have seen was to drug one clip inside a new item icon in the project panel. So I do so. And here we got your other sequence with a different name because of course it took the name of the clip. Now we have three sequences. I'm going to delete those two last sequences. We don't need it. And I go down here in the clear delete bin. Dan. Okay, a bit of practice in deleting the sequences. We now have to duplicate the original sequence. So we go on the sequence, right-click on it and got to duplicate. And I'm gonna leave that name, but I'm gonna create a progressions folder. That's what I was supposed to do. So again, I stay in edit, create a new bin, and call it progressions. And I drag my new sequence inside the progressions folder and I close it. Now, I need to create the sequences for the social media. So the one-by-one aspiration, the nine by 16, when I do a right-click on the main sequence again, duplicated a couple of times actually. And 12. And I'm going to change the names into one by one. And the next is going to be nine by 16. Now I need to change the actual settings of the sequences. You can do that by right-clicking on the new sequence and go to sequence settings. And here we are going to have the same amount of pixels in above the sizes. So 1080 by 1080. And click OK. reframe it. I'm just opening the sequences so I can see them in the timeline. That's my one-to-one sequence. I'm going to open the nine by 16, which is still 16 by nine. And now ongoing the project panel and change it, change the sequence settings again. And I go to this time we said it was 607.5. If I'm not wrong, by 1080, Click on OK. Warning again. Yes, we have a sequence now ready for Instagram Stories. Last thing to do is to adjust the position of the images inside the frames through the effect controls panel. So we need to open that panel up. We go to window down to effect controls. That's our panel. And now I going my first sequence, go to clip one. I just double-check if they actually okay, you know, this clip is fine. That's fine. This one could be reframed a little and move the character or the subject to the left. I'll make sure I have the clip selected on the timeline clip for. Then I go to the effect controls panels, motion, position, and drag to the left the first value. And I move this object in the center. Great. Well, now go to the nine by 16 aspect ratio sequence and do the same. I check that every clip is a correctly framed. So go to clip one. That's alright. Yeah, it works. This one is not really centered. Their house ER, is cut out so I can move it to the right. And I I select clip two and go to motion again position. Move it to the right, and that's probably a better framing. Clip free. There could probably be moved to the right as well. Tiny bit to the left maybe there. And click number four. That's a bit offset as well. So I move it to the right a tiny bit. Let's explore the world and I hope to see you next video. Great staff. The last thing to do is to put some media offline. So we go in Finder. And I'm gonna go to section four, lecture material. And I'm going to move the foot edge there, a role food edge out of the folder. So putting in the main folder here and go back to premiere 4Ps material offline. I just leave it off. I live it offline for now because I want to link it from inside per anywhere. I go to the project panel, I can see my a role food allergies offline. So I select both clip, right-click on it and go to Link media located. And now, of course I'm gonna browse where my footage has been moved, which is here in the footage folder. Click on one and click on OK. And my food edge is back online. What I have to do now is to move it back where he was, so he would be offline again. In Finder. I got two Section four Lecture material footage, and I'm gonna move that a rod clips inside the a role folder. Go back to Premier. It's offline again, of course. And I located from this window, this time, it's easier. I go to a role and select the clip and the material is ready to go. I hope you did. Everything is Aidid or more or less on the same lines. Don't forget to save the project. I'll see you in the next section and take arrest. See you there. 29. S.06_01: What’s the Timeline?: When you are not high-Z going, how is the course going? Very mind guys, you are building foundations of a huge software. So you really are doing well. And also some of you are probably building foundations for a career in video editing. I hope so. Today we're going to start section seeks about timeline and tools. I'm going to skip some steps from today. I'm not going to tell you how to create a project and where to save it. So I'm just gonna do it and I hope you can do that on your own. I'm just going to create a new project anyway. Section six. Lecture settings are okay. I'm gonna browse usual structure lecture. Perfect. And I want you to import the material from section six lecture as well. Let's import the media items from SF6 lecture material footage. First of all, today I want to check my footage and see what's going on in this section six, open up all the folders. I and I checked I check the A-Rod first. What makes two of us really excited about what we do is, okay, actually I'm going to move the Source panel today next to the program panel because I want to see either the project panel and the source monitor Ls, same time. Cake. Second clip, third, a clip. That's a laugh. Then it goes some B-roll material and some music apparently saw an audio clip and the relative video clip. Today I wanted to cover the timeline and the tools these two subjects go hand in hand during the video editing process. That's why we're going to cover them together. Again, we're going to do some basic editing. So the fun began, and now let's carry on with this material from an interview I had with these two musical theatre composers from the West End in London. This is the video we're going to create today. What makes two of us really excited about what we do is cake. It's going to be a fruitful lecture. So if you need a coffee, grab it Now, today we're gonna talk about the timeline. The timeline, as you mentioned at the beginning of the course, is a panel. This is our panel timeline, but it's not just the panel. When we drag a sequence inside the timeline, that becomes our pantograph. It's the music sheet where we compose an edit, our nodes, our music. It becomes our can Stein's surgery table where we Tools finance, we can cut, end stitch clips together and bring our beautiful creation to life. Mourning issues. Let's create a sequence then and today to create a sequence, of course, I'm gonna check my metadata display here, and I know my frame rate is 25 frames per second. And you can also scroll down in the metadata display through this scroll bar. I go to the right and check my resolution. And there it is, 1920 by 1080 P. So full HD clips at 25 frames per second. But today to create a sequence, I actually take clip 12 from the Arab folder, select them both and drag them inside the new item. I'm icon. And I have a new sequence now in the timeline. And the first thing I'm going to notice are these stripes on the timeline. These are called tracks and they act like layers. Think about lasagna for example. That's a good example to start the day with. We have different layers in the lasagna. We've got the best Shamil, the meat, the parmesan, the Bessemer, the me poem is on and so on. With this beautiful image in your mind. Now, I ask you to save the project and keep it open for the next lecture, where we'll dig deeper about the trucks. 30. S.06_02: The timeline’s tracks: In the previous video, I left you with a project S 06 lecture open and we're going to carry on from there. We were talking about the trucks on the timeline that tracks are like layers. We created a new sequence and the sequence was created inside our a road folder. I'm going to tie up my folders and I create a new bin, common be edits. And I drag my sequence inside my new folder and I renamed my sequence as well as 0.5V lecture. The video is around 20 seconds. So I put my duration and also my aspect ratio, which is 16 by nine. Let's go back to the timeline when we create a sequence in the way we did. So by dragging a cliff inside the new item icon, the sequence counts with three different video trucks, V1, V2, V3. And for audio trucks, we have a1, a2, a3, and a master audio track. The master audio track represents the audio of the overall video. I want you to do one thing. Click on the timeline panel and press on your keyboard the key plus a couple of times 1, two, actually three times. C, increasing the size of your clips. And we're going to cover this a bit later in the section. And when we created the sequence dragging the clips inside the new item icon, the video clip have been added to the track v1 and the audio clip is been added to the audio track A1. That's something we've seen before as well. So we have two different decks on the timeline. The upper deck represents the video part of our clip, and the lower deck represents the audio part of our clips. Let's play the sequence. We're already at the beginning of the timeline. Press the bar, press the spacebar on your keyboard. What makes the two of us really excited about what we do is cake. Arcade, as Premier is suggesting, is always a good thing to start our videos from the truck V1 and A1, and then adding other clips on top of that saw on v2, v3 and so on. The reason to do so is because the higher truck as priority in terms of visibility. So the clip which is on the higher truck is actually the clip you're going to see. I want to show you what I mean with a practical example. Let's go to clip number three from the a role folder and drag it on v2 in the timeline. So the video track number two at the end of our clips. Now, let's take the same clip on the timeline and bring it back on top of the clip to on track one. And now let's play the sequence from the beginning you can press enter. What makes the two of us really excited about what we do is what's happening here. As I mentioned, the higher truck as the priority in terms of visibility. So the second clip on track one now is not visible anymore because we covered it with the new clip on truck to if you move the play head on the timeline. You can see as soon as we reach clip to, that's the clip you're going to see in the program monitor. But you might have noticed that the same principle doesn't apply to the audio. If we play the sequence may be from here from second to 22. And you can type the time code here to 20 to press on the spacebar. Can do is I can now hear the audio from both clips on track one and track two. That means that on the audio trucks, we don't have any priority as we have in the video trucks. And you need to keep that in mind when you're editing. If you don't need the audio from a clip, you need to delete it completely or muted. I want to show you this feature of the trucks. Now, Let's go to the music folder in the project panel. These two clips are related by one Is the video part of the clip. You will remember the icons and one is the audio part of the clip. We're gonna take the audio and tried to drag it in the timeline on a video truck. Nothing is happening, we are not allowed. So let's take them to the audio tracks in a three, the third truck at the end of our videos so far, you're gonna snap in there. So it should be at five seconds, 11 frames. And let's try to do the same with the video part of the same clip. Go back to project power, take the video and drag it into an audio track. Nothing is happening, we are not allowed. So we're going to bring this clip on V3. And here I want to introduce the snap option of the timeline. Before we do it, I'm going to explain what's going to happen when we press S on the keyboard, we're going to activate this snap tool. The snap tool allow us to literally is not a clip to another. It's like a magnet. And you can also activate it through these icon on the timeline. You can read snap in timeline, tried to drag the video part of the music leap back and forth and you will see it's really attracted like a magnet by the other clips, then he will snap. Now if you press S on the keyboard, the clip will appear more smooth on the timeline, you can drag it back and forth without any snapping. So we go back to this map tool s, And you can always double-check if there's not told his active by these icon. Now it's active and I'll make sure it matches the duration of the same clips audio part. And now I'm going to introduce you the linking tool. The two parts, video and audio, are now separated. I want to link them together. So whenever I move the video clip, the audio clip also moves together with the audio one. And to do so, I'm going to select them both. You can just hold your mouse on the timeline and drag it down so that you can select them both. Or you can click on the video part, hold shift, and select the audio part. And now you can either press comment L or right-click on the clips and go to Link. And now the clips are linked. So I click on the timeline and when they move the video part, also the audio track will follow. And I'm going to snap it again where he was never going to see how to create new trucks on the timeline, we wanna go to the dropdown menu sequence. At the bottom of the menu, add trucks. And we can add as many tracks as we wanted at the same time before. Now we're gonna add only one video truck. So we go in video truck at one. I don't want any audio truck, so I'm going to click on the number one here, press 0, and click OK. And now if you go to the timeline, we have V4 and new video truck. Another way to create trucks is by going on the timeline. In this gray area, we right-click anywhere in this area, also on a truck here if you wanted to. And you can now add a truck and we're going to add another video tracks. So click on that truck and we have V5. So we now have five video tracks. Before we carry on with the elite are want to move this clip on v2 we added that's not the right position. And here we can move to clips at the same time. So we go on the clip on v2, hold shift on the keyboard and also click on the clip on V3. And now we're going to move them towards the right until this map again. So you should have clip 3123 starting from 5 second 06, and the clip for starting from second 616, we now have five video tracks. As we said, I want you to go to the time court and type nine. So 0924. Make sure you are at the end of your time gods. So 0-9 is seconds. 24, the frames. Okay, I go to the project panel, take the three B-roll clips, so select them all, drag them on the timeline on the V5 trucks or video five track, makes sure they snap to their player head at the time code we just typed in. And your, your three clips should end with the end of the clip on V3 with the music clip. Now we can play the old video from scratch. What makes the two of us really excited about what we do is cake. Great. That's a short interview, could be a teaser for the interview actually that you can use on social media. On the timeline, we now have a bit of a mess. There are too many trucks for the number of clips we have and I'm gonna show you how to delete trucks as well. Also bear in mind that we don't need a truck for each clip, but we're going to see that through the video editing process a bit later. Well, for example, my a role is now split into track one and track two. And I want you to bring the clip on truck to on track one as well because that's part of the same footage that a role that main footage of the video. We're just going to click on the video part of the clip, drag it to V1, and we do the same with the audio part, drag it to a one. Let's delete some tracks now and you'll see what happens to delete trucks. We can go to sequence down again at the bottom of the menu, delete trucks. This time, you have a box. You can tick delete video trucks or delete audio tracks and it will ask you, what do you want to delete, how many trucks and which one? And you can select individual trucks or you can just say delete every empty trucks I have on my timeline. And that's what we're gonna do. We're gonna tick on delete video trucks, all of them, and also all my empty audio trucks. Click OK and see what happens on the timeline. The sequence is now tidy and we didn't have any extra empty trucks. As we know what the timeline and the trucks are, we're gonna carry on with this lecture and never break if you have too. 31. S.06_03: Customising the timeline’s tracks: We're still talking about timeline and trucks, and we still have our project as 06 lecture open. I want to show you how to customize your trucks. First of all, I want to show you how to customize the size of your trucks to extend or narrow down your timeline and your clips, you can either press on your keyboard the C0 plus or minus. So we're gonna go on the timeline and press plus. And that's what we've done before. If you press minus, you decrease the size of what you're going to see in the timeline. Plus, minus. Very handy when you're editing, you can take the same action by going to the scroll bar down here at the bottom of the timeline. You will see these two dots, one on the left, one on the right-hand side of the bar, and just click on it and drag it. And the size of the timeline, it's changing again. To see all the clips you have on the timeline. You are going to press on your keyboard that backward slash. And the timeline will now adjust to the ration of the old clips to increase the height of each truck. We wanna go here where we have the v1, v2, and v3 titles. And as you hover the mouse, when you see this icon changing, and you have the two arrows, one pointing up, a one pointing down. That means we are now on the lines that separate the trucks. We wanna go over those lines, click on it, hold it, and drag it up. And we have now increased the size of video track number three. What's happening on the timeline also, when the truck is higher, you can see a preview of the clip here on the actual clips. So there's a frame showing you what the clip is about. I'm gonna go in this area in the audio tracks and I'm going to increase the height of the first audio track and drag this down. And now the first audio track is beaker. We have other shortcuts to change the size of the tracks. If you press comment and plus, this action will increase the height. Avoid the video tracks at the same time. Let's try that again. See all the video tracks are getting bigger and bigger together. And if we press common minus on your keyboard, we're going to decrease the height of all the video tracks at the same time. If instead we use old plus, It's going to happen the same, but with the audio tracks. So we press old minus, old plus. Just play around with these comments. But just to confuse your ideas, I'm going to give you a few more. This is one of the shortcuts I use the most when I do video editing. If you press shift minus, then we're going to set the minimum height of all the trucks. And if we press Shift plus, we're gonna increase all the trucks of the same amount and just changing the size of their timeline panel. I'll do it again. Shift minus. All my tracks are now at the minimum height. Shift plus. That's what we're going to achieve. Press the plus button a few times, like three times 123. We should see really long clips on the timeline. Now, if you press H on your keyboard, that's the hand tool. And you will see a hand popping up on your timeline. Now you can move in the timeline. You just scroll through the timeline and you can go back and forth and go to the clip you need. You will find this tool in the tool spinal off-course right here on the left-hand side, hand Haidt Perez v again. And we're going to switch to the selection tool, which is also Year in the Tools Panel, the very first one I want to show you now how to change the name of your trucks. You can actually name the trucks. You see here at the beginning of the timeline, video three video to video one. These are, this is actually the name of the track and we can change it. One thing to notice is when your trucks are narrowed down, you won't be able to see their name anymore. So you need to make sure you have enough height to see the title and then you can change it to change the name of a truck. We gone truck three, for example, v3. We right-click on it and we click on Rename. And we're going to rename this B row. Because our clips on track three are part of the B-roll footage. Then we got to video two. That was our music and we rename it. So right-click on the name, rename, and we're going to call it music on video one, right-click, Rename it, and that's the role, the main part of the video, what tells the story? We did the same thing with the audio trucks on A1. We have the a roll audio. And that's what we do again, right-click Rename a row in the truck a2. We also have the music right-click, and we call music. These are very useful actions for your workflow. So make sure you remember them, write them down as well. If you have to just take notes, save the project, keep it open. I see in the next video. 32. S.06_04: Timeline’s extra features: I hope you took a break. We're still in the project S or six lecture. I want to show you another few features of the timeline and the tracks. We'll start with the option of muting and blinding tracks. Now here by mistake, unmuted at tracker rating. What does that mean? On each track will have two buttons, M and S, and you can read mute truck or solar truck. And that's exactly what these buttons do. Let's go to the beginning of the sequence. So with the courser, we just put our player had at the beginning of the sequence. Now on the first audio track, a one click on M mute truck and try to play the sequence. Does not audio. We just muted the audio of truck one, and we can do so also on track two, we can actually switch. So we do, we antique on track one and we click it on track to talking about what we do is so now we have no music coming in. The solar baton is basically the opposite. Saw. It plays only that truck. And let's click on a one on the S button. Let's go back to the beginning of the sequence. What makes two of us? And that's the only audio we will hear throughout the timeline. Now if we go here where we have a two, for example, we don't hear anything. The same thing more or less happens in the video tracks. We have these AI button that's to blind the clips on that track. So let's go back again at the beginning of the sequence. Let's go to V1 truck and click on the i. Now we have a slash on the eye and also the icon becomes blue. That means we are not able to see what's on this truck anymore. And you can actually see it on the program panel. Nothing is there. It's a black frame. You can play it as well, but makes the two of us, you can hear the audio but you can't see any visual. But when we reach truck to now we can still see what's happening on truck to truck three and so on. The next thing I want to show you is the scrubbing option of the OEO. And you will see what I mean right now. So on your keyboard, beyond the timeline, click on the timeline and know your keyboard, press Shift and S. Now, if you take the playhead on the timeline and you scroll through the timeline, you will not hear any sound, right? But press it again. So Shift S and then take your player had again. Now you can hear your audio as you scroll through the timeline. So sometimes you want to hear the audio, sometimes you don't, and that's a good way to switch. We can also add markers on the timeline with their key on your keyboard. M markers are good to set positions on the timeline, maybe where we want to add certain clips. For example, I want to mark the starting point of the B-roll clips here. So I go to the beginning of my B-roll with the arrow keys. Anyway, on your keyboard, you can go back and forth on the timeline of one frame at a time. So try that, go left, for example, 123, these are all frames and we go back to the right, 123. So this is the beginning of my B-roll clips. And here I want to add a marker. So what I do, I click on the timeline in the gray area, press M on the keyboard. And now you will see this marker on the timeline. You can also name the markers. If you right-click on the head of the marker, right-click on it and you go to Edit marker. You can change the color of the marker. Let's put blue for example. And I also want to change the name. And I'm going to say this is my marker for the Bureau. When my B-roll is starting, I click OK. And whenever I hit over the head of the marker, I can now see that the name of it as well. What's, it's a description of the marker basically. I can also add a marker to a specific clip. And again, that could help me with the editing. Let's type in the timecard, a random time, God, let's go to 1515 seconds 00. And the playhead is moving there. I click on the clip on v2, the music clip, and press M on the keyboard. We now have a marker on the clip and not on the timeline. And that could be useful because if I want to move a clip at a certain time on the timeline, I have now addMarker on the timeline, but also on my clip, and I can match them. So I can literally just grab clip two and drag it backwards until my two markers match. Very useful for video editing. I'm going to cancel that. So common Zed and I move my clipper back. That's how you add markers to your timeline and to your clips. Now how do we delete a Marcu from the timeline and from the clips, there's two different processes. So if we want to delete one from the timeline and let's create a new one. Let's go to second F5 on the timeline for now. And make sure you select the timeline and the clip. So we click on the timeline and we're going to press M on the keyboard. We just created a new marker. To delete a single marker. We right-click on it right here at the top of the timeline and we go down to clear selected marker. So let's click on that and the marker is gone. I'm going to undo common zed. The marker is back. And let's say I want to delete all the markers on the timeline. I right-click here wherever on top of the timeline and go down to clear all markers. All the markers are gone. I'm going to undo again because I want to keep the original. So I'm going to right-click on the very, only the first marker, and I'm going to clear the selected marker. Great, now let's try on the clip. So let's create a new market on the clip. Still a second five, we want to click on the clip and press M on the keyboard. We have a new marker, as you can see here in the audio and video part of the clip. But there's no options. So if I right-click on it, there's no option to delete the marker from the timeline. What we wanna do is to double-click on the clip. It will open up in the Source panel, and here it is, that's our marker. What do we wanna do is to click on the marker we want, right-click on it and exactly the same. We just click on clear selected marker or clear or the markers of their specific clip. So let's delete it for now. Let's go to clear selected marker. It's gone now. But I want to show you something if we go to this clip, which is the S or five lecture music, if you remember, we have linked these two clips, the audio and the video, we have linked them. And in this case, if we double-click on the clip, it will open up in the Source panel, but we will not be able to actually see the markers. And that's because we have linked the two parts of the clip later in the process. So if we want to delete these markers, we need to unlink them again. So I selected a press common del, and then I double-click on the video or the audio track. I select the video truck. And now we can see the marker here in the Source panel. I'm going to do once again. And that's how you delete markers from the timeline and from the clips. I now want to show you how to loop a video. To loop a video, we got this time to the program panel in the settings icon. Click on the settings icon here on the tool. And let's go down to look at the middle of the menu. Click on it. Now let's go to the timeline again. We forgot something. We still have that track one blinded. So let's click on the I again and click on enter. What makes two of us really excited about what we do is cake. What makes the two of us, what happened? Now the timeline is playing in a loop. An instance where I use looping is when I want to add effects to the audio. And in my loop, usually I include one clip without effect, one clip with the effect. So by looping, I can see the difference in the two clips, one with the effect and one with the other. And I can keep playing with the values of their fact until I'm happy. Another useful feature of the Timeline is called the truck targeting. If you go here on the left-hand side of the tracks, you will see these blue buttons. We can undo the buttons so we just click on it and everything will become gray. This buttons are useful for certain action that we want to take on the trucks and the timeline only. And I show you what I mean. I'm going to click in the main area of the Timeline. And now something I didn't mention with the arrows keys, the up and down arrows keys on your keyboard. You can scroll through the clips basically. So if we want to go backwards, you press the up arrow. If you wanna go forward, you press the down arrow and you can scroll through your clips. Every time you press one of the keys. Your play head will move to the beginning of each clip, which are targeted on V1. So try that, go to clip number three. So this is 123. Now, as the truck V2 is not targeted, so we don't have the blue button on it. When I press the down key, my player had we got to the end of the video directly. But I go back now. I press the up arrow once again. And I got to the end of clip three. Now I'm going to press the button here on V3. So I'm going to target truck three as well. And when I press the down arrow on the keyboard, now my scrolling is stopping at the beginning of the first clip on truck three as well. We can also click on v2 if we instead unselect All of them. Let's try that. Now, when we scroll through the clips, the playhead will actually scroll through each clip on every track on the timeline. This is one use of the truck targeting. It's also useful when we want to copy and paste clips on the timeline. Now they all the buttons are unselected. Let's click on V3 for the video and a2 for the audio. Now I'm gonna take the clip one here on the timeline. Press command C to copy a clip. And then I go, let's say here adds let's type on the time court the number 6. Second. Press OK. Now oppress comment V to paste my clip on the timeline. Our clip was pasted with the video part on V3 and the audio part of the clip on a2. Cuz we targeted these two tracks. If we don't target any truck, I unselect all of them. And I'm gonna paste again the clip. Now the clip automatically will be pasted on the first track of the timeline. So the lowest number of the trucks, I'm gonna go back a couple of steps, so our editor will be the same. I go back to my original time code. The last thing I want to show you is to how enable or disable a clip on the timeline. Let's go into clip number one. And we right-click on it and will find this option called enable. So let's say for instance, you want to disable, you don't want to see this clip for any reason at any time on the timeline. You just click there. And you'd clip will still be on the timeline, but it will not be visible and also the audio will not play. Literally, you are deactivating the clip for a certain amount of time until you enable it back, and you right-click on it again. And you go to enable. And now your clip will play and sound find really excited about. Last feature for this video is how to lock the trucks. Very useful. Again, go to the timeline. Next to each track, you will see a lock pad icon. And that's how you lock attract. So let's log them all from V3 one. And again the icons and becomes blue and the locked but is actually closed now, that's logged them all or even the audio tracks. And now try to click on a clip or drag anything. Nothing is happening. And that's a safety net, specially when you import files, sometimes you drop your face inside, inside a sequence and you're gonna mess up the whole edit. So whenever you finish an edit, I recommend to lock all the tracks. There are other features of the timeline and the trucks we will explore in the next sections, there are source patching icons, toggles icons, and there's a microphone here as well for voiceover recording. And again, this is part of a different section. Now save the project and close it. And an exercise and a quiz are waiting for you. If you have a minute, I would appreciate if you could leave an initial review of the course and if feedback anything you don't like or anything you are actually enjoying. So please go to the review section and leave a comment. There. 33. SS.06_05: Exercise description: Welcome to the exercise of section six. We're going to work on more material from the interview with the musical theater composers, create a new project and name it as 06 exercise. You should know now where to save it in the S 06 exercise folder. And also important the material from the same folder as 06 exercise. This is the video you will put together. And we met in the dressing room where having a laugh about, about musicals and musical theatre and kind of sparked, well, what's turning out to be a lifelong friendship? We have a little mantra. We need to, we need, we need to be playful. We loved the work. It's a joy to be able to create new things and to write new things. And so that joyfulness is at the heart of everything we do. Once you are in Premier Pro, check the metadata of your clips and create a new sequence, rename your sequence, and the duration of the video will be 32 seconds. So that's something you want to include in the name of the sequence following the Video Preview I just showed you, you need to recreate the same Edit. Bear in mind that the clip music, again as separate video and audio. This time it will play from the beginning until the end of the video, so it will cover the old duration. The video. Also, I want you to link the audio and the video part of the music clip together, as we've seen in the previous lectures, you will have to split there a role clips on different tracks this time. And that will be the challenge for you in these exercise. So I lived that completely to you to figure out. Then I want you to create a truck number four and add the B-roll clips. If you have any empty truck on the timeline, I want you to delete it, then rename or the remaining tracks on the timeline according to their footage, increases the height of all the trucks on the timeline by pressing common plus loop the sequence and play the sequence to check the everything is playing fine. As a final thing, I want you to lock all the trucks, save the project, and I'll see you in the exercise review. 34. S.06_06: Exercise review: Woo, exercise review for section six. Let's go. I open Premiere Pro, create a new project and I had to call it as 06 exercise. I'm going to check the settings, are good there and interchange my scratch disks. Browse where to save it, which is on my usual folder Xist size in section six, create my API project folder, project, budget, project folder, create and save it in there and click OK. Good stuff. I'm gonna import my media. Double-click in the project panel exercise material or the footage in there. And the first thing I'm gonna do is to double-check the preview video. I left in the exercise description. Just a reference to see what I have to do in the dressing room, like having a laugh about, about musicals and musical theatre. And so it kind of sparked, Wow, what's turning out to be a lifelong friendships? We have a little mantra that we need our firm, we need to have, we need to be playful. We loved the work. It's a joy to be able to create new things and to write new thing. And that's the end of the video. Grade back to premiere. First of all, I'm going to create a sequence by dragging the first arrow clip in the new item icon. All done, I have a new sequence inside there, a role folder, so I don't want it there. I'm going to click in the project panel outside of any other folder. And I'm going to create the edits folder and drag my sequencing there and rename my sequence to S or six exercise. The duration of the video we said in the exercise description was 32 seconds. And I know the aspect ratio is 16 by nine. Good start. I now know how to adjust the size of my trucks and my clips on the timeline plus and minus. And I've got my first a role clip on their timeline already on V one. I am going to play and see what's going on in the dressing room where having a laugh about, about musicals and musical theatre. Okay. We just need to figure out the edit now. And I mentioned in the exercise description that the music leap as the duration of the old video. So that's a big tip. And what I'm gonna do, I just increase the size of the timeline and little, and now I'm going to drag the music down to a two. To the truck a2. And this is going to be the duration of the old video. And I do the same with the video part of the same clip. So take the clip here from the music folder, drag it to v2. We buy in the dressing room where having allowed. But we have a problem because our reference video actually starts with Ali talking and we don't see early in our sequence. So what do we have to do is to bring the clip on V1 to V3 above truck to and now we see all the talking. And let's keep adding the a road clips for now. And let's have a look at the video. So we have this kind of sparks, lifelong friendships. After the piano, we have the music going up at that's against big tip. I can check the wave here in the audio clip. There all the waves are going up because the music is going up and then going down again because the guys start talking. And that's where I put my second a role clip and drag it down to V1 and A1 as well. More or less, they're around 15 seconds. And also the clip three from the a row. Right? After that. I got to the end of the sequence with plus, with the key plus, so I can increase the size of the clips. I see that the clips on truck to truck one don't really match and probably they should. So what I do, I select the last two clips of the a role and bring them back a tiny bit to snap to the end of the music clip. And now you want to have the second a role clips starting at 1505. Let's see what's happening in the reference video. And also we, we can also see that Ali is talking at the end of the video. And for now we don't have, we only have only singing. So we want to drug a role free to truck v3. And that makes sense again. I'm going to play the sequence. We were in the dressing room where having allow about, about musicals and musical theatre. And kind of spark. Just fast-forward through object. Okay, we're only missing the B-roll clips. And what I do, I just drag them all inside a new truck. You can see all the tracks are taken now in the timeline. So I take them all and you can create a new truck by dragging them, by dragging the clips on a new truck literally, and I drop it there for now. Go back to my reference video and check where the Bureau clips come in. So the first one, as you can see, is around at a 4 second, we have the camera coming inside the room. Then we have the piano clip and the guys singing together. So 3B role clips, one after the other from second 34. So I go to the second floor there more or less. And also bear in mind, you can move on the timeline with the arrow keys on your keyboard. If you go left, you can go frame by frame back and forth. So go to secondary, drag my first three B-roll clips to second for and have a look at what happens now about, about musicals and musical theater Sparks. Well, what's turning out to be a lifelong friendships? We have a little mantra. Great. Also something that could help is to check if the lip sync is matching the audio. And I think it does they actually singing in sync. Time flies you had mouth is, otherwise you couldn't move your clips back and forth. Maybe some frames. If that doesn't. Yeah, that would be better. See moving the clips a couple of frames could help with the lip-sync. Great. I'm only missing the position of the fourth clip of the bureau. And I'm gonna check which one that is. So it's all his hands. And in the reference video is starts from at 18, at second 1818 and something. So let's put it there. Let's go to second 18. More or less there. It doesn't have to be exactly like the reference video by it, that it does need to make sense and the flow. And that we need our farm, we need, we need to be playful. We love the work. And that makes sense. So that's my edit. And as you can see, we had to split the a road clips into two different tracks, as we mentioned in the exercise description, the next thing I was asking to do was to link the video and the audio of the music clip. I'm going to select both parts and press comment elk, a double-check if they are linked. So click on the timeline, click on the video, on the music video, and yep, they're linked together. Nice. Then we had to delete any empty trucks. And to do so I go to sequence, delete tracks at the bottom of the menu, and click on both boxes here just in case, delete all empty tracks. And the a3 in the audit trucks disappeared because that was empty and now have to rename the trucks. And to do so, I increase the height of the trucks. So it shift plus on your keyboard. And awesome going to increase the size of the old timeline. So I can see better. I start from V1, right-click on the name, and I'm going to call this a row. The second track was the music. Third track is a roll again. The fourth is the B-roll. And then I'm going to the audio tracks and I renamed the first A1 to a row. Audio to is the music. Nice? The next thing was to increase the height of all the video and audio tracks. 35. S.07_01: Source & Program Monitors Overview: Hello, how are you doing today? I just wanted to check on you. If everything is fine with the course, if everything is clear, if it's not police, go to the Q and a section of the course, leaving a question there, I will try my best to reply as soon as possible. Before we carry on with the editing process, I wanted to show you and talk about the source monitor and the program monitor because sometimes people confuse the two to do so today we're going to work on this video. There was a tiny teaser for a promotional video we did for my clothing brand. Actually, we are inside Premiere Pro and today I've already set up my project. Have you? So from now on again, I'm going to move forward. I'm not going to tell you what to do anymore. This is the project S 07 lecture for the section seven. And of course I'm using the material from section seven lecture. Also, I've already created a sequence inside the project, and I'll put in my new folder, edits a couple of things before we start. If you've got two footage role today, we're only working with the B-roll. We're gonna work with 29.97 frames per second clips. So when you create your sequence, bear these frame rate in mind. And also the duration of the video will be 12 seconds. Next thing, I'm going to change the workspace today a tiny bit. What I'm doing because the projects are getting bigger day by day. I need more space in my project panel. So I take my project panel, drag it to the extreme left and side of the workspace until my bar becomes green. And I'll drop you there. Now I've got more space for my material and I'm just going to adjust the panels quickly. And actually now I'm going to close the media browser cause I never used this method to important my material. So you can do the same, close the panel. And now we have more space. And I'm going to decrease the size of the tools bar. This is quite good for me. What we're gonna do today. We're going to replace our old workspace. I'm happy with this. Now, I go to window workspaces and I go to save changes to this workspace. So that's something that we are learning already today. Save Changes in the workspace. Great. As I mentioned, we're gonna talk about the Source panel today and the program panel. These are actually two monitors. We briefly saw them and use them already in our previous projects. But today I want to really tell you what they are about. Let's start from the source monitor. This is the monitor where we can preview the media items we have in the project panel. Let's increase the size of that so we can see the number of the clip. Let's go in the older folder, open up the folder, double-click on the only item we have. This is the sound track we are going to use. And now we see the waves of the audio. We're going to drive the soundtrack into a2, the truck a2 on the timeline, right at the beginning. And now on the timeline, I press my backward slash. Remember to adjust the size of the timeline. We can play and listen to what we're working on today. Okay, quite punchy music. I really like it. We are started with a soundtrack because that's what's going to tell our story today. And also we're going to use this duration for the video. So the music has already been cut with the right duration of the old video. It's going to be 12 seconds, as you can see on the timeline. Let's go to B-roll clip number one again, double-click on it. And now we have, if we played on the Source panel with the spacebar, the clip includes either the video part and the audio. There is a bit of audio if you can hear it, we're going to drag it on V1, A1. Some bureau clips have already been cut with the correct duration as the soundtrack, but others, we actually need to cut them. And that's where we're going to learn today to cut the eclipse through the source monitor. Now, let's take the project and I'll see you in the next lecture with the same project open. 36. S.07_02: Source & Program Monitors: differences and similarities: And now the lecture for section number seven, and of course we are in the project as seven lecture. And here we're going to see the differences and similarities between the source and the program monitors were still in the timeline. Press Enter. So we go at the beginning of the sequence and we're going to play it. And now you can see your video in the program panel. So the first difference is the Source panel is where we preview the clips in the project panel. But the program panel is where we actually see what's going on in our sequence. This is our final video, basically, in both monitors, you can see some identical icons. For example, we have all the different play buttons, either in the source monitor and the program monitor. So if we click on play, we're going to play the video here. The same thing happens in the program monitor. You will see the Zoom menu. Here. If you go and click on the menu, you can increase or decrease what you are seeing in the monitor. So you're basically zooming in the image. And you can scroll now with the scroll bars on the side or here at the bottom. If you want to feed the image to your panel, you just got to fit and click on it. Same thing is here. Other identical icons are here. This is the playback resolution. It means we can choose the resolution when we play the video back. If your computer is struggling to play the footage, then we can decrease the quality of the video of a quarter, half or use the full size if you have a more powerful machine, same thing here in the program monetary again, then we have a settings icon. We differ in many settings. We're not gonna go through them at the moment. Same here. And we have a player head that goes with the play buttons. Of course. Lets go to the project panel and click on the bureau number two. We can already see the icon is different here. Let's play it from the Source panel. It's a very short clip with only the video part of the clip. There's not audio. Right? Where we're gonna do, we're gonna drag it into the timeline on V1 next to the first clip. We drop it there. Now we can play the timeline from the Hammarby from second free. Now the edit starts to build up k. That's going to be a fun project. Let's go to clip number three. Double-click on it. And now we're going to focus for a second on this time code. Again, we have time codes on both monitors, but they actually mean something different. Usually in the source monitor, you will see the original time code of the video camera. So when the clip was actually captured, but in the program monitor you see the time code of the player head on the timeline. So have a look at these, a good to the timeline and change my play head position. And the time code will change in your program auditor as well. So these time called literally is the same as the one that you have on the timeline. Let's get clip number three then and drag it to next to clip two. You can play it already and see what's going on here. I love parkour. Now, let's take the project and I'll see you in the next lecture with the same project to open. 37. S.07_03: Dragging video-audio only from the source panel: Hello, good to see you again. You are still in project seven lecture. And in this video we're gonna see how to send or drag items directly from the source panel into the timeline. Something important here, let's go to B-roll clip number four, double-click on it. And in the source monitor, you will see the film icon as we have here. And also the audio waves. I can just click on the audio waves. Now we can see just the audio waves of the same clip. If we go back to the film, we can see the video part of the clip. I want you to take the clip number four then with the audio and drag it again on V1 and a one. Next to the last clip we added. As we've seen in our previous lecture. This clip contains also the audio and the audio part and the video are linked. We can link them with comment l. Lets me the music track here on the timeline for a second. And let's see what's going on. So I press Enter, I play the video. And I can see there's a bit of All you there, but it's just random stuff. It doesn't do anything for my videos, so I want to get rid of it. And we can in this case, we're going to unmute the music truck, but we're gonna mute truck A1 because we don't need the audio on this truck. You could also unlink your clips and deleted the audio part. But it's always nice to have you there in case you really want to add it at the end. Now we're going to see something new. If we go to clip number five and we have a clip with the audio and the video, we double-click. We can preview it in the Source panel. So let's play very short. There's a bit of audio useless. What we can do now with these two icons, we can choose to drug either only the audio or just the video part of the clip into the timeline. We don't need the audio. When you hover your mouse over the film icon, you will get the hand. I want you to click here, hold it and drag it. You will see a fist now. So your, your open hand becomes a feast and I want you to drag it on V1, of course, at the end of our clips here. So in this way, you can import only the video part of the clip in the timeline. You can do the same thing with the audio clip. If you don't need a video, you can just drag down the sound effect you need. And let's do that actually, let's go back to clip number five here. It's already my source panel. I go to the audio waves, Click on the waves, hold it until I get the fist and drag it under the clip. The difference now is that our two parts are separated and we can link them up if we wanted to, we select them both. Press Command L, and now they are unseparable. I'm going to unmute the music truck so I can hear what's going on. And he gives me a bit of freedom. And we're going to finish our edit with a new feature from the Source panel. Now, let's take the project and I'll see you in the next lecture with the same project to open. 38. S.07_04: Editing with marks IN-OUT & Source patching: This is the project S 07 lecture for this section seven. I want you to go on clip number six. Now double-click on it. There's a clip with audio. And I'm going to introduce this feature of the Source panel. We can literally start dreaming our Eclipse inside this monitor. We can add an in and an out marker typing 16 seconds 00. And our playhead will move. We press i on the keyboard. Okay, something is changing ready? And then we got to 16 or seven frames. And we press on the keyboard. Oh, before dragging the clip inside the timeline, I want to show you a couple of options. Let's go back here on the project panel. As soon as you click on a clip, Have a look at these two buttons here on the timeline, V1, A1. These are called source patching, which are not to be confused with the truck targeting we've seen. In section six, I click on beer rolled six and only the video part will appear on the timeline because of course, we don't have any audio that when I go to clip five for example, which has audio. Now the audio part of these buttons will appear as well on a timeline. So as I mentioned, these are called sorts patching. With this two buttons, we select the track we want to send our clip two. Let's go back to clip number six with a video. And I go at the end of my edit, saw right there. Now, here in the Source panel, you will notice these two new icons, the insert and the overwrite. Let's click on the Insert right now and see what happens on the timeline. We've now sent the video to the timeline at the position where the player had was. But also something happened. We split the truck, the music track. So inserting basically means we are sending, as I mentioned, the clip to the timeline at the position of the player ad and everything else, which is after the position of the player ed with be moved forward. So it will be split and move forward on the timeline. But we don't want to do that because we don't want to split them music truck. So to avoid this problem, I go back now. Common said we can lock any other trucks. So I'm going to lock the music truck. Click on insert again. And now I have my clip without anything else, append on the timeline. I go back a couple of steps. Commons had come and said, let's go to clip number five with all you because I want to show you different things. Double-click on clipped five. And let's go on the timeline at second too. So let's type number two. Press enter. Now with our clip number five selected in the Source panel. Click on the Source panel and click over right. The difference between insert an override is that insert, as we've seen, sends everything which is on the timeline forward after our new clip. Other bright option, just override that section on the timeline. I go back again, common said, and I want to show you how to use these source batching buttons basically now we said two, premier, send my clip from the Source panel to the truck, one in the video and truck to for the audience. I want to send the video to truck free from the Source panel. So I go to the truck free and I want to send the audio to track too. And I click here on truck to now go back to the Source panel, click on Insert. And now our video part of the clip as being sent to the truck three and the audio part has been sent to track two back with common Zed. And I could also choose just to import the audio on the timeline. I still have clipped five selected here. I'm going to unselect the audio button of the source batching. I go back to the Source panel, try to insert the clip. And now we only have the audio part of the clip. If I want audio. Click here again. I insert again. And now we have the audio as well. Great, I'm going back to our original edit and we're ready to carry on. Let's go back to clip number six. Now I got to my film icon. Hold it until I've got my fist and I got down on the timeline, I drag the clip on the timeline. And let's see if it's on the beat. Right, it starts to make sense. These two markers in, in our clip in the Source panel will stay until we change the markers. So if I go to clip number three, for example, and then back to clip number six, the two markers are still as steel here. What we can do is also take a different section of the same clip. And now we're gonna change the marker inside this clip, stealing clip number six. We're still here in the Source panel. Let's type 1620. Press i. Then we go to 1710. Oops, and we're going to press Enter and press o on your keyboard. We're gonna drag the clip and let's play the sequence. Okay, I like it. There's only one clip left here in the project panel. We double-click, see what's going on. I want to take it from here, for example. So from 25, let's type 25 and press IY. And actually I'm just putting an ene marker for now. What we're gonna do is to grab this clip, putting on the timeline. As you can see now on the timeline, our clip is much longer than the music truck. I'm going to decrease the width of the timeline. What I want you to do now is to go at the end of this clip, the last clip we added. So literally at the end of it, you can also increase the size of the tracks. Remember with the shortcuts we've seen before, you would notice this arrow with this red arrow going backwards. When he goes backwards. Then click on that click there, hold it, and drag your clip to the left until it snaps to the end of the music. That's how we train the clips on the timeline, but we're going to cover it in the next section. I press backwards slash to see everything on my timeline. And now I'm pressing Enter and play my video. Great, good staff. I hope you had fun with this one. See, we're actually starting to edit the videos now, save the project, close it, and I'll see you in the exercise. And don't forget the quiz. 39. S.07_05: Exercise description: Exercise 4 second 7, more free running and also more with your clothing. If you haven't checked it, go to www.net. For this exercise. Of course, you need to create a new project as 07 exercise, you want to import the material from section seven, the exercise folder and you know where to save it and how to set up your project. Now with new material, this is the video I would like you to copy, or more or less tried to achieve. Once you are inside Premiere Pro, check your media items, then create more or less the same, aided by checking the previous video we've just seen, one tip is to start with the music track, because as already been cut with the right duration of the video, another few tips, the B-roll clips, up to number five. They have already been cut with the right duration. So you just need to drag them inside the timeline on V1. But the clips number 67, they need to be cut and trimmed inside the source monitor, as we've seen in our lecture, you can do so by pressing i and o. So the in and out mark in the Source panel, the last clip is too long or too short on the timeline, you can adjust it and trim it with a tool we've seen at the end of our previous lecture, bear in mind that some clips have some audio in there, and we don't need the audio of the video clips. So I want you to either use the audio on the timeline by muting the trucks or by dragging only the video part in that timeline. So from the Source panel, you remember their film icon. That's the way you drag on the video part of the clip inside the timeline. Once again, don't forget to check the preview video. It's very helpful to get the edit right after that saved the project and of course close it. I will see you in the exercise review. 40. S.07_06: Exercise review: Exercise 4 second 7, more free running. For this exercise. Of course, you need to create a new project as 07 exercise, you want to import the material from section seven, the exercise folder and you know where to save it and how to set up your project. Now with new material is the video I would like you to copy, or more or less tried to achieve. Once you are inside Premiere Pro, check your media items, then create more or less the same, aided by checking the previous video we've just seen, one tip is to start with the music track, because as already been cut with the right duration of the video and add a few tips, the B-roll clips, up to number five. They have already been cut with the right duration. So you just need to drag them inside the timeline on V1. But the clips numbers 67, they need to be cut and trimmed inside the source monitor, as we've seen in our lecture, you can do so by pressing i and o. So the in and out mark in the Source panel, the last clip is too long or too short on the timeline. You can adjust it and trim it with the tool we seen at the end of our previous lecture. Bear in mind that some clips have some audio in there and we don't need the audio of the video clips. So I want you to either use the audio on the timeline by muting the trucks or by dragging only the video part in that timeline. So from the Source panel, you remember their film icon. That's the way you drag on the video part of the clip inside the timeline. Once again, don't forget to check the preview video. It's very helpful to get the edit right after that saved the project and of course close it. I will see you in the exercise review. 41. S.08_01_Project setup & the Razor tool: Zhao, Welcome to your section number eight, where we're gonna see how to train the eclipse. In the previous section, we have already seen more or less how to cut some clips in the Source panel. And today we're going to explore more tools to do so on the timeline. I've already set up my project here as 08 lecture. If you haven't please do so and important the material from the same folder. So, SO eight lecture also I have my sequence when you sequence in Premier Pro, name IT. So eight lecture aspect ratio and we will add the duration later. If we remember, we have some trouble block footage. That was my trip to Israel, a working trip, and was my last trip actually before the lockdown, we can double check. We have 25 frames per second clips. So let's start editing. Let's double-click on Clip one, a row number one. That's what we're going to start with. Double-click here I am on the beach in Jaffa, the Old Town of Tel Aviv. We're gonna take the clip quickly. Today. We are going to visit the old port of Jaffa here in Israel. That way. Great. I'm doing stupid as always. We want to chop some part of the video we don't need, for example, the intro. We have some weighting here. Let's go back here in the Source panel. And then I start talking. So at 132 or six, that's where we're going to add our IN mark. And then at 14016, that's what I'm going to put my ALL mark out. Mark. Go to the timeline and make sure this source patching buttons are on V1 and a one. Then go back to the Source panel and click on insert. We're gonna play with this stuff today. Perfect. My first clip is on the timeline. I'm gonna check the second clip here. What's going on? For the a roll number two, we want to actually drag it into the timeline to V1, A1. And we're going to chop some parts of the video I don't need, so I need the intro. Let's, let's play. I'm going to expand my timeline. You should know, plus and minus. Now, there's a couple of things I want to chop off where in particular were. I don't know what I'm going to say. So at the beginning, before I say I am here in Israel. There's a couple of seconds or want to chop off, we're going to explore the raise or tool. If you're going the tools bar, I can number four, it's actually called res or Tool. You can press C on your keyboard. That's a shortcut and the razor of course, cuts the clip. I'm going on a timeline, press C. And now I'm going over the clip at the position. So basically where the playhead is, I'm gonna click on the clip. And now we created a cut as I don't need the first part of the clip, I selected and click delete and nine, deleting the part I don't need. And that's how you cut your clips on the timeline with the razor tool. Let's play the clip again. I am in Israel. I fast-forward. You can fast-forward with the key on your keyboard. Yeah. Usually what if after I say the oldest sport in the world, that's when we want to chop again. More or less or leave a couple of frames. We press seat were going on the clip. You will see the razor icon becomes white. As soon as we are in the clip, gone the playhead, and click. Now we're going to play again. I'm here in Israel to a mere nice way to, that's what we want to chop out cause I'm not really saying anything. And before I start talking, I cut and going to delete this part of the clip. Now what I do, I press V for the selection tool. Take the second part of the clip and snap it to the first. Great. So you should have something like this in the world. And here's where for some work with the Church of England, we're going to follow and feel the Archbishop of Canterbury adjusting well-being for five days and also extending my tree for another seven days just to visit the place. When I say just the visit that place, that's where we're gonna cut again. So press C on your keyboard, go on the clip and chop it. And let's see what's happening later. So if you're interested in coming here, stay true to upload a few blogs. I don't need this part. The second time I say, if you're interesting in the place, we are going to chop their delete what we don't need. And I'm going to move back the clip and snap it to the previous section. And now we have this to visit the place. So if you're interested in visiting his country, stay tuned on my channel because I am going to show us some useful, awfully useful information. And TIF Sinatra visit the place. That's how we're going to end our edit. So I press C again. Qatar, the last part of the video and literally deleted backwards slash. So I'm going to see everything that's on my timeline. I have a gap now, as you can see, between the first part when I went to do stupid things, and the second part, and we're going to add some music right there. So we'd like you to drag the music. If we go to the audio folder in the project panel, Drag the music into a2. I want you to mute track number one so we hear only the music and also lock track number one. So nothing is happening there. Now. Now give you a few time coats. Wants you to follow, please. If you go here on the timeline time God, we're going to type all 5, 12th. And we are going to use the eraser tool, see and shut the soundtrack right there. So we have a first cut. Then we click on the time code again and wheat type 1319. I'm always talking about seconds and frames. Press OK. The playhead is gonna move. We're going to chop our truck there as well. We can increase the size of the eclipse if you want with Shift plus and chop the sound truck. We got to the time chord one more, we press one. This time we got two minutes, 14319. Press C for the razor and cut your card, the soundtrack there. And one more time caught one 46. 00. Press OK. We chop the clip again backwards slash on the timeline to see everything there. And I select the first part of the truck, the middle part, and the last part, and delete them. Now I take what's left here at the end of the soundtrack and snap it to the first part, play the music and see what's happening. Snappy and powerful truck right there. Now we're going to add a marker, just it's going to be helpful if you type here in the time code 914914, and then select the first part of the soundtrack. Press M on your keyboard. And you will see a new marker on the clip. Now, that's going to be useful for us. Let's unlock and unmute truck number one so we hear what's happening in the edit. If you go now to time code 810, we're going to select the track. So the old track, both parts left and we're going to move, we're gonna move the track to the left until our markers naps to the end of that clip. And that's what we're gonna do now. That way. Now we're going to create a quick montage with some clips of the place. Let's go to the project panel B-roll folder, and let's carry the first clip into the sequence on v2, right at the end of the first clip. The first A-Rod clips. So right there, you can also have a look at or you would be road clips if you want. I already know what's going on. Now that we know the razor tool, I want to show you another option of that tool. Let's increase the size of the timeline plus. And let's go at the middle of this clip more or less at a second. Ten here at time called ten. I'm going to press C. If you hold shift the shift button and also you chop your clip, See what happens on the timeline. You cut all the clips on all the tracks at that point at the playhead. Okay, we don't wanna do that. So I go back commons Ed. I only chop my clip number one, the Bureau one. And I'm going to delete the first part of the clip which had done it. I'm gonna move back my clip until it snaps to the first clip of the a role on truck one. Tried to play. We got to timecard nine or three. Presi for the razor tool, chop the click and delete what's left after what we've just chopped. And play again. We're going to do something similar. We clip number two. I would love you to keep this project open and I'll see you in the next lecture. 42. S.08_02: Extra cutting & editing tools: With the footage from the old port of Jaffa in Israel. In this lecture, we're going to see more trimming tools and techniques. This is the project S eight lecture. Let's get into editing. Got to the project panel, drug bureau number two, next to clip number one. And I want to take the shells here when they actually falling off my hand. So you choose more or less the time called, I just go randomly. And this time, as we've seen in the previous section, we got to the left-hand side of the clip until we see these red arrow. When you see the red arrow. And he has to point to the right hand side because if you go too much, we're going to work on the previous clip. Glory there. Click on the timeline and drag the clip to the right. And with snappy there, we're gonna move it backwards. And we're going to cut it on the beat of the tracking. And 918, that's where we're going to end our clip. So we go at the end of the clip until we see the arrow, the red arrow going left. This time, we click on it and we drag it backwards. And now we have the second clip. Let's try. You see what we're gonna do with this Edit. Let's go to clip number three. We bring it to the timeline. Let's use the racial tool, see. And just, yeah, we said 1008 on the time code. And we're just gonna chop normally our clip and delete what's left after. Let's take clip number four, put it on the timeline. Find the other beat, which is at 1023. Choppy there with the razor tool. Delete the rest. Let's add also clip number five, the B-roll clip number five, added on the timeline and find the beat. So at 1113, that's where I'm going to chop and delete what you don't need the clip. Now let's go back to clip number four here with the ponds and press B on your keyboard. This is called repo to go at the end of clip for until you see a yellow arrow this time going towards the left. So if you click there and drag it to the right, and then let go. What we do with this tool is to extend the clip we selected, but also moving forward everything that's beyond that clip. And we can move it backwards. And everything behind the clip will be moved backwards as well. So I, I go back now commons add a couple of times. We are back to our original edits and we carry on. Let's add clip number six, B-roll six. Down there. Find the beat which is a 12 or three. I'm going to cut it with a phrasal tool, see and delete the part I don't need. Great. Now I'm going to introduce you another tool which is the slip tool. If you press Y on the keyboard is time. I'm going to move on the timeline a little so we see better. You can increase the size width plus. So the slip tool with y, let us scroll inside our clip without changing the duration of the clip on the timeline. So if you go on Clip six, you will see these two arrows pointing in opposite directions. Now click on the clip, hold it, and go to the left and right. You will see your clip in the program panel moving. So basically you are choosing the frames you wanna show in your clip without again changing the duration of the clip. Very useful if you're the one to move the clips around on the timeline. Just pick the frame you want to show. And in the program panel, you will see here on the left-hand side the very first frame of the clip now and the last frame of the clip. So this is just birds flying, so any frame is fine. Great stuff. Left side, another clip, clip number seven, right here on the timeline. And what do we have? And then we go to 12-18 razor tool, cut it and delete the last part of the clip and we the slip tool, why? You can go inside the clip and choose me be a better frame if you wanted to. Let's play the timeline from seconds eight. I now want to move my second arrow clip at the end of the music truck so we can carry on with the montage here, press backwards slash and we see everything on the timeline. Select the remaining clips of a role. And now we're going to move them at the end of the truck at 1413. That's where I'm going to move my my clips and remaining clips. It I don't need the beginning of this clip. There's something, there's a bit of waiting there. As soon as the music finishes, you want the character to start talking again, the, the character myself. Now we have a few B-roll clips remaining here on the project panel. And I actually want to leave those clips to you to finish the edit right here so you can go on each bit until there is myself talking again. So you're probably going to add another three clips right there. And let's add the last two clips are 1415 with the Church of England. We're gonna follow and film the attribution. So when I say we're going to follow and feel the Archbishop of Canterbury, we wanna take clip number 14 into the timeline and, and choose a few seconds of this clip right there. I'm going to drag the end of the clip. And then clip number 15. Same thing as you can see, the something I don't need like here the camera is covered so we want to chop their out. And justing is this man. So we want to, we want to highlight the character we're talking about. So from here, this time I got to the left-hand side of the clip, drag it to the right, move the clip backwards and Justin well-being for five days. And also I extended my grade just a few seconds there and I'm going to cut it and trim it. And now we have this clip and film the Archbishop of Canterbury adjusting wealthy for five days. And also I extend it might be for another. One tip is when someone is talking about something in your video, you want to use some B-roll which is related to the subject of what they're talking about. I am going to leave you with the edit I've done. Maybe it can give you some ideas. Keep practicing and don't forget the quiz and the exercise. Today, we are going to visit the old port of Jaffa here in Israel. Excuse me. I see it that way. I am in Israel. Yes, I am. And today in particular, we are going to be easy. Jaffa, also called Yap or in the old times, used to be one all the best, if not the oldest sport in the world. And here in Israel for some work with the Church of England, we're gonna follow and film the Archbishop of Canterbury, Justin well-being for five days. And also I extended my tree for another seven days just to visit a place. So if you're interested in visiting these countries, stay tuned on my channel cause I'm gonna share some useful, awfully useful information and tips on how to visit a place. 43. S.08_03: Exercise description: So exercise time in section eight, how to cut your clips for this exercise, I want to give you some freedom, saw creative freedom and also edit twice. I want you to create a project important material from section eight from the exercise folder. And I want you to create, of course, a sequence with more troubled footage from Israel. To be precise, Masada, I want you to create a mini documentary. This is the style of the vlog I would like you to follow more or less. So when the Roman arrive, they found completely silent and everyone was already dead. What happened here? The community decided to choose ten people to kill all the rest, and then one remaining person to kill the other, nine out of ten. The remaining person at the end should have killed themselves. The video just showed you doesn't include any of the material you are going to work on, but it's part of the same blog. So for this exercise, I want you to create a story yourself. You will have some Arab clips, Bureau clips, and a soundtrack. So create a story and an edit with the skills that we have learned in the previous lecture. Now that you build some video editing skills are really want to give you more freedom creatively and editing wise. So have fine. I will see you in the exercise review with my version. 44. S.08_04: Exercise review: Welcome to the exercise review of Section eight. As I mentioned in the exercise description, you had to be creative, create your own story with the footage provided. That's what I'm gonna do here. I'm going to create my version and you can compare it and see what we've done. And the important thing is that you use the tools and the shortcut we saw in the previous lectures. So how to trim your clips? Here I am, this is my creation. Let's go up. I know the material of course already cosec film did. But again, I'm going to double check the staff and I'm gonna create a new sequence. I just drag my 25 frames per second footage. And I dragged already my first clip in the sequence and I checked the music. First of all, nice and gentle, very thoughtful. I'm going to drag it right in the timeline here in truck to and it's a very long track. So for now I'm going to chop it in the middle and then see what I can do. Great. So finally, what is Masada? So Masada used to be Kings arrows palace, Winter Palace. That's my first clip of a role. I need to chop a bit of the beginning because there's nothing. I'm not talking. And very mind guys always keep an eye on the audio waves. That's a good starting point to chop your clips. So I can understand this nothing here before the first, second, and I just drop it and get rid of it. And I start my edit. So finally, what is Masada? So Masada used to be Kings arrows palace. Ok. Winter Palace, winter pulse, Great. I check my bureau number two, I forgot to create my editor folder. I have very bad mammal and I am going to name my truck. So2 exercise 16 by nine, and drag it in my folder. Let's check the number 2b. So in 7374, the Romans game. Okay, there's some part I want to chop, and this time I do from the Source panel. So I with the marks, with the markers, with the mark in and out. So in 7374, the Romans gain. And, and I'm going to add it to my timeline. So in 7374, the Romans gain check three. So I'm going to tell the story first with the talking parts. That place was reached full of water and there's a bit of ending I want to chop there. But the place was reached full of water and okay. I don't need the end full of water. Water. Put my mark, drag it to the timeline. Clip number for the Romans built eight camps at the feet of the mound and also a siege war all around basically. Ok. And then I, I'm thinking so I don't need all this part. So the Romans, Roman, please quickly. Basically I chop it again, bring it onto my timeline, and see what's happening here in the middle. There's a bit of thinking. So I put my e1 mark again before I start talking. The mountain surrounded by the mount is surrounded by a canyon. And what the Romans did also, because coming up here was really difficult. They created a ramp. So as Cj ramp. Okay, after the seeds ramp, I stop there and I put it down. And the timeline. Clip number five of the a role. They got into the city. They got into the city, they found the unexpected. And this clip is actually fine as it is, so I just drag it down here. So that's my Storytelling. What's really leading and driving the video. They all video. Now we're going to build it with some B-roll clips. Ok, let's just play quickly and see what's going on. Finally, what is Masada? So Masada, kings arrows palace, Winter Palace in 7374. Okay, now I want to do something a bit more creative and actually start with some B-roll clips because I want to introduce the place just through the images first. And again the music, it's nice and gentle, quite slow. So I'm going to check my bureau clips. And I've got some nice time time lapses during the dawn. These are called establishing shots where you actually establish the location you want to talk about. And I just like the first one down on the two and see if it matches with the music. Nice, the duration is great. So I drag my clip number two and see how that works. Magical place, by the way, if you're going to Israel, Masada here, I'm going to delete some part of the second time-lapse and I just drag it to trim it this time a drag the end of it. So finally, and then I'm going to start talking here. So finally, what is Masada? So I'm saying Masada was Kings errored palace. And I've got an image of a, of a reproduction of the palace era. So that's something I could use. And I just write my clip down here. So when I say the palace, after establishing the location, I want to show you is actually talking. So I'm introducing myself to the audience and I leave a few seconds of me talking. So finally, what is Masada? So Masada. And then I come in with the B-roll, used to be Kings arrows palace when their ballast, great. So we have the palace right there. Be a bit descriptive of what you're doing. And I can use the razor to this time and cut my clip in half and delete what I don't need. I just want to keep talking. Actually saw a link the material, but you could, you could also leave gaps between the talking. It's completely up to you now. Last Winter Palace. So in 7374, the Romans get OK. There's a bit of wind going through the mic before I speak in the second clip. So I'm going to chop it with a razor tool deleted. And I live this tiny gap balance. So in 7374, the Romans gain that place was also the B-roll is a good way to cover the cats of the a role too, when you're talking and then you go to a different clips talking, you will have this jump and you see the phase changing. So that's where you want to use some B-roll. I'm gonna still show some of the place. I think clip number three is good for me. Cause I'm still showing the place. Winter Palace. So in 7374, the rock game, okay. A few seconds there, The place was reached full of water. The place is reached. So let's find some clips that can give me the richness of the place. So the mosaics, for example, that's a very good way to show the richness of the place. I'm going to select it with the in and out mark in the Source panel, drag it down. And for now I'll leave it there. And there is another image of some paintings on the walls. That's, that again gives me the richness of the place and I'll drag it down to the timeline. These are quite long clip, so we might need to chop them. Let's play. In 74, the Romans gain that place was reached full of water. The Romans, OK, I need to shorten these clips there too long. Okay. I'm going to drag the next clip closer. Full of water. The Romans eight cam. Okay, but of paintings on the wall. It's below eight camps. Now we say the Romans built eight camps. And we actually, if you know the place, unfortunately, some of you might not. These are the camps that the Romans built. So I want to use these clips to show the actual camps. So there's one there and one here. So 79, I select both of them with comment, drag them into the timeline. And that's plague and camps at the feet of the mound. Actually want to start with a wider angle of the camps, which makes more sense. You can also use more trucks, don't forget. At the feet of the Okay. We've got a bit of we got an establishing shot with a wide angle and then we have a close-up shots of the mound and AC will all around it. Now we have a siege wall and we're going to look for the siege wall if we probably, we don't have it. But we could use this shot here actually. Of the canyon and yet the landscape basic and that's a bit of wall going on. So we can use this clip instead. Siege war all around. Basically. The mountain Great is surrounded by a canyon and what the Romans did also because, okay, the mountain was surrounded by a canyon. So we might want to show some of that canyon. And again, there's a great image here. This one that really gives me the idea of the canyon. And this is actually Masada. So this is basically this mountain in the middle of the desert, surrounded by the canyon. And we're going to put it there. The mount is surrounded by a canyon and what the Romans did. Great stuff. Let's see if there's another clip we can use. This one with the birds really gives me the idea of the desert and desolation and isolation of the place. And I'm going to drag it down here. Romans deed. Also, because coming up here was really difficult. I am going to take the moment where the camera is panning gently. Once the it also because coming up here was really difficult day it created the ramp. Okay, we need to extend the soundtrack. As you can see, it's ending too soon. So a CD-ROM that got into the city, they found the unexpected. This is the actual ramp that the Romans built. It's unbelievable after thousands of years is still there. I'm going to add it as my last clip was really difficult. They created a ramp, so a CD-ROM. Great stuff. Let's see. They got into the city. We have a bit of camera movement again. So when I take that time of the clip where the camera is moving difficult, they created a ramp, so a CD-ROM, and I chop it just before I start talking again, they've got into the city, they found the unexpected. And once in a while you want to go back through the main character talking so you keep reminding the people who you are basically OK, there's one more thing I want to do, which is ending the South. The soundtrack at the moment is ending a bit too harshly. So let's go back to the soundtrack CIF, what it can do. I got really at the end of it, expanded with plus. And I'm just gonna take it with a bean mark. The ending. Cfi works. I drag it down here. And that's similar. So a CD-ROM that got into the city, they found the unexpected. It kind of works. In the next section, we will learn how to add transitions, and that will be very helpful for this kind of stuff. So now I'm going to show you the old video I just edited. Let's go. So finally, what is Masada? So Masada used to be Kings arrows palace, Winter Palace. In 7374, developments came. The place was reached full of water. The Romans built eight camps feet of the mound and also a siege war all around. The mound is surrounded by a canyon. And what the Romans did also, because coming up here was really difficult. They created a ramp. So I see Trump. As soon as they got into the city, they found the unexpected, well done. I hope you did something similar. I will see you in the next section is going to be fun. Let's go. 45. S.09_01: Project setup & what are transitions?: Hi and welcome to Section Number nine. The transitions were finally learned how to edit. We started to cut our clips. And in this section we're going to explore the transitions very important feature of the video editing process. We're going to create a photo slideshow with some material provided. And I'm expecting you, of course, to create your project as 09 lecture and import the material for this same lecture. Create a sequence, call it S or nine lecture to create your folder, edits and drag your sequence in there. I will see you inside Premiere Pro. Here we are in Premier. I mean, I've imported my material and you will find a music truck in the audio folder, some footage with B-roll clips, a couple of bureau clips, and then ten footers, let's say today we want to create a slideshow for our clothing brand. How convenient it could be a SlideShare for a trip you've done somewhere in the world or any kind of photos you want to use. The first thing we're gonna do is to drag our soundtrack into the timeline. So let's take that one and take it down to track two. We're also going to cut the truck. One minute. Saw here. We're going to go to in the time code and we're going to type one. Click OK. Use the eraser tool with C. Pressing c, we chop the soundtrack and we delete what's left, and we may adjust the duration of the sound track later. You can play the truck as well if you want to hear it. And we're going to add straight away a transition at the end of the track. So what is the transition, as the name suggests, is literally what's in between of two different clips. It's a way we transition from an image to another. I would love you to keep this project open and I'll see you in the next lecture. 46. S.09_02: Applying default transitions: Hello, we are still working in the project asinine lecture with some material filmed for wifi clothing. In this video, we're going to see how to apply default transitions, two video clips. Let's go down to the timeline. I'm going to increase the size of my trucks, the usual shift plus gradient of the truck and until you see your red arrow going to the left and you want to right click on it. This time, this menu will pop up and as you can see, we can add, apply default transitions. And we're gonna click on that. And we have just created a transition like this is actually a fade. You can go the end of the soundtrack and plate. Now the truck is slowly fading out instead of ending on a neat cut. Let's go to the Bureau clips and let's drag clip one down into the one truck one basically, you can watch it. Okay. We also have some audio, as you can see down here. Let's expand the tracks a little. Go at the end of the clip, clip number one until you see the red arrow, right-click on it and apply default transitions as well. And as you can see at the end of the clip, we now have this rectangular shape. That's our premier, visualize the transition by applying a default transition. You also apply a transition to the video part of the clip and to the audio part automatically. Let's take now B-roll number to drag it down and leave a bit of space between the two clips. Go to clip number two. Add the left-hand side of the clip until you see the red arrow. Right-click again and apply the full transition there too. Now let's play the clips from the beginning or more or less from there. That's where we can achieve with the transitions when we have a gap between different clips, I wanna teach you how to delete the transitions now. So you go on the actual transition, it has to be highlighted and NYU press, Cancel or delete, even in the audio clip. And we do the same on clip number two. Let's now drag this clip number two and snappy to clip number one. We're gonna go in-between, right-click on it and click on apply default transitions again. Oops, what's happening? Insufficient media. Now to create a transition between two clips, you need to have enough food touch, enough handles on the two clips to actually allow Premier to create a transition. In this case, we don't have enough materials, so we cannot add a transition where we can do press OK, premier still tried to apply transition, but you might notice if you play through that, the second clip is just a still frame. It's not moving. Look in your program panel. So Premier is creating some steel frames for you to either transition. That's not what we wanna do. Some going on the transition I deleted even here in the audio. And let's go to second number three. And let's trim our clip number one so we drag it back. We do the semi clip number two. We drug a few seconds forward this time and snap the clips together. Now let's do the same. Let's go in the middle on the cut, right-click on it and apply the transition and plate. And now the two clips are playing smoothly with the transition applied. So always remember you need to have some handles, extra footage for you to create a transition between two clips. A default transition also applies. A transition, as I mentioned, to either the audio and the video part of a clip. What if we want to add it only to the video part because we don't want a transition in the audio. Let's delete both of them again. So click on the transitions, and let's delete. To do so, let's stay in the video deck up here of the timeline. Click in between the two clips. And as you do that, press old and hold on, hold on your keyboard. Now right-click on the ket and apply the transition. That's how we apply the transition only to the video part. I go back commons Ed, and I do the same in the audience. So I go in the audio deck, hold old, going to cut, right-click applied transition. And now the transition is just in the audio part of my clip. I'm just going to delete that. And actually I'm gonna delete that two video clips. We don't want this. There was just an example to show you how they work. Let's delete everything. Backwards slash. Keep this project open and I'll see you in the next lecture. 47. S.09_03: Transitions from the Effects panel: In this video, we're going to explore more exciting transitions from the effects panel. We are still in project. So nine lecture. Let's drag all the photos down into the timeline. So gone number one, hold shift on your keyboard, go to Number ten and drag them on truck one. Now we can play the sequence c. What happens? You can do that, okay, what I want you to do is to create an edit, a tiny elite on the beat as well. So do whatever you want with these photos are just show you how to add transitions. We need to introduce now the effects panel. And we go to Window, go down to effects. Click on that. And we're going to drag it. Now inside this. We're going to create a panel group with the Source panel. Now you should have something like this. I'm going to adjust it. And I'm going to save the workspace. So go to window workspaces, save changes to this workspace. So now we have an effects panel in there to the facts panel is literally where you can find all the effects that you can apply to any, any clip. And also where we find the transitions, you will find audio transitions. There are only actually three audio transitions in Premier. And when you see the blue outline on the transition, that means that's your default transition. And we can change the default transition. And I will show you in a second. And also we have the video transitions down here. And we've got many more actually. So we're gonna go through only a few of them. If you go to the dissolve folder, you will see that the cross dissolve is our default transition. To change the default transition you got on the one you want, right-click on it and click on set selected as default transition. It's recommended to keep it as it is now many professional ADT or use any other transitions to be honest, let's play with a couple of them and then I let you free and that you can do whatever you want. Let's add a transition, for example, on the timeline between the photo1 and photo t2. And we can take in the three the motion, the cube spin. That's the very first one. I just literally take it and drag it in between the clips. You will see. Let me expand the timeline for a second. Okay, I take the cube sphere and take it down. And you can either add a transition to the end of one clip, to the beginning of the next clip, or in between of them. I'm going to putting in the middle. So that's how a spinning cube. I go down to immersive video and I take the chroma leaks and I added between clip 23 and play. I go to slide and I go to clip 34, center split. And I play. That's how you create transitions in Premier Pro. What if you want to replace a transition? Well, we got on the transition and going to expand that tracks. Click on it. And then let's say I want to replace the chroma leaks. I got to my push transition. Hold old on the keyboard, and I'm going to drag the transition on top of the other. Another transition as being replaced. In the same way, you replace a transition. You can also replace an image or a clip. I showed you that because you will need it in the exercise. So we are on photo two right there. And let's say I don't want to move the clip on the timeline. I just want to replace it. In that case, I want to select the clip I want to replace on the timeline. Then let's say we want photo eight to replace photo too. So I select four to eight on the project panel, hold Alt and drag default or on photo to. The name has changed on the clip, and now we have replaced the fault on the timeline. You can plate everything that you applied on the clip previously. It's still part of this clip right now. You just replace the image. Keeping in mind for the exercise. Now, I let you explore the transitions, play with them, apply them through the different photos. Are we see in the next lecture where we see how to modify the transitions. 48. S.09_04: Modify a transition: We're still in lecture number nine. And with the project S or nine lecture open will carry on and we'll see how to modify a transition. Let's go and the timeline, I want to show you how to change the duration of a transition. So we are in-between clip 12. I just replaced my original image there. So with clip number two, we are on a transition. To extend the transition, you can either click on it. Now we're gonna do the same thing as we do when we want to extend or decrease the size of Eclipse. So we go at the very end of the transition, either on the left or the right. You want to click on it and you can just drag it, drag it up or down. So it depends if you want to have a longer transition, your extended, if you want a shorter transition, you decrease the size of it, you can play it and see how it works. The transition is much slower now. Also, you can see that the transition is symmetric, so it will extend symmetrically either on clip one and clip too. If you don't want a symmetrical transition, then you can go at the end of it on one of the extremities and hold shift on your keyboard. And then drag the transition. Now I've extended it only on the clip number one. You can do the same and clip number two, of course, and change the duration of each site. You can also slide a transition between two clips, and that's very simple. You just click on it and drag it left or right. And again, that's a different way to, to change the duration of a transition or move it around and need now to introduce the effects Control Panel. I want you to go to Window and go down to effects control. Effect controls open up. And yeah, that's a good position for me actually. Next to the effects to be more organized, I prefer to see it actually on the right-hand side. So I've got my effects and then my effect controls. The fact Controls panel is where we control the effects we apply to a certain clip and also we can change our transitions from here. Let's go down to our first transition. So between clip 12, we should have a cube spin transition. I click on it and see what happens in their fact Controls panel. We have now some values we can change there. Let's decrease the program panel for a second. My transition is now coming from left to right. But we can change that and choose the transition to come maybe from the top to the bottom of the image. So I click on the transition again. And right here you will see image a spin to reveal image B. There's a tiny rectangular shape with four arrows facing inward. If we go on the top one, north to south, that's the direction of our transition. I click that. And now my transition will come from the top to the bottom. You can always change the duration of a transition from this panel too, just by dragging some of the values up and down. Now want you to explore this panel for each transition as well. And the only way to understand it's really to practice. So play with the clips, play with the transitions and with the values in the effect controls panel. Just remember you need to select the transition on the timeline before you can actually change these parameters. The last thing I wanted to show you before I leave you is how to change the duration of the default transition. Let's go to the top drop-down menu, Premiere Pro, preferences, and timeline. There's a few settings here already preset, and you can read vd transition, the fault duration, the very first, you can either set a transition with frames or seconds. You can do seconds if it's easier. So let's go to seconds. And here you can set now the time of your default transition. If you want your transition to be two seconds, you just click on it and type two and you do the same with the audio transition. The third option is still image default duration. If you remember when we dragged our photos inside the timeline, the default duration was five seconds of each photo, which of course you can change on the timeline too. But if you want to change a default duration for your photos, do that's where you can do it. Click OK. And that's how you do it. That's how we add and we modify it. Transitions to clips, very mind guys, professional editors barely used the transitions from the software's. If you watch a film, for example, you rarely see different transitions rather than neat cuts or dissolved transitions, which are the ones I recommend to use the most. So don't overuse the transitions in your edit. They can be very distractive and also quite annoying. Sometimes great. Saved the project, close it and I'll see you in the exercise. 49. S.09_05: Exercise description: Welcome to the exercise of section nine. That transitions. Very simple exercise. And as always, we're going to apply the new skills we learned during the lecture. I would love it to create a new project S 09 exercise, saving it in its relative folder, important material from section nine, exercise and create a new sequence named the sequence and organize your folders inside the project. Then I want you to add the truck into the timeline. First of all, cut it to 60 seconds and apply default transitions at the end of it. Then you can go through the photos and create a photo slide as we've done during the lecture, you can move the photos around is now a particular order, so feel free to move, move the clips around. Then I want you to apply a different transition for each clip and also play with the effect controls panel and changed the values and the parameters of the transitions. Last but not the least, if you have personal photos, I want you to import your photos inside Premier and actually replace each photos of the ADT with your personal ones so you can create a custom photo slide. I will see you in the exercise review very soon. 50. S.09_06: Exercise review: And as I mentioned, here, we are ready. Good stuff. Let's create a new project for the exercise of Section nine, new project. And I'm going to check the scratch disks. First of all, I'm going to copy the name of my folder year for the exercise project asinine exercise. I'm going to browse it inside my usual structural folder for Section nine transitions or go to the exercise. I've already created my API projects from finder and I choose and click OK. And I'm now inside Premiere Pro. I'm going to double-click to import some material. Go to the same folder, exercise material, and importing what I've got there. I'm gonna change this. I don't know why it keeps changing. Actually, it's not keeping my original workspace. But that's what we left with in the previous exercise. What I have to do is first was to create a new sequence, SON dragging one photo inside the new item icon. And now I have a new sequence. Of course I'm going to create my edits folder, drag my sequencing, they're changing the name. I'm gonna call it this time. I know the duration, it was 60 seconds. And I also know the aspect ratio of 16 by nine. Click OK, and we are ready to go. Second thing was to drag the music inside the timeline, and I added on A1. I don't need to go on track number two because I don't have any video clips. Then I'm gonna type in my time called 60 seconds, one minute. And I'm going to cut my music right there. Backward slash. And I'm going to increase the size of my clips. And we had to add a default transition to the soundtrack at the end. So I go the end, right-click on it and apply default transition. And let's see if it worked. So it's a nice Vietnamese track. Of course, the footage was related to this trip as well to Vietnam. So I thought it could match the images. What I can do also, why not? I'm going to extend the duration of the transition to make it fade a beam more slowly. It's going down. Great. I'm going to import all the rest of the folders on my timeline. They don't cover the 66 seconds duration, so I could extend the duration of my photos just by dragging the clip as we've seen in the previous lectures. Again, you can be more precise and really use the rhythm of the track if you wanted to, but I'd leave that to you as well. Now I'm going to apply one transition for each clip. So we got to the effects panel to video transitions and literally take one from each folder, one from the dissolve deep to white y naught. I never use them. Then I go to clip number three and I got to immersive video, a gradient wipe. That's quite nice. K and so on. I'm just going to add iris. Then IMRAD picture number five and go to page bill. And do that. These very cheesy M that I would never use this transitions for the six centers split and a couple of more barn doors. And the last one as Zoom cross XOM. Okay. Now I can play with some of the values. I go to the second last, click on it. And in their effects and in the effect controls panel, I can change some of the parameters here. West to east. I can go from south to north and see what's going on. It's a nice light. Also. Let's see what we can do there. I can put the start at cut. And as you can see on the timeline, I'm literally just adding the transition to clip number nine and not to clip number eight. The result is the same here because we're using photos. And also start. I can change some of these parameters. If I wanted to start already, maybe in between of the animation. But it doesn't really make sense. So I leave it to 0. And now we have the old transition. That was my exercise. How did yours go? Once again, guys, if you have any feedback or if you want to leave a review, please do so in the review section of the course, I'll see you in the next section. 51. S.10_01: Project setup & Position: Hi, welcome to section number then of the cores. It's going quite fast. In this section, we're going to explore the motion and the opacity of the clips. Just a reminder, if you have any doubts or questions, please go to the Q and a section of the course and drop me a message right there. In the next videos, we're gonna learn how to change some of the more Sean controls of the clips, such as the scale, the rotation, and the opacity. Very useful features either for video clips and still images. I have already created my project inside Premiere Pro. So I hope you did the same. And as you can see, I imported also the material. You will find some audio stuff with the music soundtrack. Right there. We have seven B-roll clips. One title, graphic title, which we're going to animate. And also we have a photo, just an example of a photo. And I created my sequence and I called it as ten lecture 19 seconds, 16 by nine. Very important as always, let's check the metadata of the clips. And this time we notice we have different resolutions for our clips. The frame rate is the same for all of them, 24 frames per second, but the resolutions are different. We have full HD, fires, some resolution close to 4K, and also an HD phi, which is a bit smaller than the full HD. I want you to create a sequence with a full HD resolution. So 1920 pixels by 1080. Once you're done with the sequence, we're going to train the soundtrack and drag it into the timeline. So double-click on the soundtrack. It will open up in the Source panel. And now I'm going to give you a couple of time codes. We need to trim the truck. The first one is 136131, minute 36 second, 13 frames. Press OK and use the i button on your keyboard for the in. Mark them back to the time ct and we have 14809. Click OK, press OK, press o on the keyboard. And we're going to drag the waves down into A1, the audio track one. We go back to the Source panel, and now we type 15810. And we have our IN mark. And then we got to two and then we go to 25122 minutes or 512 frames. Press okay, and press o. And we drag down the rest of the truck. Now we can plate. Okay. Our bureau clips have already been trimmed correctly so we don't need to worry about cutting them. And we just select all of them here in the project panel, drag them down into the timeline. You can play the video now if you want and see what's going on. Some of the clips you will notice are not really matching the frame of the sequence. They are to be go to small. And that's because we have different resolutions and because we created a sequence in full HD. And that's exactly what we want to explore today. First of all, let's create a new bin called progressions, if you remember, we did this before. So common b for a new bin, we call it pro regressions. We're gonna put inside the edit folder and we actually duplicate our sequence so we will be able to compare it when we're done with the edit, we right-click on this sequence. We go to duplicate and we call it this time. At the end of the name, I'm going to add underscore or regional. Press OK. And I drag this sequence inside the progressions folder, and I'll leave it there for now and go back to the timeline. I click on the clip one. I'm going to expand the timeline. I want you to go into effect controls panel. If you don't have this panel, remember, you need to go to window and open it up. For me, it's right here. Now when you click on a clip, this settings, in fact, controls will pop up and these are related to the motion of the clip. You will see here different headers, position. That's the first one we're going to explore. These are two values that represent the center of all of our clip related to the frame of the sequence. The position here is saying the center of your clip is now at 960 pixel along the width of your frame and 540 pixels along the height of your frame. So don't forget, this is the center of your frame. And actually if you do some math, 960 pixels is, is in the middle of 1920 pixels, which is the whole width of the frame. And 540 is, is the middle, the center of ten ATP, which is the height of our frame. So again, that represents the center of the clip. Now tried to go here, which is the horizontal alignment. Click on it and drag the value left and right. You will notice your clip moving. You can try the same with the second value when where the clip goes up and down. That's a good way to reposition your clip inside a frame. The problem is we're going to create some black background now because the clip is not big enough to cover the rest of the frame. So what we do is to restore the original, the default settings by going to this wheel. It's a, it's a bad kind of arrow. And we press that and our clip got back to the original settings. I want to give you a real example when changing these settings are actually useful. So let's go down to the timeline on clip number two. And if you got to the project panel, you will see this is actually a 4K file, which is bigger than our full HD frame. And that's a good thing because we can really reposition our clip inside the frame. And let's play around and find a good position for this clip. Make sure you are again on Clip to, let's go on the first value here, the result into alignment. And that's actually already good because the Tory fell is centered, so it's very good. But we can play with a vertical alignments. So if you drag backwards, the clip will move upwards. And that's some good framing for me. So I'm not cutting the cars. The tower fell is centered. And it's great. That's what I want for now. So if you want to do as I did, my vertical alignment is 117 and the horizontal is 972. So we should have the same thing. That's how you use the position values in the motion control of a clip sake the project and us in the next lecture where we explore the scale. 52. S.10_02: Scale: Working on project as ten lecture, we're going to explore the scale of a cliff. Let's go to the timeline on clip number three, we're going to explore this scaling, how to scale up and down a clip. And when you select a clip in their fat controls, you will see some settings. And this time we got to scale. And I want you to go here in this tiny arrow on the left-hand side of the scale header, click on it and some more stuff will appear. First of all, we need to realize the clip is again four k, so much bigger than our full HD frame. And again, that's a good thing because I don't really like the framing of this clip, so I'm going to adjust it. And what we can do, we go to scale here on the value, or you got the lever as well. You can just drag the lever and adjust the clip as you wish. As you can see, that's much better already. So let's go to the value n-type seventy-five percent. So this value is going to scale down my clip to 75% of the original size of it. You can play also the timeline. See what's going on. Okay, let's leave it there for now. It's not too bad. What I want you to do is to go in the project panel, take the photo. We have the only thought that drag it into the timeline at the end of the sequence and now go over it with the player head. Now this photo was taken in portrait mode, which unfortunately doesn't really cover the frame. Here as you can see, we've got some pillar boxes. These black bars are now called pillar boxes. We can rescale, clip on the timeline as well. If you right-click on the photon now, you will see these two options, scale to frame size and set to frame size. So they do a similar thing, which is to adjust the height of the clip inside your frame, basically inside your sequence frame. But the scale to frame size option resample your clip in terms of quality. So it takes your clip and he brings down the quality of it to match the size of the frame. So you're going to lose a lot of quality. The set to frame size instead keeps the regional quality and size of your clip, but it just scales it down. And you can see the difference quickly. Keep an eye on the effect controls, especially on the scale settings. I'm going to click on scale to frame size. Nothing has changed the air in the effect controls, but the size of our clip has changed. I go back, click right click again on the clip, and this time I choose set to frame size. The scale of our clip is now to 54%, but the quality of the image is still the same. So we still have a high-quality image, just downscale, and that's the option I prefer, so I don't lose any quality on the video. I'm going to delete the photo from the timeline and you can do the same. Just click on it and press cancel, delete. And I'm going to, I'm going to clip number three again. We're gonna find out something else. Now we right-click on the clip number three. And let's go to set to frame size. 53. S.10_03: Rotation: With project as ten lecture open, we're going to carry on with the motion controls of the clips, and we're going to find out what it means to rotate a clip. Well, the word is self-explanatory. We're going to click on clip number five on the timeline. Go back to the effect controls, and let's go down to a rotation to the, to the rotation adder. I'm just going to close the scale so it doesn't bother us rotation. So let's go to clip number five. This clip has been filmed a bit crooked. The tower and the obelisk are not straight, and we're going to straighten them. This time we have a full HD clip, as we can see in the metadata. And what we have to do is first of all go to rotation. Again, you can drag the number, so click on it and you can drag it. And that's not too bad. In this case, the value here represents the degrees of the angle. And we can move, we can drag the angle to be 2%. That looks quite straight. We now have the same problem as before. We have some black background in the frame. So we need to scale the clip up to cover this black background. We go to scale and maybe type a 104%. It's not big enough. And let's go to a 106. Great. And now our Eclipse is straight. We had to scale it up a little bit, but the quality can keep up with the scaling we applied. So no problem at all. Of course, you could go crazy with their degrees, but there's no need to do so. You can try 90 degrees and see what happens. You basically rotate your image of 90 degrees. It can be useful if you have filmed something may be on your phone on portrayed mode and you want to rotate it back in a landscape mode. I'm gonna go back here and type two. And you can go and negative degrees as well, could be minus five. And of course you're going to rotate a clip on the other side. I go back to two. That's how you rotate your clips inside Premiere Pro saved the project once more, and I'll see you in the next video. 54. S.10_04: Anchor point: Stealing project as ten lecture, we're going to find out what the anchor point is, not to be confused with the position. Let's go to clip number 6123456. We have the arch here in Paris, and you will see this clip has been filmed in HD. It's not even full HD, so, so the resolution of the clip is smaller than our sequence. I want you to go in the effect controls panel. Down to anchor point header. We have two values, again, one horizontal, one vertical as the position. The position, as we mentioned, represent the position of the clip related to the frame of the sequence. And as we said, these two values represent the center of the clip inside the frame, 960 pixel and 540. So the center of our clip, the anchor point instead represent the center of the clip itself. So it's not related to the frame as the resolution of this clip is 1280 pixel by 720. The values represent the center of the clip in relation to its size. Let's try to drag one of the values and see what happens to the position as well. So let's go to the vertical axis here and drag it to the left. If you go to the program panel, you will see this circle. That's your actual anchor point. It's actually the key point for all the effects as well. And I'm going to show you what I mean in a second. So let's go to 520 here. On the horizontal axis of the anchor point, nothing has changed in the position. We're just saying to premiere one my anchor point, my, my center now to be at this position and not at the center of the clip anymore. Let's go back to as he was 640. And I want you to go to rotation and just drag the value up and down because it's easier. And I want to see, I want you to see what happens. The clip is now rotating around this key point, the anchor point, which is at the center of the clip right now. But let's go back and reposition it to 0 degrees. If we change the anchor point to 0, which is the extreme left and side of the clip. And now we go to rotation and drag your clip again back and forth. See what happens now, the side of the clip, the left-hand side of the clip is our anchor points. So we are rotating the clip around the new position of the anchor point. I hope it makes sense. I go back to 0, the grease, and go back here on the horizontal axis of the anchor point to 640. It might be clearer if you explore the clip number seven on the timeline, which this time is a is a full HD clip. And have a look at the difference of the anchor point values. They changed because the resolution of this clip is exactly the same size of the frame we're using in our sequence. So let's click on clip number seven, anchor point. Let's go to the anchor point. And I want you to go in scale. And let's scale the clip down to a 60%. Now the scale is related to the anchor point, which is at the center of the clip. If we move the anchor point to 500, for example, and scale your clip back to 100%. We have scaled the clip in relation to the new position of the anchor point. Let's reset the default settings. And I hope that kinda makes sense. That was the anchor point, nother, we checked all the motion controls of a clip. I also want to tell you that you can adjust all of them here in the program panel. When you click on Eclipse, you can go in the program panel and neither re-size the clip. So you will see these dots and you can just k the clip up and down. You can rotate it. If you go a bit further away from your frame, you will get this curved arrows, which means you can rotate the clip. If you click inside your clip and hold it, you can drag the clip inside the frame, so reposition it. And you can also change the anchor point position and just drag it alongside the frame. I'm going to reset all the settings here. And I'm ready to go. There was a brief introduction to the anchor point and everything will make more sense if you actually practice and do things yourself. Now save the project. And I'll see you in the next lecture where we talk about the opacity. 55. S.10_05: Opacity: We are still in project S ten lecture. We're going to see the opacity. The opacity is the setting that tells us how opaque or transparent Eclipse is. Let's have a look on the timeline ago on clip number seven. I'm going to increase the height of my tracks Shift. Plus First of all, you will see this rubber band, this white line on my clip that's called rubber band. If you don't see it, I want you to right-click on the clip and go down to show a clip frames. Go to opacity and click on capacity right there. Now you should have the same white rubber band. Great stuff. We can change the opacity of the clip by actually dragging this rubber band up and down. I increase the size of the clip even more and try to do so. So you want to go on the rubber band, you will see the two arrows going up and down. Click on it, hold it and drag it down, for example. And the clip is now darker because we changed the opacity of the clip. And because our background is black, that's what's happening on our clip. The clip is just becoming darker. Let's bring it up again. Click on the clip number seven and got to the effect controls. We wanna, we wanna go to capacity, click on the arrow here to open up the menu. And once again, we can change the settings from the effect controls panels just by going here in the percentage value, bring it down and you can see the clip is changing and it's becoming darker. You also have a lever again, if you want to open up this arrow, you can just drag up and down the ladder again. If you go here and this stopwatch, let's click on it until it becomes gray. And it will say this action will delete existing keyframes. Yes, we don't want to use any keyframes yet. And now we can change the opacity up and down. Let's go to Project Panel. Take the title we have, and drag it on top of clip number seven. We now have a nice title at the end of the video saying this was a postcard from Paris. And we want to change the opacity of this clip to a go in the effects control panel and just change the opacity up and down. But it's not really doing anything for me, so I keep it at a 100%. But with the title, we can explore the blend modes. Again, I'm going to delete my keyframe for now. That does it automatically as soon as you change the value. If you go to blend mode, and this is something you need to explore in your own time. These settings play with the opacity of your clip on the highest truck, with the capacity of the clips underneath that truck. And again, you just need to play around and see what's happening to make it clearer. Let's go to multiply. C, something change on the title. Lighten, and Color Dodge. There are really different options and some of them work in certain instances and some work in others, depending also on the brightness And darkness of the clip. That's not too bad. These, the exclusion saw you create some particular effects with it. That's not too bad. Actually, I go back to original. And I want you to try with actually, I want you to play with a blend modes on actual clips. So let's take clip number one from the project panel and carried down above clip three. On the timeline, we go to clip three and now we play with the mods and see what's happening, multiply. So we can see both clips. And you'll understand what is happening there. The two clips I actually blending in different ways according to the blend mode you apply. I'm gonna delete this clip now from the top. And you can play your sequence and see what we've created so far and compare it with the sequence we actually have at the beginning and we have in the progressions folder. And that's how you change the opacity of clips inside Premiere Pro, save the project, keep it open and I'll see you in the next episode where we're gonna see how to animate a clip with the busier keyframes. 56. S.10_06: Motion & keyframes: Last lecture of section ten. Come on, get a coffee. If you have two, let's do it together. We're going to explore how to animate a clip with the busier keyframes. Once again, we explore the motion controls inside the effect controls. But now we're going to animate the clips. We mentioned keyframe. So what are key frames? A keyframe is a location on a timeline that marks the beginning or the end of a certain action or effect. And there's no better way to explain that by showing you what I mean. Let's go to clip number one. At the very beginning of our sequence. Make sure you are at 000000000, okay? And I want to start animating my capacity. We're now creating basically a transition, a cross fade, as we've seen in our previous lecture, but we are gonna create it. Make sure you are the beginning of the timeline. Click can clip number one, we go to Effect Controls. I want to expand my Effect Controls panel. I need more space there and decrease the size of the project panel and just adjusting everything quickly. We're going to create finally this keyframes. So again, this location in time to create a keyframe in one of these motion controls, you want to make sure the stopwatch is active. As you can see every motion control as as one of those. We are in the capacity one and it's already active, so it's blue. I'm going to deactivate it for a second. And I activated again. You will see this new icon popping up, this an actual keyframe. And also you will notice here on our timeline in the fact Controls panel now, one keyframe popped up. This, this tiny squared icon. I leave it there as it was, but I just wanted to show you how it looks like on the timeline. That's a keyframe. I'm going to put it back at the beginning, and I'm going to change the opacity to 0. So press 0 there and click and press OK. Our clip disappeared because the capacity of the clip is 0. So we just see the background. Now on the timeline. Go to second one. So type on the time code 0100. We go back to their fat controls in the capacity. We're going to click on keyframe on. So we're creating a new key frame. And now we have a new key frame on the timeline. I want you to go to the opacity present age, and type 100. So we go back to full opacity and now play the timeline from the beginning. We have just created a cross dissolve, and that's what key frames do. We give a certain action to a specific position in time ON clip number two, I want to create some motion on the scale of the clip. So gone the timeline. Go at the beginning of clip number two. You can do that with the up arrow on your keyboard. Let's go to Effect Controls panel, and click on the stopwatch of this scale controls. The starting scale is 100, and I want you to go at the end of the clip. Now let's go to the timeline at the end of the second clip. Make sure you are on the last frame of clip number two. We go back to the effect controls panel and rescale it to 103. And we just gave a tiny zoom to the clip to give you an extra bit of motion. It's barely visible, but now you can play from clip one and see it. And you've noticed that very gentle zoom basically in our clip, you can play with keyframes in all the values here, but again, make sure you use them when they are needed and then include Cx. We actually left it in HD, so we want to scale it up. And let's go to this scale option and just drag your value up to cover the frame. Saw a 150. Probably 150 is good. To cover the old friend. Yes. Now we're going to animate the title. So let's go and clip number seven. When we have the title, click on the title and go at the beginning of it, and we're gonna give it a couple of motions. We got to opacity. Click on the stopwatch, makes sure it's active. And we want the capacity to be 0 again. Press OK. We just created a key frame and then we go forward on the timeline, a few frames. You just choose the position and we change the opacity to 100. And let's see. Now the title is appearing very slowly. I also want to animate the position of the title this time and I wanted to come in as he, as it appears. Let's go to the beginning of the clip once more. Click on the stopwatch of the position with the player add, go more or less at the same position of the capacity keyframe The second or plastic iframe right there. We're going to add a key frame there and go at the beginning of the clip again, I want my title to enter from the left hand side of the frame to the center of the frame. So I met him at the beginning of the clip. And I'm going to drag the axis to 500. Let's click, let's press five binder. You can't see it now because the capacity of the clip at this specific time on the timeline is 0. But now play the timeline from clips, from clip number six. We have the title coming in as well. It's a bit too fast, so I'm gonna change this second position keyframe a bit further down to 15 here when he says 15 on the timeline and play again, and it would be a bit slower. Now, something very important. Be careful with a stopwatch because for some motion controls, the stopwatch is already active. And everything you do on the timeline would be recorded here in the keyframes. So before you take any action here in the motion controls, Be careful and double-check if the stopwatch is already active or not. The last thing I'm going to show you for this lecture, how to change the controls also on the timeline, we are going to the Tools panel and take the busier Penn. We keep using the name Beziers, where it was a French engineer that popularized this type of design and using the busier curves. You might have heard about those. Take the pen. Let's go on the timeline. I'm going to increase the size. Now on the clip, we can work on the opacity of the clip and we can create keyframes right on the clip with your pencil, you wanna go on the rubber band until you see a plus icon next to your pan. And now you can add a keyframe. So click on the rubber band. We just created a keyframe. We're going to create another one towards the end of the title. And if you go there and you see the keyframe icon now, it means you can drag your keyframe up and down. And in this way, you will change the opacity of the clip on the timeline. We can plate and the title is fading away. We can change the keyframes on the timeline also about the position, the scale, and the rotation. To do so, we right-click on the clip as we've done before we got to short clip keyframes, motion. And now you can choose what you want to see, what rubber band you want to see on the clip, you want to change the position. Then we click composition. Now these rubber band represents the keyframes and deposition of the clip. Usually I change everything from the effect controls panel anyway because I can see all the motion controls at once. While on the timeline, you need to go in the menu and click on whatever you want. So I usually leave it on the opacity as default. Good job, saved the project. That was all for the motion controls. And this section, don't forget, there is a quiz and the exercise for you. Well done. I will see you in the next section. 57. S.10_07: Exercise description: It's practice time with the exercise of section ten, Create a new exercise project and save it where you should know important all the material from section ten exercise. The footage will include different resolutions as you have seen in the lecture project. So make sure you check the metadata display also the clips Evan been trimmed yet and they have their original duration. So what I'm asking you to do is to create a sequence in full HD. So from now on, I would like you to also to understand when you have to reposition a clip inside the frame. So when you see something you don't like in terms of framing or something that doesn't work because the resolution is too high or too low. I want you to adjust the scale, the rotation, the opacity, any other motion control of the clip to make it work, you can choose the duration of the video and also how to cut the music truck. You will find the full music track. You will have to cut it and make it shorter when you're happy with your edit, I want you to create a cross dissolve on the first clip. I want you to work on the capacity of the clip from 0 to a 100% and create a cross dissolve. You will find the graphic title and please added above the last clip of your Edit. And I want you to animate the title this time entering from the top of the frame to the center, also with the change of a pasty. So from 0 to a 100%, again, don't forget, you will have to play with the keyframes from the effect controls panel after that, save the project. And I will see you in the exercise review with my version. 58. S.10_08: Exercise review: Time to put into practice what I've learned in the exercise review for Section ten, I create a new project and I call it as ten exercise. And going to save it in my usual structure folder, section ten, motion and opacity. Exercise. Api. Project folder. Create and press OK. scratch disks, Simons Project. Great. I'm going to adjust my workspace. Again. It keeps changing for some reasons. That's cool. I'm going to import my material from section ten, exercise material, all this stuff. And what do I have? I'm going to create a subfolders that premier deleted when I was importing music. Drag it in there and I drag my sound truck in. Their B-roll is fine. The graphic add a subfolder called titles. So I created and drag it in the graphic folder. And I put my title in there to alrighty, I need to create a sequence. I check my material first. Frame rate 24 frames per second. I cannot see the resolution, so I scroll through the metadata and I can see different resolutions. Again, we've got full HD 4K and HD file. And also that's an SD resolution actually. So acquires more, let's see what we can do with that one. But we wanted to create a full HD sequence, or I drag my first clip inside the new item icon. And now I have already a new sequence with a clip inside. I create an edit folder, common BY call. It edits and drag my sequencing there and rename it with, I don't know the duration yet, but I know the aspect ratio is 16 by nine. Call. I would start with the soundtrack and see what we have. Cool. I take the first section for now. So I just press o in the Source panel and drag my music down here on the timeline, increase the size of the clips. And I just started playing with eclipse. Do you know what? I'll just drag them all inside a sequence and then play from there and AD tit from here. And now it's completely up to me in terms of duration and what I wanna do with the edit. There's already a bit of pause in front of the music song gonna chop that out. And start with the music directly. Ok. Here a second to 22, I'm going to cut the first clip. And that was a full HD clip which matches the frame of my sequence. So it's perfect. Okay, I got to, let's have a look at the clips and see if we can create a story maybe. So we have wide-angle of the landscape, tight shot of this lamppost with the people passing through. That's definitely not in the right resolution. It's in 4K, so we need to scale this down. That's actually smaller, so we need to scale it up. And I'm gonna do that as we go. So I select on Clip four, go to Effect Controls and just play with the scale until it covers my frame. Here we got a 151. This one is definitely 4K again. Okay. I got to clip and civil Look at the resolution. So clip 23 are for k, So I'm going to scale them down at 50%. And that should cover the full frame. I'll do the same with clip 350%. That's a big crooked as well. So one Australian it up. And this is stuff I was telling you guys you need to understand now when you can straight and upper clip or scaled up or down. And definitely this is crooked, so I'm going to scale it up or leaked all to May 55% be and rotate it to the left. So minus two, that kind of works. Let's see if I can reframe it a bit better. Maybe there. And I want to cut actually these lady coming up. So I'm going to scale it up even more to 67 maybe. And just keep this man with the accordion. Which is actually really good because the music has been played with the accordion so that could work. And here I have my frame. I keep scrolling through this a bit crooked to actually. So I go to rotation. And I tried to match these lines with the lines or the frame. That's great. I just need to scale it up a bit more. Carry on and clip number five, this 4K two, as I can see here. So I scale it down to 50%. Good staff. This is much smaller, this is SD. So usually we shouldn't be doing this stuff. We shouldn't be scaling and.asd file into a full HD because the quality is probably not good enough. But we have it in the exercise. So let's do it. And let's just scale it up in the effect controls panel. Here we go. This is a 4K again. So the last three, the last three clips are for K And I can scale them down or I can actually keep it in for k if I light the frame, these actually really working, I like the close up. So I'm going to keep it in 4K. This is not working unless I reframe it and I can go into position and try to find a frame. But I want a wider angle, so I scale it down for now to 50% and reposition it as it was originally. And now we have the close up of this man painting. So I can use these two clips together. And I can either use it in 4K and just focus on the hand or scale it down and show a bit of the crowd and the man, it's himself to maybe something like this. That's quite nice. With a bit of blurred people in the front of the frame. That really works. Now let's create the elite with the music. See what we can do. So we have a wide angle landscape, landscape again, and I'm going to use these two clips together. Okay? There's a bit of shaking S at the beginning of the clip which I'm going to cut there. And I take it when this man is coming in, I want to focus on the people of Paris this time. So let's try to show the people. Here. I cut again on the music. And, and I want to introduce the man with the accordion. Okay, there's something we are going on at the beginning. There's a bit of the some blurred effect. I think the camera was shaking too much. So I'm gonna cut the first second of it. Go on the beat. Cut again. Now when to introduce these two guys, that's actually my brother. So I've got three images with m 123 and I want to keep those images together and create a tiny story about this photographer taking photos. So we introduced the CT, then we introduced the characters, what they do, so they take folders and then we go back to a few, a few clips of Paris. Definitely extend my music. And this time I want to keep this clip shorter. And at the second clip of this guy taking photos. And actually I'm starting with a close up cues in this clip. Ooo, My brother is taking the camera down. So in terms of story line, it makes more sense. Is taking a photo there. And then it, it brings the camera down instead of bringing the camera down and then take it a photo which doesn't make sense. So think about the storytelling as well when you're editing your video, Of course, that's the most important thing of videos. Don't forget, I cut on the music there, and then we go back to the people of Paris. So what do we have? We have a wide angle of this square, this square where the artists are a tiny bit tighter shot of the same square and then a close up of the man. So what can we do? We can start with a wide angle. Actually, we don't want to forget that we have a title and for the tight or we don't want a BZ clip, otherwise, we're going to lose the title. So what I can do, it's actually starting with this middle shot. Then I go on the close up of the man drawing and then I finish off with a wide angle. And there, that's where, and here that's where we can put the title before I finish the edit, the clips edit, and want to edit the music and see how he ends. If we can create something a bit more that there, that's a good ending. So from a double-click on the soundtrack, and from second 4022 until 4321, more or less. I used the in and out marks and take the end of the trucks down. And now I tried to merge these ending to their previous to what I had previously on the, on the timeline. Also remember you can use transitions now to make it smoother, to make this cut smoother. So I create a tiny transition between the two, between the cat. Okey-dokey, it's working and it adjusts this cat here. Okay, I'm going to shorten up the first clip of the square. There. Show a bit more close up of the guide drawing. And then adding my last clip where I'm going to add the title to and close there. Okay, the cat is working. I'm going to add the title on top of the last clip is very long as you can see, subscribe now. And you can do so to my YouTube channel to at Malmo air. Great, let's check the noteworthy what we had to do. So we adjusted all the clips are mapping with the frames now with the position rotation and everything, we need to create a fade dissolve at the beginning, at the very first clique. So I got the beginning of the timeline and we can do that from the effect controls panel. As we mentioned. Double-check the the stopwatch. The stopwatch is ready active, so that's what I meant before. I create a key frame at the beginning of the clip. Then I go to 2, May 1 be more or less there, create another key frame. And my, my capacity is already at a 100%, so fully visible. So I need to go back at the beginning of the clip and go to 0. And now I have a fade in. Good. We still need to work on the title. So I go on the title here at the end of the Edit. And we need to create an animation from the, for the title to go from the top to the center of the frame. So we go to the Effect Controls panel, activated the stopwatch in the position controls. We have a keyframe now. And I'm going to be further down. Click on the keyframe again. If you don't see the keyframe icon properly, you need to expand the the panel. Create a new key frame. Now I've got two keyframes. And on the second keyframe, The title is already at the right position. So I go on the first one and just drag looks, just drag my position up. So I want the title to come from here. But I also want to change the capacity, remember, so we need to start from 0. And I'm going to create a keyframe on the capacity control type 0. And then go here when the clip is at the center of the frame, we don't see it yet, but we change the percentage to 100 visibility. And now the title is in. Let's play and see what's going on. That was my version of these tiny block. What are going to do now is, well actually I'm going to lock all the trucks and I'm going to delete that the trucks, I don't need y naught, so sequence, delete drugs, delete all of them, or the empty ones. And I'm going to lock those free trucks. Now I'm going to play the video for you. This is what I've created. If you're not happy with your edit, you can double check mine or rework on yours, and I'll see you in the next section. 59. S.11_01: Project setup & How to change the speed of a clip: Hello, Good day today in section number 11, we are going to learn how to change the speed of a clip, right? And also how to create frame holds. Let's start and let's get into Premiere Pro. I've already created my project as 11 Lecture and saved it in the relative folder. I've imported my material from section 11 Lecture and I created my subfolders, the missing subfolders, for example, for the music. And I checked some of the material already, some of the footage into a role and the B-roll with this footage from an MMA gym in Morocco in the Philippines. We're going to create a tiny teaser for the gym itself. Legacy Jim is M agent and one of the number-one beaches and the whole wave chaining hyperbola far less me know what will work. What did you ask why? You might have noticed in the preview video some changes of speed during the eclipse. And that's exactly what we're going to learn today. First of all, I'm going to check the frame rate of my material to create a new sequence. And now I'm seeing different frame rates today. I've got 25 frames per second, but also 50 frames per second. So I'm going to choose a project frame rate of 25 frames per second. And that's the first step of today. When you have different frame rates in the same project, I would advise to use the lowest frame rate for your project, in this case, 25 FBS. Why is that? Because if you have cliffs with higher frame rates, like in this case, 50 FBS, it means that we can slow down this 50 FPS clips into a timeline at 25 FBS. But if instead we create a sequence at 50 FPS, we're not able to slow down clips at 25 frames per second. And let's create our sequence. I'm going to take all the a role now and drag them inside a new item. Actually today I'm going to drop them inside the timeline. We're going to create a first edit, the basic Edit. And then we will build from there with the B-roll clips and change the speed of them as well. So I'm going to guide you quickly through the edit. And first of all, let's rename our sequence S 11 Lecture. And I already know the duration of the project, which is 20 seconds. Underscore 16 by nine. I'm gonna create a new bin, and I call it edits. And I drag my sequence inside the edits folder. We're gonna take the soundtrack and drag it into a three backward slash on the timeline so I can see everything that's happening. And I'm going to increase the size of my clips and kind of adjust the workspace for a second. You can also play the timeline and see what's going on. The first two clip are already set at the right position by the clip number three. So a roll three. We're going to position it at 0, 9-13. So here in the time code, type 0913, press enter. Now we're gonna position the beginning of this clip at the new time called given. And I'm going to start showing you how to change the speed of a clip from the timeline. We're gonna go and clip number three for now. If you right-click on the clip. You will find these header that says Speed, duration, and we're gonna click on that. We have this menu, small menu popping out. And here, this is the percentage of the speed of this selected clip. We can go, for example, to 50%, which means we are going to slow down the clip. And I want to show you what happens when you slow down a clip that is not supposed to be slowed down because the frame rate of the clip matches the frame rate of the sequence, which means we can't really slow down the Clip More than its speed, its original speed. But let's try and press OK. Now we're going to mute the soundtrack for a second and play the, play the clip number three. So that's what's happening when you slow down a clip with the audio. And that's another tip. We don't want to slow down unless we really want to do so to create a special effect. Also in this case, we said the clip as the same frame rate of the sequence. So if we slow it down at 50%, it means the Premier Pro needs to recreate an extra frame for each frame of the sequence. Because we said the speed of the clip at half of the original speed. I'm actually going to show you what I mean. So let's go at the beginning of this clip, number three, and now go frame by frame on the timeline with the right arrow on your keyboard. You will notice that to change one image, you have to click the arrow two times because premiere just duplicated a frame. So for each image, you will have two frames with the same picture. And that's not working. Let's right-click on the clip again. Let's go to speed duration. And as you can see, you can actually change the duration of the clip. So if you want to change the duration of the clip instead of the speed, that's what you do. You just give it a new time for the duration of the clip basically. So if I want this clip to last ten seconds, that's what I'm gonna do. And Premier is stretching out the clip to fill this gap of ten seconds. But I don't wanna do that. I want to go back to Speed, type again 100%. And this time go to reverse speed. And try. Okay. Now we play the clip. And now we have reversed the speed of the clip, so it's going backwards once more. We don't want to do that. So I right-click on the clip, go to speed duration and the percentage is correct. And I untick reverse speed. Click OK. And that's what I wanted to show you for now. Let's change the speed of a clip when we actually need to do so. And I want you to drag the first B-roll clip. So bureau number one, let's drag it to V2. So track number two at the end of a role too. So that's gonna be our third clip on the timeline. You can play and see what's happening. And we want to slow down this clip when Joe Ma is punching the bag, we right-click on the clip, spit duration and we go to 50%. So type 50, click OK. And we just locked down this clip to 50% of its original speed. Premier does something here. You actually chops one of one frame, the ending frame. So you want to go at the end of the clip and extended entirely and you will see an extra, an extra frame coming up. And that's what we want. Now we need to unmute the music truck. And now you can play the sequence and you will notice that the punch is on the beat. It's, it's actually on one of the beats of the soundtrack. Let's do it. Let's oh, and that's what we're going to build with the other clips. Let's take clip B-roll number two, added again on the same track next to beer or one, we're going to do exactly the same thing on this clip. Right-click on it. Speed, duration, 50%. Press. Okay. And we're going to extend the clip because there's an extra frame hidden and you can play again and see what we are doing. Bang, nice. We're adding the clip number three from the Bureau of Folder next to this clip again. And I want to show you another way to change the speed of a clip. If we go to the Tools panel, the third icon, that's where we want to open up. There's a tiny arrow at the bottom right corner. If we click on it and hold it, other three tools will appear. We want to go on the last one, the rate stretch tool, which of course you can activate by pressing R on the timeline. Now make sure you press are. And just in case, if you go at the end of our clip, you will see these icon popping up. We want to click on the edge of the clip and drag it until we attach it with snappy to the next clip here, which is the a row number three, you will notice the speed of the clip on the actual clip changed to 50% right there. What this tool does, basically changing the duration of the clip. And you will adapt the speed to the new duration that we gave to the clip. So right now we just said to premiere, I'm gonna extend this clip to fill this gap. And I want you to adapt the speed to this duration. And you can play it and see what we've done. We've just learned a few ways to speed up or slow down a clip in Premier Pro now saved the project, keep it open because we are going to explore more of these tools in the next lecture. 60. S.11_02: Frame holds and freeze frames: We're still working on the project as 11 lecture. In this lesson, we're gonna learn how to create frame holds and how to freeze frames. What do we use freeze frames, they very useful sometimes to highlight and emphasize a particular frame during emotion, during a video. And we can also use them to create backgrounds for titles. For example. First of all, we want to go on the timeline and press V To go back to the selection tool because we are still with the rate stretch tool. Okay, now you've got your arrow back your coarser. Let's go to B row number four and drag it down on the timeline next to a row number three. So it should be at time code 12-24. Now we're going to create a frame, hold. Different ways, different options. Let's play the clip together for a second. Here at time called 1407, we want to freeze the frame and hold this punch to create this cool effect, we're going to right-click on the clip and we have different options now to freeze the frame, you will see frame Hold options and we can click on that one for now. On these menu we have other settings. The one I wanted to show you is the second one from the top sequence time code. Let's click on that and press OK. And ever look at what happened to your clip. The clip is not moving, so the all clip froze. And that's what's happening with this command we just said to premiere, I want you to freeze my frame at this particular time caught on the sequence. That's why I do it again, right click on it, frame Hold options. We went to the options sequence time code. So wherever your play head is on the timeline, that's where Premier is freezing your frame. All clip will be turned into a freeze frame. I'm going to cancel and I'm going to undo the action with common Zed. So now we have the all motion, the old video. Let's go back to 14 or seven. Once more. Right-click on the clip again. And this time go to Add frame hold. And let's have a look at what happened. In this case. We play the clip. We now have the beginning of the clip until our time code, still the entire video. But from the time quote, own words, premier created a frieze of a freeze frame like a frame hold. So that's the difference between the frame or the options and the odd frame hold. Okay, let's undo that. And there's one more. So common Zed. And now we have the video fully running. Let's go back to 1407 once again. Right click on it and go this time to this option, insert, frame, hold, segment. Let's have a look at what happened here. The beginning of our clip is still running properly. Then when we reach the time code where the player had was premia, are the two seconds of a frame hold. And as you can see, nothing is moving in this two seconds. And then the clip starts running again from that time onward. So we have the ending of the clip. But we have a problem. We also cut the music truck and we don't want to do that. Of course you can lock the truck, so nothing will happen to your music truck. But let's undo everything for now. And for the last time to 1407 on the timeline, we're going to lock the music track down here. And now we're going to create another. We're going to right-click on the clip and go to insert frame hold segment. Now want you to go to the time code 1414. We're going to train this frame board with cut, with the trim tool. Go back to the selection tool and delete the rest of the framework I don't need. Now play this clip and see what we've done. I want you to snap the last part of the clip back to the frame old, and you can play again. We're gonna do the same kind of effect with another tool in the next lecture. But before we close this video, I want to show you how to export freeze frames and those can be helpful if you want to create a thumbnail for your YouTube videos, for example, we have different options to export a frame from Premier Pro. First of all, let's create a new item. Because the two, the two ways I'm going to show you actually have some differences. Let's go in the project panel, click there, go to File New. And we go down to black video. Ok. We are going to change this resolution to 3 thousand by 10000. For example. Click OK. We have a new item in the project panel. And I'm going to create a new bin with common b. I call it G FX, like graphics. For now it's fine. I drag my clip inside the folder, double-click on this video, and that's our item. It's very long because it's 3 thousand pixels by 10000. Only. The first option to export the frame is to go out in the Source panel and then choose the frame you want. If you add a real video, you could choose any frame. Here we go to this icon, a camera icon that says Export frame. Click on that. We have a menu popping up. We can name the image, the export, and we call it Black video source panel. So we know these images coming from the Source panel. We can choose the format. I think by default the comes with the Px. We go to JPEG, we can now browse where to save this image. Here in our lecture folder, we create a new folder and new subfolder and we call it exports. And we're gonna use this folder in the next sections to create and click on OK. Click OK. And we just exported F frame from the Source panel. The second way is by dragging the clip or any item into the sequence on the timeline, make sure the player head is above your clip. And this time from the timeline press Shift, ie, the exact same panel will pop up with a menu. This time I'm gonna name it Black video, timeline. So we can recognize them. Choose jpeg again in the format, browse it in the same folder, expert, click, okay, and okay, let's go to find their own wherever you have saved your files now. So as 11 lecture experts, and you will see straight away the difference. This is the very first clip, the Black video source panel. From the Source panel, you can also double click on it and open it in any, in painter or any image software you have, we can see that the image size is 3 thousand by one hundred, ten hundred pixels. So exporting a frame from the Source panel will keep the original size of the, of the item. But if we double-click on the one from the timeline, this frame actually as the size of the sequence. That's the big difference. So if you want to keep the original size of an item, you better exported from the Source panel. If you don't mind, then you can do it from the timeline to, let's close all these tabs. Let's go back to Premier Pro. Let's get rid of these black video on the timeline. And that's how we create frame, hold and freeze frames from Premier Pro. We go one more step to go before because the section, so save the project, keep it open and I'll see you in the next video. 61. S.11_03: Time remapping: Last lecture four section number 11, we are going to explore the last way to change the speed of a clip. This time it's called time remapping. It's a bit more complicated, but it gives us more flexibility. Let's draw the timeline and click here. We left with James punching the bag, clip B, roll number four. If we go to the effect on Tools panel will see this option called time remapping. We can also do the same on the timeline and that's what I'm going to show you. Let's increase the size of the clips and expanded as well. A clear review. I want you to go on the clip, right-click on it and go down to show clip keyframes as we've done, as we've done in the previous sections. But we got to time remapping and click on speed. Now we have a different rubber band. As you can see on the clip. You don't see the preview of the video any longer. If you hover your mouse on the band, you will see the up and down arrow icon popping up next to your selection tool. Now if you click on the rubber band, hold it and drag the band upper down, you will see the percent age increasing or decreasing. You pull up, you're going to increase the percentages. So you're going to increase the speed of your clip. If you pull it down, you're going to slow down the clip. I want you to go up to 175%, tried to be precise. So we can actually create effect we want. So a 175, let go your mouse and now is speeded up the clip a little. You can see James is moving a bit faster. I want you to go to time code 1501. Now with the pen tool in the Tools Panel, or you can just press P on the timeline. We're going to create keyframes. Again, you want to make sure you have the clip selected fan too. And this is a bit tricky because you don't want to click on the player heads or on the blue line. Because if you're slightly off to the left, Premiere will create a keyframe on the left-hand side of the player head. So I'm gonna do a, you want to be on the right-hand side of the playhead. Click there when the plus comes up. It means we can create a keyframe. Perfect, that's where we wanted it. Now let's go on the right hand side of the player ed, on the rubber band until you see the up and down arrow again, click on that and pull it down completely to 0, actually 1%. In this way we are going to create a frame hold. Again, a different way. We can play the clip and see what we done. Okay, so we have a frame hold. Then we just put it up, James punch in the bag and then we go back to another frame hold. Then I want you to go to 1510. At the time called 1510, you can increase the size of your clips. Go to the pen tool with p and create a new key frame. Make sure you are on the right hand side of the playhead. Now that you have a new key frame, go to the selection tool with v. Click on the rubber band, drag it up to 100%. So we want to go back to normal speed, 100% illegal. And now you can play the video and see where we achieved. Great staff. One more option for this tool and then we finish the edit. If we go in one of the key frames and with zooming completely, you will notice this grey. It's okay. It's like a playhead. It's a gray player head. And as you can see now we have an arrow icon left and right. So if you click on that and you drag it, we're going to create a fade on the keyframe. So the speed will not be sudden, buy it will fade slowly and smoother. But in this case we don't want to create a smoother speed ramp. We just want to have a neat freeze-frame basically. But you can play and see the difference. See it's low wind down, step-by-step. That's why I said it's a more flexible tool for the speed ramps. I'm going to undo because I wanted to keep the frame old. And that's what we achieved. We have a couple of things to do to finish off the Edit. Lets go back to the project panel. Let's drag the clip number five, Bureau five. Next to this clip number four. Make sure the audio is on track a2 and the video on v2. This clip should reach more or less the end of our timeline. Let's polish the edit with some transitions and another couple of effects I want to give to the frame holds as we are on the last clip. You will notice that this clip doesn't really reach the end of the sequence. So it doesn't go to 20 seconds. So let's create there across paid to black. We go at the end of the clip, we click hold on the video part of the clip and reapply the default transition. I'm going to extend the transition a little so it's nice and slow. And I can play it. And we have now a fade to black ending. I want to add another couple of transitions here. At Clip bureau number three. I'm going to go at the end of the clip and right-click on it, apply the full transition and this time narrow down the duration of the transition. It doesn't have to be too long. Great. And then we want it fade in. When Joe Ma is talking for the second time on a row number three, I am going to the end of the clip, press old so we can create a transition just for the video part of the clip, right-click. Apply the full transition. Again, it's a quite long transition. I decrease it, narrow it down. Horrible upgrade. And now the last thing, let's go to B roll number four. Here are the timeline. When we have the first freeze frame. I want you to go at the beginning of the first freeze frame and go to the effects control panel. Click on the scale stopwatch. Okay, we have the skeleton a 100%. Now we want to go at the end of this clip. So on the last frame of the clip, I'm going to change the scale to a 104, maybe even a 100 and fiv. Now you can play the clips and see what we've done. So now on the frame old, we gave a tiny bit of motion that gives something more to the clip. Let's narrow down the timeline, lock all the tracks, and delete the trucks we don't need. So right-click here on the timeline, the grey part of the timeline, delete trucks. And we're going to take delete trucks, audio and video tracks. That's how you change the speed of a clip. You create frame holds and how you export freeze frames from Premier Pro once more a saved the project. This time you can close it down and the quiz and the exercise are waiting for you. I will see you in the exercise review. 62. S.11_04: Exercise description: You ready for some practice? This is the exercise for Section 11, very easy exercise this time. Kind of, I want you to reduce exactly everything we have done in the lecture. You need to create a new project, of course, call it S 11 exercise and save it in its relative folder. You want to import the same material from section 11 lecture, this time not from the exercise folder. The same, exactly the same material we have used in the lecture. Organize your folders inside Premiere, check the metadata of the clips, check the frame rate and the resolution of the items. Create a new sequence, give it a name. You remember the duration of the video was 20 seconds and the aspect ratio was 16 by nine. Then you can begin with your edit by dragging some of the 25 FPS clips inside a new sequence. At this point, you will have the three a role clips on the timeline already telling the story. You can double-check that time codes we used in the lecture. If you have two and then add the sound track, which is already cut to 20 seconds. I want you to start adding the Bureau clips and change the speed of them. So you need to slow down some of them and speed up others with different methods. Do not forget to use the time remapping as well from the timeline, you will have to create some freeze frames and frame holds when we were punching the bag. And also I want you to create a black video from the dropdown menu, as we've done in the lecture, putting in a new folder called graphics, you can give the dimension to this video of 3 thousand pixels by 100. So 3 thousand recently a 10000 vertically. Then I want you to export one freeze-frame of this video in the two different ways we've seen in the lecture. So one from the Source panel and one by dragging the clip inside the timeline and exporting an image from the timeline. You're going to save these exports in a new folder that you need to create inside the S 11 exercise folder, then polish up the video with the transitions and any other effect you want to apply to the Eclipse. I will see you in the exercise review. 63. S.11_05: Exercise review: Okey-dokey exercise review for Section 11. This is my exercise. I've already created the project S 11 exercise and saved it in here. I just show you. So Section 11 video speed S 11 exercise API project. That's where I saved the GNU project. I go back in Premier and import my material this time from the lecture as 11 lecture. There is no material in the exercise. So we need to use the material from the lecture and import the audio and the footage. I'm, I need to organize my folders and create subfolders. The clips are already there. There's a different order here. So I need to reorder my clips by name. Okay, perfect. Going to create a bin and call it music. That's for the music. Drug my music inside. I'm going to create a radian Nubian for the sequence. So common b, I call it edits. And let's check the footage. 25, it's exactly the same. So take my three a role and drag them down into the new item icon. And that's my timeline which has been moved. Also drag down the music truck to a three, if I remember correctly. The third clip was at 913 time code. I just move it there. And now I have the structure of my video. Good staff, I'm gonna take actually my, I'm going to rename my sequence and call it 20 seconds, 16 by nine. Drag it into my edits folder. I can close the a role. I don't need that anymore. But I can take the first two clips. I remember we changed the speed to 50% of both of them. And you can do that actually by selecting both clip, right-clicking on it. And do the exactly the same with different clips at the same time, 50%. And the need to extend both the clips now because then being the been cut, cut down, let's see if it works. Nice. And then I'm going to add clip number three. I don't really remember what's happening there. And we got we got the other james. But this time I want to use the stretch tool. If we remember, we go down here in the report edit rate stretch tool. Make sure it's selected. And I'm going to extend the duration of my clip to cover the gap. Perfect. We got Joe Ma talking what will work. And now we're going to add clip number for where we need to create a frame holds as well. That was a bit trickier. This time, God was 1407. That's when we have the first. Frame old, right there on the first punch. And I think here we use this option. We went to insert frame, hold segment, hopes, but I forgot to lock the truck, the music truck C. Let's do that again. Right-click on the clip. Insert frame old segment. Now we have two seconds of frame old, but we had to go to 1414. If I'm not wrong again. And instead of dragging down the clip, I just overwrite it with the next section and delete this part. We don't need. Great. Now we need to use the time remapping for the second part. And we were more or less here at 15 or one. I'm going to increase the size of my clips to see better. Right-click on the clip number for B-roll four and go to Show clip keyframes, time remapping speed. Now, I can expand the effect controls to double-check there to. First of all, we had to increase the speed to 175%. So I am going to pull my rubber band up to 175. That's it. Ok. And now here, F 151, I'm going to add a keyframe with the pen tool and drag the rubber band down to 1%. So we have a, we have a freeze-frame now. And the next, and we're going to release the frame old at 1510. I remember. Use the pen tool once more, create another key frame and drag my rubber band up again to 100%. And thus you kind of work. That's ever look. I'm going to add my last clip, bureau number five. Of course, in V2 and a2. With the audio, we have a bit of a punch Cooley up. Now, I remember we had a couple of transitions on the last frame, on the last clip here. So I'm going to right-click on it with the old button, pressed. Apply default transitions. And I'm going to extend the transition a bit more. It's a bit too short. We have two more transitions. One here at the end of this clip B roll number three, which is too long, so I'm going to narrow it down. And then at the beginning of a row three. So I'm going to go at the beginning, click hold, and apply default transitions. And I think I need to narrow this down as well. Let's see, chaining horrible of OK, one more thing was to apply a scale to the first frame, old Right there. So don't forget the truck targeting guys to move from clip to clip. So I got at the beginning of the clip, which is the frame old for B-roll for goods to the effect controls panel. Click on this stopwatch of this scale, and then go at the end of the clip, add another key frame and scale it up to 105%. We have a gentle zoom in. We still have to explore the freeze frames. And we had to create a black video from the drop-down menu. New Black video give a dimension of 3 thousand pixels by 100. Click OK. And we need to create a new bin called graphics GI effects. And drag my black video in there. And need to expand the source monitor now to see this clip and I'm double-clicking on it. There it is. And going to export one frame from the Source panel on the camera icon. I'm going to name it Black video. Source. Panel format. Jpeg is fine. I'm going to browse this time. I'm going to the exercise folder of Section 11 and create another folder called experts. And click on Choose and okay. Okay, that frame has been saved, will double-check in a second. I drag my black video on the on the timeline, go with my play head on the clip and press Shift e se menu. This time I'm going to call it black. Vdo. Timeline was its sequence or timeline. I do remember sequence. Perfect JPEG and going to browse again same folder and click OK. I'm going to delete this video from the timeline. Lock all the tracks and narrow them down. And now I'm going to play the video actually first I'm going to check those two frames I just created. See if they actually working. I double-click on them. This is from the sequence 1920 by 1080 pixels. Perfect. Second, 13 thousand by 10000. Let's play the video and I'll catch in the next section also, let me know how the course is going. You can go into Q and a section in the review section, be part of the community, drop a message there. I would be very happy to read it and reply to it. Legacy, MSM and agent and one of the number-one beaches and the whole web and the photons training hard enough. Ira does mean what, what, what, what, what could ask. Well, you know. 65. S.12_02: Stabilizer: We are sealing section 12, the effects. And in this particular video we're going to see how to stabilize. Shaky video flips. Now let's go to the effects panel and you will see as searched up right there, if you know the name of your effect, you can just type the name or you can open the folders and search for whatever you're looking for, the different purposes. As you can see, there's loads and I leave you explore in this After the lecture, let's go back to the top, to the Search tab and type work work stabilizer. That's what we're looking for. There's only two options to apply an effect to a clip. We've got three options. Of course, you need to have your clip selected on the timeline. Then you can double-click on the effect. You can drag it inside the effect controls panel of that specific clip. Or you can drag it onto the clip in the timeline. So choose the way you want. We can just double-click, it's quick and never look before you double-click. Have a look at what's happening in the effect controls panel and also in the program panel. Ready, let's go double-click. We now have a warning title in the program panels say, I am analyzing your clip and also go to the Effect Controls panel. Here, there's a percentage of this process. Premier is now checking the clip and tried to stabilize it somehow. Something changed in the clip, as you might have noticed in the program panel. And that's something that happens in particular with this effect, with a warped stabilizer, will this effect does basically it takes one area of your clip and it tries to nailed it to the frame. To do so and to stabilize it, it needs to adjust everything else around this particular area. And sometimes Premier to, to nail this area to your frame, has to readjust the rest of the image by scaling it up or rotating it or reposition it. That's why you might have noticed an increase of the size of your clip here in the program panel. I want to show you quickly something else too. If you go to the timeline, we're going to increase the size of the timeline. I'm going to undo the effect. Have a look at these iconic FX on the clip. When we don't have any effect on the clip, this icon is gray, but as soon as I apply an effect, it will become purple. That's a way to know that you have some effects on your clip. Let's play the video on the timeline for now. Okay. The image, the girl, these ladies actually more stabilized. She's, she's more steady, but something else happens to the clip. If we look at the background, when you play the clip, you will see some weird distortions. And that's what Premier does to stabilize your clip. If in your cliff, there's lot of stuff going on with lights in this example or different backgrounds and foregrounds. Premier struggles to stabilize your image and it creates this kind of works and waves and it's really disturbing some times in that case, I would suggest not to use this effect on the clip or to replace the clip entirely. In our case, we're going to delete the effect and keep the clip as it was originally filmed. So let's go to the Effect Controls panel, click on the effect and press Delete on the keyboard or the backspace. But we're going to apply the semi factor different clip and see if we are luckier. Let's go to bureau number to drag it down to the timeline next to B row number one, we have this DJ deck. And if you play the timeline, you will see lot of shakiness again, cuz I was trained to rotate the camera and moving back and forward. So there's a bit of waiting going on there. Let's try to apply their work stabilizer again. Click on the bureau number two in the timeline, double-click on the effect, and we are waiting until the effect finishes to analyze the eclipse, also important to note that you apply all the effects in the same way. So whatever effect you want to apply, you just double-click or drag a 2D effects control panel or to the clip directly. So it's the same for every effect. And also different parameters will appear in the effect controls panels, like what we've seen when we worked on transitions. Now their work stabilizer as finished to analyze my clip. And let's play and see if we actually improve the clip a little. And yes, I'm happy with the result. Actually definitely improved my clip. It's much smoother any place better. We can probably do something different as well to make it even better. If we got to the effect controls panel in the warped stabilizer effect. Now I'm going to show you these different options quickly. In stabilization, we can choose smooth motion, and in this case, Premiere will give a bit of motion to the stabilizer to make it work properly. If you choose no motion, well, just try and see what happens. It's not working very well. So let's go back to smooth motion for this clip. And also if you go to method, you will see different option subspace work. And that's what creates these distortions are why I was telling you before, I rarely use this option unless I have a really simple clip with a simple background can play an image. Otherwise usually go for position, scale and rotation. So Premiere will not create this kind of digital effects, but it will just adapt my frame according to the position, the scale, and the rotation. So let's click composition, scale and rotation. And you will see in the program panel that premier is trying to re-stabilize your clip. Let's play it again. So that's how you apply modify effects in Premier Pro and in particular how to apply the warped stabilizer, save the project and don't close it because you're going to need it in the next lecture. 66. S.12_03: Crop: We're still singing or sulla mia with Pavarotti. I'm joking. We are still in section as 12 of our video editing course. Let's get into premier. We're finally learned how to apply effects to our Eclipse. Now we're going to check the crop effect instead of showing you a fact just for the sake of it, I want to actually show you some effects we can use in real life for real projects. And let's go and type in our effect. Panel search tab, crop. And we have one option here on the timeline, taking the B-roll to and drag it to the truck V2. Now we're gonna take the beer or number three in the project panel and drag it under the bureau number two. So on V1, on the truck V1. And what we're trying to do is to merge the two clips in a cool way. Let's go back to the effect panel. We have the crop effect. We're going to take it and drag it to the bureau number two. So the one on the top layer. The crop effect, is a good effect if you want to split the screen, for example. So if you have a double interview, it's very useful also to create pillar boxes or letter boxes, as we've seen in the previous lectures. And that's what we're gonna do in this project to, in a second, Let's go back quickly to the effect panel and increase the size of it. You will notice these two icons. These are icons refer to the rendering, the type of rendering the computer needs to apply this effect to the clip. For some computers, according to your graphic card, you will have to render the effect. So whenever you drag an effect into a clip on the timeline here, you will ever read line on top of the clip instead of a yellow line as I am to play, they affect and render the effect on your clip. You need to press enter Return on your keyboard. At that point, the computer will start rendering your file. This line could become then yellow or green and the video will play normally. Let's work on the crop effect. And now you can see we can crop a clip from the left-hand side, from the top, from the right and from the bottom. And we're gonna go to the left option and type 25. And never look at your program panel. We have just chopped part of the clip which is actually still there, we just creating an effect on top of it. So if we wanted to, we go back to 0 and we have our full clip again. But let's go to 25 for now. At the left-hand side, we also have an edge feather option. This will create a fate, a feather effect. So it will, it will create a smooth transition between the two clips. You can play with it. You can go so negative and see what's happening. But I would like you to type here 350. And we have this nice fade on top of the other layer. Ok, that's cool, but it's kind of useless as it is right now. So I want to animate the clip coming from outside of the frame to inside the frame, we click on B-roll number two. Let's go at the beginning of the clip and we want to have the V2 truck targeting selected on the timeline. We press on the up arrow on the keyboard and we are at the beginning of the clip now go to Motion and go to position in the horizontal position of the clip, I want you to type 28892889 and also click on the stopwatch to create a keyframe. Now the clip disappeared because we put it outside of our frame. If you now have a look at these time code in the effect controls panel, we're gonna go to two or three hour player had moved. We're going to create another key frame by clicking here on the keyframe. And we're going to type in the horizontal position, 15, 35. And now we can see the clip be row number two, merging with the other one with the B row number three. Let's play the timeline and see what we've created. We have these nice overlay with one clip coming in inside the frame. It's really good, but we can make it better in the next lecture. But now let's create the letterbox as well. That kind of give this cinematic effect to the video. To create letterbox, we want to create a new item. We go to File new and go down to color matter. We're basically creating a plain background, a colored background. We can choose the width and the height of it, the time base, which is the frame rate, click OK. And we can pick the color. You want to go in the black, in the top right corner. Click OK. We're going to call it letterbox. And we have a new item inside a random folder here in the project panel saw. Let's go inside the graphic folder, create a new beam, and we call it letterbox. And I put my new item in there. Now I take the letterbox item, drag it into v3. And if you play the timeline, we don't see anything because it's literally a black background. I'm going to extend it to the end of the soundtracks to cover the all video. And I'm going to apply the crop effect to it as well. So I double-click on the effect, and now let's go to the parameters of the bottom option. Click on it on the percentage and type 90. And as you can see, we created a black line, a black stripe on top of our video. We want to create one at the bottom as well. And we need to duplicate this clip. So you can click on the item on the timeline. Then if you hold on, hold on the timeline and drag this clip above on a new truck. Cliff just duplicated the letterbox. We just need to change the crop effects Now parameters. So I click on the letter box on the top layer, video for, on track video for Go to the crop effect. Delete the parameters here in the bottom options are just type 0 again. And I'm gonna type 90 to the top option. And now we have both stripes. We now have the letterbox above the whole video. It's really nice, but still I'm not a 100% API. I want to animate the letterbox. So let's go to second number two on the timeline. Make sure you are on second number two on the time code. We're going to create a keyframe. So let's go to the Effect Controls panel in the crop effect, where we have the top option, click on the stopwatch to create a keyframe. Perfect. Now we go the beginning of the timeline, still on the same clip. And here in the top option, we're going to type 100. Play your sequence and see what we've created. The stripe is coming up slowly. We're gonna do the same in the lower layer. So again, make sure you are on second to, on the timeline. We are going to the crop effect in the effects control panel. And this time we got to the bottom option and click on the stopwatch to create a keyframe. Then we go at the beginning of the video, still on the same layer, v3, we create a new key frame here, and the effect controls panel, and we tie for 100. And now we can play the video. Very good. We just learned how to crop a video and why we should crop a video. Now saved the project. We'll need it for the next lecture again, I'll see you there. 67. S.12_04: Blur: I hope you're having fun with the effects. We're gonna check now the blur effect and we are still in lecture 12. Let's drag another few clips inside the timeline. And I'm going to take the clip number four and drag it down as the last clip of the video. And it should match exactly with the end of your soundtrack. Remember I muted my track, you can keep it on to listen to the music and the rhythm as well. Now you can play the whole video or just play the last part and see the last clip. We avoid it. Great. It's a good ending shot with a lot of crowd cheering and applauding. We want to add a title at the end of the video that says come to this event on this date, we're going to take it from the titles from the graphics folder and drag it above the layer and myTitle on the timeline goes more or less from second five until the end of the clip 2, second 10. First of all, let me take the safe margin off for a second. Now descending part looks nice, but there's still a bit too much going on for my personal taste. So a good time to use the blur effect is exactly in an instance like this, when we have a BZ background and we want to add the title on top of this image. So let's try to make it better. Let's go to the effects panel and type blur. Now we have lot of blur effects in Premier Pro. We're gonna check only two of them today. The one we want now is called Gaussian Blur. And I'm going to drag that on top of B roll number four on truck one. Again, nothing is happening because we didn't change any of the values yet. But I want you to go in the timeline at second six, okay, make sure you are on the clip. And we're going to create a keyframe on the stopwatch in the Gaussian blur effect. So click on the keyframe to create one. Now we're gonna go to second seven on the timeline. You can also do it from here, from the effect controls panel, your playhead when move. We're going to create another keyframe. Always here in the effect controls panel. And we're going to change the blurriness to 30. And now you will see your image blurred out in the program panel. You can go higher with a value if you want to see the text even better. You know, it's up to you. Let's go to 80. You know, you can play to 80. And now if you play the timeline, we have animated these blurriness from 0 to 80, and it works pretty well. Actually, we can leave it to 80 as well. You choose the value you prefer. If we go back to the effect controls panel, you also see different options here, bird dimensions. You can go to the menu and select horizontal and vertical, which is the option we just chose. So you will burn the image vertically and horizontally at the same time. But if you pick vertically only, for example, Premier is blurring the pixels only vertically. And of course, if you go to horizontally. We'll blur the pixels horizontally. It just depends on the effect you want to give to your image. I like horizontal and vertical for now, there's another option called repeat edge pixels. And we cannot see what effect does at the moment because we have the bars, the black bars on the video. So lets blind the trucks. V4, MV3. You will notice on the edges of your clip now, it's this kind of even yet, it's kinda black because premier is blurring the pixels on the edges. If we click on the repeat edge pixels option, Have a look at these edges and see what happens there. In this way, premier recreate some pixels on the edges to make sure we cover the whole frame. And we can actually leave it on. We just ticket and levy on. We go back to the trucks before and B3 and we make them visible and we can watch the video for now. Yes, looks good. I only want to add a transition to the title and I'm going to reduce the duration of the titles. So I'm going to second six on the timeline and just trim the title. And I'm going to add a default transition to it. And I'm gonna place it. What's going on? Nice, it's working. I'm happy with this. We're gonna apply another blur effect to clip number two. Now we go back to B row number two. If you remember, we have created this motion of the clip number two, coming in above clip number three. So click on bureau number two. Let's go to the effect panel. And we still have the blur effects selected year. We're going to choose the directional blurred this time. And we're going to drag it into the clip B-roll too. Before all, I want to show you what this effect does. Actually let me go in the middle of the clip. I'm going to change the blur length. Four now here and the effect controls panel. And as you can see, we are giving a direction to the blurriness and we can change this angle of direction if you go to that direction option here and the effect controls panel, we are literally changing the angle of the blurriness. And I want to go to 9090 degrees. So that's the effect we are going to create. We're going to give some motion blur to the clip as it's coming in. So to blur length at the moment, I want to go to 0, but I'm happy with the direction angle at 90 degrees. Let's go to the time code two or three for now. Now, I'm going to the blur length, create a new key frame with a stopwatch, and I give a value of 40. Then on the timeline, I go to frame two of five. And I change this value in the bird length to 0. If a play the sequence slowly, we can see what we've done. I just gave some motion blur to the clip until it stops and then we fade blurriness as well. So we can see that clip properly, right, let's play the video from the beginning. I'm going to mute the soundtrack. And let's go. Sexy stuff. I'm definitely going to go to this concert on the 16th of June 2050. Well, I hope so. In the next lecture we're gonna see how to copy and paste effects and how to create presets, Effects, Presets. So make sure you save this project and I'll see you in the next lesson. 68. S.12_05: Copy and paste effects: Last lecture or section number 12, the effects. Here we're going to learn how to copy and paste and effect and now to create a preset. Let's go back to our projects. And I want you to drag the clip, B-roll one at the end of our video, anywhere on the timeline, I'm putting on V1 truck V1. Now let's go to clip number b, rho two on the timeline, we have created some directional blur and also some crop effect, if you remember. And I want to copy these two effects into the B-roll. Number one, they just put it on the timeline. If we want to copy only one of them, for example, just the crop effect from the Bureau number two, I click on bureau to go to the Effect Controls panel. Click on the effect I want to copy and literally just press command C. Then I go to clip B-roll one at the end of the video. Click on it, go back to the effect controls panel and press comment v. And I've just pasted that effect on this clip. And you can see it here in the program panel. I have created a crop with some feather on the left-hand side of the clip. I'm going to undo that with common Zed. So I go back to the original clip. I go back to clip number two. I make sure I click on it and I right-click on the clip. This time I go to the top copy. You can also press common C on your keyboard. I'm going back to clip number one at the end of the video. Right-click on it and go to the top of the menu and click on paste attributes. And I have this panel popping up now, Premier is asking me what effects I want to paste into the new clip. And you can take here whatever option you want to copy to the new clip. You can read effects and actually want to paste all the effects and actually want to paste all the effects they I apply to B-roll clip number two, you will notice the warped stabilizer is on tick and I want to take it because I wonder work stabilizer to, on this clip. So I make sure all the three effects are ticked. I click OK. And now if we play the clip, I have exactly the same motion blur and warped stabilizer of the clip number two, lovely job Lee. So that's how you copy and paste effects in Premier Pro. If you want to create a particular effect that you want to reproduce on different clips during your edit, then you can create a preset. We are still on B row number one here at the end of our video, let's go to the Effect Controls panel. Click on crop for example, I want to create a preset for the crop effect with exactly these values. I click on the header, Right-click on it, and choose Save Preset. I can name it, we can call it crop reset, section 12. You can give a description if you want to click OK. If we go now to the effects panel, you will find your preset at the very top in a folder at the very top of the menu. And as any other effect, you just drag and drop it into a clip. I want to show you one more thing before we go. And this happens when we use the word stabilizer effect, in particular, on whatever clip you apply the warped stabilizer if you also want to change the speed of it, we will have some problem. Before we do that. On bureau number one, let's go to the Effect Controls panel. Let's go to motion. We're going to delete these two key frames here on the timeline by pressing the stopwatch at the beginning here, the position header. This action will delete existing keyframes. Yes, I want to continue and we're going to change the first value to 960. So we are able to see our clip fully in the frame. Now let's try to change the speed of the clip. Right-click on the clip on the timeline, go to speed duration and change the value to 120%. We will have another warning board that says warped stabilizer and speed can not be used on the same clip. Of course, we have a workaround and I want to show you this because it's useful for different other things in Premier Pro. I'm going to undo. So I'm going to go back to the original spirit of the clip. Right-click on bureau number one clip once more and go to the option nest. Click on that. What you are doing now is to create another sequence with our B-roll clip number one inside only. So it's basically a nest, it's a new container. And on the new container we can apply now different effects. Let's name this sequence for now, V rho 01 and press OK. On the project panel, you will see a new item, which is actually a new sequence. And we're going to organize our folders one moment. We're going the edits folder, create a new bean and call it nests. And I'm going to drag this new sequence in there. So all my elites are inside my edits folder. You will see your clip now became green. And that's actually a sequence is not Eclipse. So if you double-click on it, we just opened a new sequence with only that clip inside. And here you could make a sub edit if you wanted to. So you could have now different clips inside another sequence. We're going to close this B-roll sequence for now we go back here. We're going to explore this in the next section, so don't worry about it for now, but I wanted to show you how we can apply different effects on the same clips, even if premier process it's an error. So we always can find some workarounds. And now we can change their speed of the clip. So right-click on the new nest sequence. Let's go back to Speed, duration and type 120. And now we're fine. You know, premier cannot find any issue with it. But you will notice also my computer, I have a red line, which means I need to render my sequence before I can play it correctly. So I do so. And the rendering process will begin when he ends, my sequence will play from scratch if you wanted to delete or deactivate and effect, we can do so of course. Let's click on the bureau number two here on the timeline. And we can deactivate an effect just by going to their fat controls panel and untick the effect we want to deactivate and it will disappear from your clip. But still the good thing of deactivating an effect is that the effect will still be there at anytime soon. So you can always go back to it if you wanted to. If I want to get rid of it, then I click on it. And as we saw before, I just click on the backspace or on the delete button. But for now I'm going to undo and keep them on my cliff. That's how you apply copy and paste effects in Premier Pro, how you save presets and now you create a nest sequence, saved the project clause it this time because the quiz and the exercise, you know, they're waiting for you. I'll see you in the exercise review. 69. S.12_06: Exercise description: Hello and welcome back. In this exercise for Section 12, we still some footage from a different event. We're going to create another tiny teaser. And this is exactly what we're gonna do. As always, we're going to create a new project as 12 exercise. We're going to import the material from the relative folder and we're going to create a new sequence. Make sure you check the material frame rate and resolution. You can start your elite with a soundtrack which has already been cut with the right duration. And you can start with clip number one, B-roll number one. Then I want you to add a warped stabilizer effect to the clip bureau number one, and make sure you change the stabilization method to position, scale and rotation. Then on the timeline after bureau number one, you cannot the B row number 02. And we will be at this point of the video when we have the three ladies that three main characters appearing. So this will be your clip number 02, and then we will have clip 03 and cleaved 0-4. So to create this effect, I need you to import the clip number 34 on different tracks just above the clip number two. So they need to be overlayed. Then you will have to apply a crop effect to clip 34 and also reposition that two clips on the side of the frame create this movement for the clips. So clip number three coming down and clip number for going up. And also you will have to add some directional blur. Have a look at the angle of the direction of the blurriness as well. Of course, these are video reference. I don't want you to do exactly the same thing, but on the same lines also in terms of duration of the movements and motions. I just want to make sure you remember what we've done in the previous lecture. Then we go to clip number five, which is the final clip with the three ladies. Again, I want you to import the graphic title on top of clip number five to create this effect. So you need to blurry effect this time a Gaussian blur to the clip number five, I want you to change its value with two key frames from 0 to 130. And I want you to save this effect as a preset. Then let's add a transition to the texts, a default transition so it comes in smoothly and we need to create also the animated letterbox bars. And they will come in at the beginning of the video. More or less a couple of seconds for the animation. Then I want you to copy the clip number one, this clip where you apply the warped stabilizer. Best it at the end of your edit saw at the end of the video, and try to change the speed of it. Of course, we will have a warning board, so you need to undo that action, create a nest sequence, and change the speed again to 120%. And that more or less all I want you to do for this exercise. In any case, you have this video for reference. I will see you in the exercise review. Good luck. 70. S.12_07: Exercise review: Okay, section 12 exercise review. Let's see if we remembered everything we have learned in the lecture. Let's open up a new project and create Section 12 Xist slides. And I'm going to change my scratch disks perfectly ready to go and save it in my exercise folder with the API project subfolder. And okay, I'm going to import my material by double-clicking here in the project panel. Go to exercise material. And again, I've got audio footage and graphics ready for me. We will have a PSD file for the show file, and we're going to merge all layers again and click OK. OK. Let's have a look at that project, always missing some bins. So I create my music folder and also my titles folder. The B-roll clips are there this time we have 5B role and not for as in the lecture. I'm going to create a sequence at 25 FPS as a frame rate. I just drag the first clip in the timeline and I've got my new sequence, which I'm gonna call section 12 exercise. There's another ten seconds video, 16 by nine aspect ratio. Create a folder and call it edits, and drag my sequence in there. One clip is already on the timeline. I'm going to add the soundtrack to A1 and adjust the size of my clips in the timeline. Great start. What do we have to do is to apply a warped stabilizer effects on bureau number one, which I'm actually going to check first, I'm going to mute the truck so you don't hear it. But we have this free talented actresses opening up the show, The Musical. And I'm going to look for work and take it and drag it down into my clip. Now provenance is analyzing the clip and I let you do so. Then I had to drag the clip number two B-roll to after clip number one. We're going to introduce the three characters now individually. And I need to drag also clip 34 on top of Clip to, because now we need to create a slot effect. I'm going to blind track number three so I can actually see number clip number three for now. And I'm going to apply a crop effect. I can actually select both cleat now at the same time and look for the crop effect and apply the crop effect to both of them at the same time. So it's already there. But I'm going to change the values of the first one that is still analyzing. Okay, sometimes we need to analyze the clip again. So if it doesn't work, if, if premiere gives it this warning board, just click on Analyze here in the fat controls in the work stabilizer effect. And he will start again. That's an issue of the program. Let's go to b row number 234. And I'm going to clip number three and try to find a good crop for this clip now. And also want to reposition this clip at the left-hand side of the screen, more or less there. Now I'm gonna change the crop values from the right. And I'm literally just dragging the effect down and see more or less what's happening. This is when the safe margins come handy. Remember, I'll go back to the settings and go to Save margins because I can see the center of my clip and create some proportional crops. Now i'm going to cleave Bureau for and do the same. Actually, I need to make a visible i'm going to move Joanna to the right-hand side. And this time I'm going to change the value of my right crop. This time I'm going to change the value of my left crop. Oh, that's me too much. Maybe something like this. And then I can reposition my Klee. And here we go. We have the three characters more or less evenly placed in my frame. We now need to animate the clip 34. So one from the top number 31, from the bottom number four. So let's start with clip number three. A good. The beginning of the clip, go to the position here, and then I go to a few frames after maybe timeframes after. So at 310 on my timeline, I create a new key frame there, again in the position. If you cannot see the keyframe option, just expand that. Just expand your Effect Controls panel. And here we go. So we want the ending position as it is now. So I'll leave it there. I go back to my first keyframe and move my clip up out of the frame. Right there. Let's play. Good service low probably. I can, I can go to time codes 307. So be faster. Great. And I'm gonna do the same as I'm here. I'm going to do the same we clip for. So go to the beginning of my video of my clip. Go into position and create a keyframe, and go to three or seven on the timeline. Create a new keyframe. I go back at the beginning and drag this down this time. So I won my clip to come from the bottom. And let's play. Okay, good, good, good. It's getting there. We now need to add some direction blur going my effect panel type direction and see what happens. Directional blur. And again, I'm going to apply to B-roll clip 43. At the same time. Let's click on number three. And at the same time called 307. This time I want the angle of the direction to be vertical, so I actually keep it to 0 in terms of direction and blur length. I can go to 50. Why not? Looks good. And I need to create a keyframe there. So in the blur length, I add a key frame and then I move two frames forward. And I'm going to go, and I'm going to change the value to 0. So the blur effects disappear. Nice. All right, that's one for clip number three. I need to do the same for clip number four. And what I can actually do as we have learned, how to copy and paste the effects. I can copy the fact from this clip so that directional blur. Click on clipped three, go to directional blur, common C, then a go to clip number four at the beginning of my clip again. And I've already created a directional blur effect because I applied it before together with a clip number three, I'm going to delete it because I know how to delete effects and I'm going to paste it with common VI. And now if I play my sequence, Dan, that was easy. So you don't have to do it click by click, but you can just copy and paste the same effect. I need to add the clip number five at the end as the last clip. And are the title on top of it? This title is longer so I need to cut it. I'm going to trim the end of it first of all, and then we need to add a blur effect, Gaussian blur to clip number five. I go back to my effect. Fanno, drag it down on my clip. And now from second, let's say six. I'm going to add this blur effect from the effect controls panel. Create a new key frame on the time code seven. And when we are a second eight, I want to give it a 130, as we said in the exercise description. So we have this effect. Now. There's another option called repeat edge pixels, and we can actually leave it on, we just tick it and levy on. Great. I need to add a transition to the title now, just before the blurriness begins, I'm gonna treat my title and add a default transition by clicking on, by right-clicking on the edge of the clip, apply default transition. And now we have this effect. We still need to create the bars, the letterbox bars. And if you remember, we go to File New Collar matter. This is fine. Click OK. And choose the color black. Click OK again. Let's give the name laughter box. I've got a new item in the project panel and I'm going to create a new subfolder called letterbox. And drag this into my graphics folder and drag the letterbox item in there. Now a take the item on the timeline. Extended until the end of the video. That's more or less it. And the need to apply the crop effect to the letterbox, to the first layer of the letterbox. So go to the effects panel, type crop and double-click. Actually I make sure I have the right item select on the timeline, double-click on the effect and going to crop the item 90% at the bottom option. Okay, one is done. I duplicate these layers. Hold on, hold on the keyboard and drag your clip on the track above. We have a duplicate now and we need to change the value of the crop. So we go back to 0 for the bottom, but we type 94 the top values. We have the two stripes. We now need to animate them. I go to second two on the timeline and create a couple of key frames for both the items for both the eclipse or so on the top value of the crop here in V5, I create a keyframe. Then I go on V4 On the other item. And I do the same for the bottom value. Great, God at the beginning of the timeline, go to 100 and do the same for the other truck. And now we have a two seconds animation for the letterbox bars. The last thing to do was to copy and paste B-roll number one at the end of our video. So I selected on the timeline, common C at the end of the video, Common V to paste it. And I had to change its speed. Right-click on it, speed duration 120%. We have the warning board, so I undo and I'm going to create a nest sequence. You need to right-click on the clip. Go to nest. We will have we will have to give a name to the sequence and recall it be rho 01. Click OK. And I have a new sequence in the project panel. I'm going to create a sub folder in the edits folder, calling it nests. And I drag my B-roll sequence in there. I'll go back to my timeline. Right-click on it, go to speed duration and change the duration to 120. Nice. Let's play. I can now press return or the Enter key on your keyboard, render out the frames and play the sequence. Swayed, another exercise, dine and another section done so I will see you in number 13. 71. S.13_01: Project setup: Yes, it's still me, Mama. I know I'm not wearing a cap today and I shaved. But you don't want to see my legs anyway today we are checking Section 13 of our video editing course with titles and animated graphics left getting to premiere pronoun. I've already created my project as 13 lecture. And we're going to start with importing the material. Double-clicking on my project panel. And I'm gonna browse in Section 13, titles and animated graphics. I'm going to lecture material. I'm going to import some audio and some footage. I can check my folders as always. And I can see some subfolders are missing, which I'm going to create in audio and need to create a music folder and drag the lecture music in there. And also today we have VO that stands for Voice over. And we're going to create a new bin and call it V o. I put my b o in there. And then also I see I'm missing some a raw folder in the footage folder, and I'm going to create another beam. Call it a role. I think we're ready to start with some footage of fam during two interviews about a musical. Again, this is the sequence they're going to create today. When I was designing a makeup, I did type B skin times into consideration. And it was actually really fun. I like that. They're already different. I am the costume designer and the creator of the visual aspects of the women and they costumes their axes. I did a lot of groundwork research, have read the script over an arbitrary trying to catch the identities of these three women. We might have noticed some graphics entitles, and that's where we're gonna work on today. Let's start by creating a new sequence with some a Roll footage. We've got 25 frames per second material. I'm going to drag my eight-year-old, The only a role clip inside a new item. And we're creating a new sequence, which is right there on my timeline. And of course, you can check the material yourself. In this lesson, we're going to build the edit together. And in the next lecture is we're actually going to build the titles and the graphics. So let's do this. Let's first of all tied up our folders. I'm not going to create a new bin for the edits. And I'm going to drag my elites in there and rename it lecture. This is going to be 26 seconds. Video 16 by nine. We should have a role 0-1 on track V1 and A1. Let's go to the music to the soundtrack in the project panel led. Let's drag it to a three track number three. And that's the full duration of our video. Now we're gonna take the voiceover from the project panel, drag it down on a2. Right at the end of Clip one of a role clip one. And your voiceover, It should match the end of the soundtrack to give your time code from 918. That's where you want to put your voiceover from. We're gonna take some bureau clips, be row number one, and we drag it at the beginning of the timeline from 00. Then we got 2612 on the timeline. You can always use the time code, don't forget. And we drug B row number two. And we should cover the exact duration of the a role clip one. Then we type 1705 on the timeline, 17 seconds, five frames. And from there we add B roll number three, still on V2, on truck V2. So that's where we keep our B-roll right after that from 2111, we're going to add the bureau number four. And we should have our main elite done. Let's play together. What else? Might they take these into consideration? And it's actually really fun. I like that. They're right there. We're really different. Costume designer, creator of the visual aspect of, of the women are low-cost. Groundwater. From 918 to 1705, we have a black gap and that's where we're going to add a title in the next lectures. You can finish playing the video, and that's all for this lecture. I see you in the next video where we're going to check some templates, graphic template's saved the project. I'll see you there in a second. 72. S.13_02: Graphic Templates: We're still working on S 13 lecture Project. If you remember during the previous video, we had some lower third graphics, which are basically where we tell the name of the person involved in the video and also the role in the production of this musical. These are called lower third graphics. We're going to create them right now. To do so, I want you to go to the window. We're going to work on a new panel today, which is called essential graphics. So we go to Window drop-down menu had a very top essential graphics and let's see where it pops up. In regard, I gotta here on the right-hand side of my workspace, we need to adjust the workspace Alito today. And I think we can we can put together the effects control and the effects panel. So let's create a panel's group. Right there. We still have the Source panel together with a program panel, I'm going to drag the essential graphics next to the effect controls battle. Now. Great. We have a bit of space there. As I mentioned, we're going to use some templates, some graphic templates today. So these are templates the Premier is offering us. Let's go to the panel and let's explore it for now. Here it is essential graphics. You will see two headers, browse and edit. And in browse we can search for some of the templates that are already in Premier prompt. If you know the name of the template, of course you can type it as when we are in their facts panel. If you don't, you can just scroll down and check what we actually can work with. Down here, you will see a scroll bar. You can increase the size of the templates for better view. Once more, you can check and explore these templates or on your own time. So today we're going to work on one template. And during the exercise or during your time, you can go and check and, and play with stuff. Let's go to the Search tab and type modern lower. Third, and press Enter on your keyboard. As we are here before we do anything, you can actually preview the animation. If there is an animation that template by just crawling and hovering your mouse over the clip. You see there's an animation there and that's the preview. We wanna go to the second option. We have this a lower third with two lines. To apply a graphic template to your sequence, you just take it and drop it on the timeline. And let's take it 23 v3. Let's take it to the truck, V3. On top of a row number one, write something up into our project panel two, we have a new folder called motion graphics template media. So inside there we have a couple of elements that belong to these new graphics we created. So let's go to the project panel and let's died up here. We create a new beam, we call it G FX graphics. And we're gonna put this folder in there. Great. And I'm gonna actually close a few things down to yeah, so I can see better. Let's go and the timeline with the play your head above the graphic and look at that. We now have a lower third already made for us on the video. I'm going to mute my trucks so you don't hear my sound. But we can play together and you see an animation, the title coming in, and then going away. This item behaves like a normal clip. We can extend it and we're going to do so. So let's go at the end of the clip, I'm gonna increase the size of my trucks. We go the end of the clip, we drag it down more or less until second eight. Let's go to second eight on the timeline. And we trim it there. And now we're going to insert the name of our first character here. You will see a new items there too. These are all the graphics that belong to these new item. And as you can see, we have a text insert the name here, which corresponds to the one in the program panel. We have two brackets, which are these two brackets. And when you click on any items, it will highlight in the program panel two. Then we have another tax insert title year, which is the smaller title, and a shade which is the white background. Underneath these texts. These elements also will be found in the central graphics panel, exactly the same. And of course we can animate them. These items have already been animated for us, but in the next lectures we're going to see how to do it manually. Let's modify these lower third for now. It's nice, but I don't really like it and it doesn't match what I want to achieve in this video. So let's change a couple of things. As I mentioned, you can modify everything in the essential graphics panel and that's where we're gonna work on today. You can increase the size of it if it's too small. Of course, you can scroll down and see the different parameters and effects we can apply to every item to modify a tax, for example, I want to change the first text. You can double-click here in the Edit header above the item you want to modify. And you will see again highlighting that text in the program panel. Now we can insert the name and we can actually give the name data White. And she was the makeup artist for the show. So we can go down here in the second title, we can double-click here in the central graphics, or we can go into program panel as well and double-click on the text. Again, the title is going to be highlighted and we're going to write make up. I test. Okay, great. Still there's something I don't like. I don't like the two brackets. You know, these two things don't do anything for me. So we can go in the header again in the Central graphics panel, we can delete the brackets or blind them exactly like a truck. You know, it's the same icon as you can see. It's the I. So let's take them out. Or you can delete them with the usual Delete button or Backspace. But I'm going to keep them. And as you can see, as soon as I do something here in this panel, it will correspond to this, to the effect controls panel to, let's go to the tara White tax now, if we scroll down. We can see the font, the name of the font. We used, the size of the font, the colour, appearance. So this is the blue now of our font. And I want to change that. I wanted white to change the color. We double-click on this rectangular shape with the color. And now we can pick the color we want. And let's go down at the left bottom corner. Let's get down to the left bottom corner here to select the white click OK. And the text is now white. Also, I want to move it to the left-hand side of my program panel because I don't like it that it's so weird position. And you will find the position right here. You will see this icon with four arrows. Toggle animation for position. And that works exactly like the position in the fat controls panel. We can just drag the title back and forth to change the position of the title. And I want to align it with this rectangular shape of the makeup artist texts. So make sure it's more or less here on this vertical line. Great, and we're getting there. As I mentioned, we can change the font and let's do that for now. Have League Gothic. But I want to change it to two, Arial. So if you should have Arial on your machine, so type Ariel and go to air Ariel Bold. Now want to change also the background here of the second text. We need to select that item to make sure we're working on that specific element, which is, and now our background is right here, the last one of the list and the graphics and texts in this panel works exactly like different trucks. And if you have ever used Photoshop as well, basically we need to work on layers. The top layer would be the one visible. So you can change the order of your, of your items right here and look at it as if I take the episode background on top. Now my second text disappeared because we put the episode background on top of the other layer. So I'm going to take it down again. And we're gonna change the background color. We scroll down. You will see the field color this time. Let's double-click on it and I want to give a red, kind of a Bordeaux, dark red, I'm color to it. So just choose a callers somewhere there around this area and click OK. Right. Now the blue really doesn't, doesn't do anything with this background. So I'm going to change that into white. And we go to the make-up artists texts, scroll down once more and double-click on the fill color field and go to white, bottom left corner. Ok, now it's going to work, but I'm going to change the font of this text too. So I go down here to text, Click on the Font tab. And I do Aereo once more, but this time I like Arial italic. Yes, that's kind of working. It kind of changed the dimensions and the alignments of my tech. So I want to change that. Let's go to text number one again in Tyrol white. And this time we go to their position settings. On the second value, we bring the text down a little bit. Mine is at 868 at the moment, and there isn't a alignment is 168. Now you can play your sequence from the beginning and see the difference gray stuff. As you can see again, we have a few animations there. We are going to reproduce that in the next lectures. So don't forget to change the parameters of each item. You need to select your new clip on the timeline and also select the specific item here and essential graphics panel. You can play with all the values and parameters here. It's very similar to any typing or writing software you will find in your machine. So go ahead and play with this stuff. I will see you in the next lecture where we're going to create a title from scratch. 73. S.13_03: Titles: Second 13 lecture. Let's see how to create titles. If we play our sequence right after the New Graphic templates we used. As I mentioned, from 918 on the timeline up to 1705, we have a black gap gear. We want to create a title for the video. We have a small introduction with one of the first members of the crew. Then we want to put the title of the actual video and then we go to another member of the crew talking and explaining what she's doing in the production. So let's create a title here. To create a title, we want to go to the Tools panel. You will see a t icon at the end of your, of your panel here of the list type tool. You can either press T on the keyboard. And now we have that selected to create a title, you just need to go to the program panel and click on it. And here we go, something happened. We have a box entitled box now in the program panel, but also in the essential graphics, we have a new item and also in the effect controls. As I mentioned, these two correspond to these two items correspond. So let's go back to the program panel. Click in the text. We can create a similar texts award we have in there preview video. And we can write some field like a chart with the crew of a chat with a crew of that's our, that's the first part of the title we're going to create. Before I carry on, I click on another part of the black screen here, or the black program panel. And I just created another title. This is gonna be the second part of the title. We're going to open quotation marks. And we type confessions, the musical, and close the quotation mark. Great, let's change some of the parameters of these fonts and everything. First of all, I've got to a chat with a crew of, I can double-click here in the program panel or you can do the same in their central graphics. I'm going to change the font. I still have aerial. Actually, I'm just going to increase the size of the font cuz I like that one. If you want to try something else, go ahead. So double-click on this title. I just go down. The feel is good. I like your white. I'm going to the size of the font. So let's go to text. And here you will see this scroll bar. You can increase the size of it or you can just type the size you want. And I go to 80. I also want my text to be centered. So I go into the paragraph alignment and click in the center aligned text. Now myTitle is set with the centered alignment, but also is not centered to the frame and TA Center an item to the frame. We're gonna scroll up and go to align and transform the first two icons here. We can click them and Line the item vertically or horizontally in the frame. And I'm going to do both vertical center first. And now the item is exactly at the center of our frame. And I do the same with the horizontal center. And now, and the item is now at the center of the frame entirely. Let's go to title number two, which I want to change. And as you can see, my order year is not correct because I want to have a chat with a crew of first, so I'm going to drag it on top of the other title. Great. I double-click in the second title. And I'm going to change the size of it as well. Actually wanted bigger than the first title. So I go down here and type 120. Okay, it's getting there. I also wanted bold. And I don't want italic on this title. And I'm going to center it to the frame again. So I've got to the vertical center and horizontal center. Now we have the problem then one is on top of the other. So I need to change the position of both of the titles to make sure they are at the center of the frame. I'm still on the second title. I go to the position settings and drag the second value down a little bit there. Now I'm going to the first title. Do the same. I go to the position values and drag it up this time, nice, it's getting there. You can also see that the clip on our timeline was added where the playhead was. And that's not really where I wanted. As we mentioned before, this clip behaves as a normal clips, so I just drag it back. And I wanted to start at 918. I'm gonna extend it as well up to 17 or five. So we have, we have this clip of Tara. And then we're going to build something that recent transitions and a fade. And we go back to Kelly, I'm going to select my item and I want to show you this option. If we click on the clip, as I mentioned, we have each individual item in the essential graphics and we can change maybe the position, the scale of each individual item here. But if you want to change the scale of the overall clip, we can do it in the effect controls bana like a normal clip. We can go to video. In this, the effect controls, go to Motion. And we can scale down everything together at once. So if I drag this scale value up and down, the two items inside these nuclei are moving together, are changing together. And I can change their position so I can't possibly animated and we're gonna see in the next lecture. But let's go back to the original position for now and scale. Ok, I'm happy with this, but also, as you, if you remember in the previous video, we had a red background, which is actually the same read of these background. So what we do, we go to Tara lower third, we got to episode bag ground in the central graphics here in the background. Click on it. And now we wanna go to fill with double-click. And this number down here, this is the number of the color we used for this background. So we want to select it, copy it with common C. Click OK. And now we're going to create a matter color, which we've done in the previous lecture. We go to File New down to color matter. And we're going to call this, we're going to press OK, in the dimension of the frame. We're going to go down here in the same tab, or basically the color tab. And we, we use common V to paste the color we just copied. Click OK. And we call it a border. Color matter underscore Bordeaux click okay, and that will appear in the project panel. We're going to put it inside the graphics folder to. So all our graphic elements will be there. And we're gonna take it and drag it into the timeline under the new titles, we created. Nice look at that. Of course we are going to extend it together with a title. They have the same duration. And now this is when the nest sequence come handy again. Remember in the previous lecture we worked on those. Let's do that. So we're going to select both clips now on the timeline, right-click on them. And we got to nest both clips together in the same sequence. So I'll click on Next. We're going to call it title Bordeaux. Click OK. And now we have another item in the project panel which we are going to organize. We create a new subfolder in the edits folder, and we call it nest, and we drag the new sequence inside that folder. What I'm gonna do, I'm dragging this title on truck free as well. So all my graphics will be on truck free. Okay, this is good. By 12 are the couple of transitions between clips now. So I want to add one on B-roll number two on truck to at the end of B-roll number two. So I apply default transition. If we play the clip, now we have a problem. I can see the clip underneath. So I can see clip a row number one. And at this point I can just train this clip. So I take it and drag it back until the beginning of my transition. And now we have a fade to black. Good. Now I'm gonna do the same on the title we created. So go on the title and I apply the full transition. And now we have a nice fade to black. And then from black to the title, we have a few seconds of the title, and I'm going to do the same at the end of this clip. So I'm going to add a default transition at the end of the title. And I'm going to add the transition at the beginning of B-roll number three to come in again. And that's it. I'll show you another couple of things here for the text and then we jump to the next lecture. If we go back to our type tool in the Tools Panel. Let's click on the arrow at the right bottom corner here of the icon. So let's click that and hold it. And the new menu will pop up with two different options. Let's go to the second option, Vertical Type Tool. And we go on the program panel and we click anywhere. And you can type something. Confessions. In this way, you can create vertical texts is exactly as before. You can animate it, change the font, it works exactly the same. Also, you can move titles by going back on the timeline, pressing V, and then you go to the program panel, you click on the item you want and you just drag it around the panel, but I don't want it. So i going in their essential graphics, click on the item and press the backspace. And I deleted. Also we cannot shapes for basic graphics. If we go down again to the Tools panel, there's an icon with a rectangular shape. You can click on that. And also there's another arrow at the right bottom. You can click an old. We have different options. We can, we can create ellipses or rectangles, or with the pen tool, we can create custom shapes. And you can change the color of the shape. Let's go to white. It behaves exactly as any other item we've just seen. Once again, I'm gonna delete this shape. I don't like it. As we've just explored the shapes. Let's create one double-click on the nest sequence. And we're gonna go inside their sequence. Now if we click on the track on the top, a chat with the crew, that's our titles item. Let's select the rectangular shape in the Tools Panel. We go to the program panel, we click on it, hold it, and drag the rectangular shape to cover more or less the second title, that could be a good length and also the height of the title. Just do something random for now. We just created the shape, as you can see there in the essential graphics panel. But the order is brawn. I want my shape to be at the bottom of the titles and then just drag it down. I press V on my keyboard to go to the selection tool and take this rectangular shape more or less above the title to cover it up somewhere there. So I'm going to confession the musical Title, double-click, go down, scroll down, and change the fill color with the red. So let's do that. If we go down here, there's an eyedropper icon. We click on it and we can pick a color from any, any background we want. So click on it until it becomes blue. And then you go on the background, the red background. You click on it. And the red has been selected, press OK. And the title has changed color. I don't like the position of that now. So we are still under title. Let's go back to the position values and drag it down. Somewhere there in the center of the rectangular shape. I go in the timeline, press VK, and that's my title. But you know what, I don't like it. So I'm going to delete everything and undo it until I have my text only. So I go common said commons add until the rectangular shape disappears. And that's how you create titles in Premier Pro. Let's save the project, keep it open and I'll see you in the next lecture. As always. 74. S.13_04: Animating texts and graphics: Hello and welcome to a new lecture or Section 13 with a project as 13 lecture, we're gonna see how to animate titles and graphic elements. And we're still working with some footage filmed for the behind the scenes of the musical confessions. We were designing our steel title at shot with a crew of confessions, the musical, and we are still inside the sequence titled Bordeaux. I'm gonna close this sequence for now. We don't need it. And we are in the main sequence as 13 lecture 26, second 16 by nine. In this lesson, we're gonna see how to animate titles. And to do so, we're actually going to reproduce that template we used in the first clip here. These lower third, we're going to literally copied and see all the animations inside the title. Let's go to the beginning of the sequence. Let's click on this clip, which is the template, the graphic template we use and copy it with comments C. Now we're going to unselect the truck targeting year, all of them. And we're gonna target track number three, v3. We're going to go at more or less timecard 1705. And we're gonna paste the item with comment VK. And that's how you use the track targeting. Don't forget, we have exactly the same template at the end of the video. We're going to use it as a reference to build the new animated graphics now. And we can go literally frame-by-frame and copy it exactly as it is. First of all, we're going to create some titles. So deselect this clip now and we got to the type tool in the Tools Panel, or you can press T on the keyboard. Let's go into program panel in the monitor and just click on it. We now have a new text box and we're just going to type name for now. We don't, we don't actually take the name of this lady. Let's type name. And we have of course a new item and you text item in the central graphics panel in the Edit header. We're going to change the font to it. I'm going to double-click on the item. So I've got the names selected and highlighted in the program panel. Go back to the central graphics panel and go down to text. In the font, I search for Arial, Arial bold. That's the one I used before. And if I'm not wrong, we use the font size as 120. And so I type 120 there. Press OK. Nice. What I can do now is positioning the title down here more or less on the same line of this one. So I go to the position values and just drag the item a bit to the right and down right there. More or less. What I wanted to make sure also, click on the item again and on the name. I want to make sure my paragraph starts from the left-hand side. So the alignment here is on the left and side. I'm happy with that and I'm going to create a second text with the position, with the role of this lady or anyone else. And let's create a new item in a different way. Let's go here. So in the Edit header, there's a new item icon exactly as in the project panel. We click on it and we got to text. As you can see, we have the same options that we have in the Tools Panel to. Let's create a text. And it's on top of our layers. Now, I'm going to bring it down right there. And I'm going to double-click inside the text in the program panel. You probably need to double-click a couple of times to select the old text. And I'm gonna type role. Double-click again inside. And I'm going to change the font and the font size. So the font was Ariel, but this time was italic. And for the size type 60. Remember in the previous lecture, we also saw how to create a rectangular shape. There is another way we can do so. And it's right here. By selecting our text, we can actually give a background to the text. So select a row in the essential graphics panel, scroll down and go in the appearance options, you will see a background option which is grayed out. We want to tick it. Now we just created a background to the texts. If we unselected, I just go in the timeline and press V. And then I click on the title again and the program panel. We scroll down, I have these great background. Of course I can change the opacity of the background. I want to do it down here. It's a 75% now, I want to increase it to 100%, and I also want to increase the size of the background. And you can do so by going here and this icon size. You can just drag their value up a little bit. And let's go to 18. More or less reproduces the size of the one we had in the template. But I also want to change the color of it and I want to replace it with the original read, the Bordeaux we used. We can go to the original template again. This time we want to go to the episode background item, go back to the appearance in fill, we click on it and we copy from this panel the color code. Again. Go down near, select the color common c. Press OK. And we go back to the role title. Now, scroll down in the Central graphics panel, go to the appearance background. You're still with me. We go down to the color palette, paste the color code with common V, and press OK. And now we have the same color background there. We want to move this text down, so it's already selected. We just want to go here and the position controls and we drag the value down. And also we want to align the title again to the end or the beginning of the end or as name. And so we want to use the horizontal value and drag it to the right a little bit right there. Perfect. So that's the title by its still, still, if we play through the timeline, there's nothing happening. And we want to recreate Now the same animation. First of all, let's go and the timeline click on the clip and extend it fully as we have the other one. Same duration. We gotta beginning of the clip. And we see that the name terror white as a scaling option. So we need to change this scale control of that. And also there's a bit of opacity change from 0 to 100%. So from here, 17 or five too, more or less 1714, we have a scale-up and then is scales down a little bit for a few frames. So for now, let's build that until 171420 made a title. We do exactly as we do to animate a clip with the keyframes, make sure you select the item we need on the timeline. But let's animate it. Let's animate the title from the fact Controls panel this time. So let's go here. I'm going to increase the size of the panel to see better. And I'm going at the beginning of my clip. And as we mentioned, we are a 1745 in terms of time code. We need to change the opacity from 0 to 100 in three frames. That the change of opacity, we're still on the clip to make sure we're always on that clip when we go on the timeline, let's change the track targeting from V3 to V4. So we deselect V3 and we go to V4. Ok, we are at the beginning of the clip, we go to the Effect Controls panel in text name. That's what we want to change the opacity of. We click on this arrow to open up the menu, the sub-menu. And we scroll down to opacity, and we're going to create keyframes. We click on the stopwatch to create a keyframe and we choose an opacity of 0. Press OK. At 1709 time code, we're going to create another key frame right there. And then we change the opacity to 100. Now what's happening to the text? We need to change the scale of the text from the beginning of the clip. Once more, we go to the scale option this time scale control. And we open up the controls with the arrow too. Because if you notice the scale, it's not a uniform scale, but it's just the horizontal scale. We don't want to scale it vertically. So let's go back in the fat controls panel transform scale. I'm going to antique the Uniform Scale. And I'm going to Are the keyframe here and the horizontal scale by pressing on the stopwatch. And I'm gonna change the value to 0. At 1714, the time called 1714. We're going to change the scale and we just drag the value up. Let's go to 110. I keep playing with the player head and the title is narrowing down in a couple of frames later. So 1717 times 1717. We're going to create a new key frame and change the value of the horizontal scale to 100. And now we can see the animation. And it's exactly the same as the one of the template. Right? We need to change their role animation now. And this time we need to change the scale vertically and also the opacity. So we want to go in the essential graphics panel, click on the role item. And now we're going to change their scale. We are still in the effect controls panel. I'm going to close the text's name for now and I'm focusing on the text role. I open up the controls and I go down to the opacity, transform. Opacity. I create a keyframe on the stopwatch and I go to 0, the value. Then we're going to move forward. Let's see more or less here at 1718, let's create another key frame. And let's change the opacity value to 100. We only need to change the scale and reposition the lower third, and we are done. The animation this time goes from 1713. So we start exactly where we started with the capacity, with the change of the capacity, we go to scale. We open up the controls. And again, I'm going to antique uniform. Go this time to the vertical scale. Click on the stopwatch, we create a keyframe and we go to 0, all the way down to 0. Then I want to see the next keyframes. The animation finishes at 1720, create a new key frame and change the scale to 100th. Nice. Now we just created their intro animation of the clip and we still need to create the outro. And we can do the same with the keyframes. I'm still on the clip. I go back to their fat controls panel and click on my texts name. I scroll down to see the parameters I changed. So for the scale and for the opacity, more or less at 2415 as time code, I'm going to change those parameters. So we change the horizontal scale. I'm going to create another key frame there. I'm going forward three frames at 2418 and I'm going to change the scale to 110. Then I moved to time called 25 and change the scale horizontally, scale value to 0. And I still need to change the opacity. So when I am at 2417, I go to the opacity header, created a key frame. And then I scroll down to 25 and change the positive to 0 to create another key frame. And that's done for the first text. Let's go up here, narrow down the menu of the text's name, and we open up the one for text role. I scroll down to see my key frames and we do the same. I am at 2420 in terms of time code, I go to scale, vertical scale, and I'm creating a new keyframe. I do the same also. I wonder capacity to change at the same keyframe. So I got down to capacity, created a key frame. And then I moved to, let's say 25 to so all the animation. And together I change the value of the capacity to 0. And also I go up to the vertical scale and change that to 02. And now you can play your animation from scratch. Let's save the project, keep it open and I'll see you in the next lecture. 75. S.13_05: Saving graphic templates: We now know how to animate titles and graphic elements. We are still working with the project as 13 lecture. And in this video we're going to see how to save the graphic animation we created as a preset. Before we finish off with this lecture, we are going to save this animated graphic as a template so we can use it as many times as we want in all the other projects where we're going to work on. And to do so, you want to click on the clip, on the animated clip. Let's go up to graphics, drop-down menu graphics. And we're gonna go to export as motion graphics template. Click on that. We can give it a name and we can call it with your name to Mariano, lower. Third. And you can choose the destination where you want to save these templates. I leave it for now in the local Templates folder include video thumbnails. Yep, so we can see it. Click OK. And now it will take one minute to export our template. My preset has been saved before. We check where it is and how to apply it, let's go to this template we created. So the lower third year at the end. And let's change the name of this lady actually. So let us go to the essential graphics panel, double-click on the name item and change it to Kelly bread. And then we want to double-click on the role item and changing to costume designer. Right? I'm going to double check what's happening. As we are here. I want to add a fade at the end of the video. So let's go to B-roll number four. Right click at the end of the clip and apply a default transition. We have a nice fade, final fate. But I want to show you where the press that was saved and how to apply it. So let's go back to the beginning of the timeline and let's delete the very original template we used. So the one with Tara, we click on it. We deleted from the timeline. We don't want it. And we're going back to the central graphics panel, go to browse, and we're going to search for your name. That's should be there. So if you type your name or lower further you scroll down, you should find the template we created, and there it is. As you can see, Mariana lower third, what I do, I take it dragging on the timeline. I go to v3 and I'm also dragging the last template down here on the free, so the graphics are there. Go back to the our template, change that truck targeting to V3. And there it is, we just need to go that change the name of the lady in the central graphics panel. Double-click on the role. She. She's the makeup artist. And now we have exactly the same lower third animated either in the first clip and the second clip. This is all for this lecture. I'll see you in the exercise. 76. S.13_06: Exercise description: Here's the exercise for section number 13, titles and animated graphics. I'm going to show you a video and I want you to reproduce it exactly all more or less as it is. Let go. I'm responsible for the overall aesthetic of the show, starting with the set design to the stage that we present the production and then layer on a layer of lighting. On top of that. I am the orchestrator of the show. And I were orchestrated a piece for piece band. We have keyboard, Andy, guitar, bass, and ramp. Important the material from section 13, Exercise and create your sequence. This time I'm not going to give you any information about the ADA. I want you to build the elite just by following the previous video. The only thing I'm going to tell you is that the soundtrack as the right duration of the video, which is 28 seconds. And I want you to build a new lower third with possibly this name or you can change the name. It's up to you. We had Jacqueline blew. It was the set designer for the musical, and I used exactly the same animation we did together in the lecture. I want you to create the titles, the background, to animate the titles, and to save your animation as a preset. Then we're going to scroll through. So we have a first section of the video with declined talking about is job. And then we have a fade into black and a fade back into a Title. I used exactly the same text as we used in the lecture. I just changed the background color and I would like you to change that to use the same color for the lower thirds and for the background of the main title. Then we have a fading to black and a fade in again to Somalia was the orchestrator for the musical. And here I want you to apply the preset you saved and you just need to change the name of it and the role of the crew member and then finish off the elite with a nice transition. Nice and quick. I will see in the exercise review. 77. S.13_07: Exercise Review: The exercise review for Section 13, and we had to build an animated preset with some material from other interviews. Let's start by creating a new project. This timer go to New Project. And I call it as 13 exercise. I save it inside my structural folder as 13 titles and animated graphics exercise. Create the API project folder. Check my scratch disks. And as always they changed. Click OK, I'm in I'm going to import the material from section 13. Exercise material. I've got some audio and some food television gonna check soon. Let's have a look. This time we don't have a voiceover, We only have a music track and we have to a role clips, which are telling the story and for B-roll clips. So let's create a new sequence by importing one, a row clip inside the timeline. First clip on the timeline. What I know is that the soundtrack as the right duration already. So I drag it down to a three for now. I think deadline comes in a bit later, somewhere around there. So we have some a role clips in the beginning. Here to show, to show is job. I'm responsible for global rules. Let's start. And then I've got the second B-roll somewhere here at the end of when he's talking. Okay, nice. It's building up. I'm going to add the a row number two. And actually I noticed my sequence is inside the a role, so I create a new bin and I call it edits. And I drag my edit in there. And I rename this sequence, of course, and I call it, it was 28 seconds, 16 by nine. Just the way I like it. And also create a subfolder in audio called Music and a drag my son truck in there too. Nice. I'm now I'm happy. I drag the a roll number two in the timeline on drugs V1 for the video and a two for the audio, because there are two people talking and if I want to mix them differently, I can on different tracks. So that's why I'm putting the two voices on different tracks. Nice, that works. The beginning works. I've got to be roles to go, so I'll drag them in the timeline. And in my previous video, they were towards the end of the clip. Show, orchestrated. The Peace Corp is bad. We keyboard Andy, right? Perfect. I'm going to finish this ADT with some transitions here. On B-roll number two, I just end the default transition. And I can see I'm overlaying overlapping some layer. So what I can do is to unlink the audio and the video of a role number one with comment l. Remember we can unlink the clip and I'm going to trim only the video part of the clip. Just before the transition starts. So now I have a fade to black. And I'm going to add a fade from black to the clip here where NC morning is starting. And again, I'm going to apply the transition only to the video part. So I press old on my keyboard and apply a default transition. Great. And I'm going to add one. Also at the end of B roll number four. Apply the photon transition, but again, I'm overlapping with another layer. So I need to do the same as before and link a roll number two common del. I am on the video part of the clip and I'm going to trim it down just before the beginning of the transition. Nice tricks. See guys, you're learning, you're learning. Come on. Now we need to build the titles, and I want to start with a title in the middle. We had to build a blue background, so we go to File New down to color matter. Yeah, dimension is fine. I got to pick a blue or dark blue somewhere there. And I click OK. And dynamic color matter, blue. Of course I have a new item here in the project panel. Create a New been called graphics g, f, x. And I'm going to import, I'm going to drag my collar matter blue insider graphics folder. I'll drag down the timeline on V3 and new layer for the graphics. Increase the size of the clip to cover the gap we have between the two guys talking. And that's our blue background. Good stuff now we need to build the title. So I go to the Tools panel or press T, the type tool, go to the program panel, create a new text. And we had something saying a chart with the crew of a child with a crew up. I'm going to change the size of it. We can modify the font and the size of the frontier and essential graphics. If you remember, I need to select on the text, I want scroll down, go to the text, and need to make sure I double-click on the text, change it to 80. And I'm going to center it. So by going to the alignments options horizontally and vertically, good start, I click on the project panel to create another text. And this time we add quotation mark, confessions space, the musical close quotation marks. And this value here we add a bold font and the size was, so always make sure you have the text selected. This time we add a bold font and the size, what was 120? I'm going to center it once more in the Alignments section. And I can see I still had the background in my text and I don't want the background actually on both of them. So scroll down, go to the background and I'm ticket. That's why I couldn't see my first text and also want to reorder them here. So Confessions comes after the tax that says a chart with I select on a chart with go down and antique the background. Great. I'm going to move and reposition the two clips a tiny bit to give it a bit of space. So I pull the H shot with a crew of hire and confessions. I'm gonna move it down. Nice, happy with that one. I go to the timeline, changed the duration of the clip and match them the beginning of the end with the background duration as well. I select both clip and right-click on them and create a nest sequence. And now I'm going to call it title Blue. Press OK. And new item will appear in the project panel. I take it inside the graphics folder and create a subfolder called titles. Drag it inside the graphics, and I move that entitles too. I'm going to add the two transitions to the clip here on the timeline, one at the beginning and one at the end. So right-click applied the full transition. Great, I only miss the lower third. So let's create one here on Jacqueline. I'm going to press T for the Type Tool and go to the program panel and just type name for now I'm just creating a template once more. Let's have a look at a font. The feel is good. The color white is good, and the font size a, I think 120 is too big. I got 480. And I can start animating this text. I just drag it at the beginning of my video. They're going to defect controls panel to change my, my parameters. Open up their controls menu there, and scroll down to scale and a 1-2 and take the uniform scale, create a keyframe with a stopwatch on the horizontal value, or change the scale to 0. I'm going and moving down a few frames like eight frames. So 0008 changed the value to 110 because it was extending a bit more. And then move forward three frames and go back down with a reasonable value to 100. Okay? I also want to change the opacity of it as it comes in. So I go back to the beginning of the clip and click on the stopwatch of the capacity goes to 0. Then I move forward until the title finishes the animation more or less there. And I go with the opacity to 100. Nice. Now we need to create the second part of the lower third with the other title. So I press T once more, go to the program panel and create a second part of the title with the role text. I double-click on the text, go down and this time we add an aerial italic font. And the font was actually smaller. So let's try to go to 60. And we also need to give it a background. We still have the Bordeaux back ground we created before. So we want to change that background into a blue color like the one we use for the steel title, this one here. So what I do is to go inside my nested sequence, double-click on it, go to the second track, select the background. Double-click on it. So the color palette will open up and I'm going to copy the code of the color common c. Press OK to close the sequence, and I go back to my template. Click on the role which is actually in the wrong order again. So I'm going to put in the lower section there. Double-click on the background color and paste the color code. Click OK. And now I have a blue background there. The size is already as I wanted. Cause again, we change did in the lecture, sought easier for me. I just need to reposition it and to align the role with the name. I go to the position values and try to move it up and down and give it a bit of space. It's working out. Now I need to animate the role title and then remove everything together around the left bottom corner of the image. So let's go to the beginning of the clip. And the role actually came after the name saw a good frame five. And I will start my animation there. Effect goto, the effect controls panel. I closed the text's name and I'm going to work on the text role. This time we add a vertical scale. So I need to go to scale in transform and tick the Uniform Scale and create a keyframe for the vertical scale. That would be 0. Then I move a few frames until the end of the animation at frame 13. And I'm going to increase the size to 100 of the vertical scales. Still. I do the same with the opacity. So scroll down until I see opacity. Create a keyframe which is already at a 100. That's what they want. I go at the beginning of the animation here at frame five and attuned to pass it the 20. And now we should have the all animation. Nice thing, their name actually, I think the size of the name is actually quite small, so I'm going to change it in the essential graphics panel 1 second, and I change it to 100. I think that's better. Now with the eclipse elected on the timeline, I go to the FAQ controls panel and close all the items down and go to the video header, motion position. And I'm going to move the whole animation down to the left bottom corner of the screen. That's what I want. We still need to create the outer animation for the clips. So I go back in my items and quickly I'm going to change those values in the fact Controls panel. Let's start with the text name. We are at 4 second 17 on the timeline. I start with capacity. Create a keyframe. Good the undermine animation, and create a new key frame and bring their pasty down to 0. I'm going to change the scale of it as well. So more or less on the same keyframes are good to scale. Create a keyframe. Then I move three frames forward. I go to 110 in terms of horizontal scale. And then at the end of my clip, I go down to 0. Now I select the other tags. I'm gonna close this, go to that text role. And I do the same, or go down to the capacity. Move on my movement the timeline, a few frames. Now you can choose the duration of your animation. So I don't want to dictate exactly the values of whatever you can use. I create a keyframe there for capacity. Go towards the end of the clip and go to 0 with capacity. And then I'm going to change the vertical scale this time. So I create a keyframe where I am now. I go down to 0. Then I move backwards a few frames, and I go back up to 100. And now starting with, my animation is fading out. So we only need to create a preset for these graphics. So we click on the clip, we got to graphics and export as motion graphics template. We're going to name it as 13 Exercise. Why not? So we know that that's the exercise template. And I just leave the name, include the video thumbnail. Click OK. I'll wait a few seconds until the, until the rendering is done. Nice. I'm gonna change the name of a deadline so I give the renames, double-click on it, make sure you always double-click Jacqueline blue, and they're all double-click on the roll. Was set designer. What I need to do now is to add the template we created. So I go to the essential graphics panel browse, and I'm going to browse for S 13. And our template will appear and just drag it to the timeline where Simona is talking. Somewhere there. Nice, and I'm going to change his name, so go to name Simona green. And I double-click on the roll, is the orchestrator straighter. And guys, we are done. And this is my final video. I'm responsible for the overall aesthetic of the show, starting with the set designs to the stage that we present the production and then layer on, layer of lighting on top of that. The orchestrator of the show and I were orchestrated a piece for four piece band. We are keyboard, ND, guitar, bass, and drums. 78. S.14_01: Project setup: Hello and welcome to the section number 14 of your video editing course. Today we're going to explore the audio mix. This section, guys, is fundamental and it can change the quality of the video big time. In the past years, I've created a small community of troubled bloggers on Facebook. And the amount of people they undervalue and underestimate the audio mix is incredible. Actually, if you guys want to take part and join the community, you can go and check the link down here. Usually when we talk about audio, we can have different types of audio. We can have voiceovers, we can have sound effects, music, ambient noise. And in this section we're going to blend them altogether to create an amazing sound, we're going to learn to work with the audio levels, how to add effects, how to mix the sound, and also how to record voice servers. So let's get into Premiere Pro, where I have already created my project as 14 Lecture. And I've also imported my material from 14 Lecture two. You will find here you will have to create some sub folders which are missing as always. Also today we are going to change the workspace a little bit. As I mentioned in the very beginning of the course, we have different workspaces. That top menu here, we can change the workspace is according to the stage of our video editing process. We're going to click on the audio one today right there and see what's happening to make sure we are on the same page. Go to the audio and double-click on it. And also in this way we are going to reset to the original and did default audio workspace we choose, okay. Yes. Okay. Nothing is changing. There was my default workspace. Great, but there's still a lot of stuff going on. So we're gonna build our workspace step-by-step today. And let's go back to our one monitor, basic editing. I just wanted to show you here the audio workspace in case you wanted to work with this one. So go back to your original workspace. And that's what we have. And for now we're gonna get rid of the panel group with effect controls and their effect panel. So I right-click on it and go to panel group setting, close panel group. Nice also, we don't want the graphics for now, so we're going to close this one. What I want you to go to the window and open today, the audio clip mixer. And also let's go back to window and open all your truck mixer. Good, good, good. And for now we're going to leave them right there. We're gonna change them in the next lecture. In this lecture we're going to build the edit together. So let's go into material. Let's create a new sequence by dragging the first a role clip into the timeline. We have a new sequence and we're going to create our folder, edits. Usual workflow. We're going to drag the sequencing there, changed the name of the sequence. This is going to be at 24 seconds video. We'll put in the name 16 by nine. And we're going to drag down the soundtrack. So let's go to Music in the project panel. Drag the soundtrack in a three. And we're going to cut the soundtrack right away. So we go into time code and we type in 1919. Click OK. You can see here in the waves that the sound is going down. So we can actually CATI there. And let's go actually to 19-22. Pressing on the keyboard. Cut it. And we're going to delete the second part of the soundtrack. Nice, that's a good start. Now what we can do is to drag all the rest of the Arab clips. Let's go to a roll number two. And as you can see, we are working on 25 frames per second. Let's click on a row number two, and all shift got to number six, drag everything on the timeline on V1 and a one. In terms of audio, you can play the sequence and see what's going on. And if you go the end, you can see we are at 24 seconds as we mentioned. So good, the beginning of the sequence plate and see what's happening today. One second guys. Hello? Yes. It's Mariano here. I'm sending you right now some footage which I feel I went to in full HD ten ADP in 16 by 930 FBS. Hello. Are you there? I'll do it. You can see we have two characters, which is of course the same person, but he plays through different characters. And we want to separate the trucks for, for them. So, so let's go to clip number two, then you hold Shift, go to number four, selected G2, number six, and select that as well, and drag them into V2. Then in the clique number two, we actually have this character speaking. So we want to move the sound of this clip in a2. And that's what I usually do when you have a dual interview, for example, with two different people, I use one truck per person so I can make the trucks separately and that's what I do we all the rest of the sounds. So if I have sound effects, usually laid them on one truck. If of course they overlay and need to go on a different track by usually I use a track for each type of sound. So music, voice, one track for each person, sound effects and so on. And don't forget guys, you can name your tracks, right? So I'm not going to do everything in every project by you could, so you could apply all the skills we have learned so far. If you want to change the name of the trucks, you can log them, you can do whatever we have learned so far. And as I mentioned, we're still missing the sound effects. So let's narrow these down and you can go into sound effects. Here in the project panel, we have a free sound effects. We have one called phone. And we're going to place that right now. We have a scary sound and a scream. And these to go at the end of the timeline, we double-click on the phone. Sound effects and neat appears in the Source panel and you can already see the waves. Now let's go on the timeline and type the time code 025. So two seconds and five frames. We're going to drag this sound effects as it is for now on truck A4 where the player ad is. And now we're going to cut it. So we literally build in the edit for now. And let's play it at 414. If you go in the program panel actually, today, I want to move these two panels on the left-hand side because I notice it's more visible when I actually show you stuff. So I'm gonna move it there. I hope it works. And add 414 when this guy is lighting to answer the phone, that's when we're going to chop our sound effect. So you could scroll down and you can just stream the sound effect and see if it works. Right, it works. Now I want you to type on the timeline, time called 21. And the player Ed goes towards the end of the sequence, we are going to go to take the scream sound effects. Scream at. You can read there and drag the whole thing down again on truck A4. And we don't need to do anything with these clips for now. We don't need to trim it. And also type 2110 on the time code. And now we're going to add the sound effects, scary sound into a new truck. So we wanna take it, drag it down under the master truck, and we're going to create a new truck. So that's going to be a five. And we have all the sound effects late. And this is all for the elite. You can play the sequence and see what we've got. Okay, it's a silly clip where one of the guys is asking to the other guy to create a video editing. And he's talking very technical and these guy doesn't understand what's going on, so it gets scared. That was the point that the stupid and silly story. So before we carry on, I want you to duplicate the sequence in the project panel. Right-click on it, duplicated, and we're going to change the name of it. At the end. We're gonna delete the copy text underscore. We type for regional. This is because at the end of the section, I want you to go back to the sequence that you will see a big difference. So let's create a sub folder in the edit folder, and we call it progressions. That's when we need the progressions folder. And we drag the regional one in there, we can now call the remaining sequence audio mix if you want to. If we play our sequence now you can literally hear that it doesn't sound great. It's a bit of a mess and all the audio levels are all over the place. And in the next lecture we're going to fix that. So I'll save the project and I'll see you in the next video. 79. S.14_02: Audio Level: Hello, we're still working with the project S 14 lecture. And in this video we're going to learn what the audio level is. So the audio level is how loud a clip or a video is. The audio level can be measured in decibel, also known as db and abbreviation. And the maximum decibel of the odor level is 0. This is the maximum level signal can be recorded or reproduce that. Then the level goes down from 0 to negative. Instead, anything that goes above 0 will be distorted or boosted. Let's play our timeline. But before we do that, I want you to keep an eye on this panel, which is the audio meter. So I'm gonna take my volume down so you can hear me. And I'm gonna play this sequence. And let's have a look at this panel again, as we mentioned, the audio level goes from 0 to negative, and in this case it goes down to minus 60. The audio meter is the panel where we visually see the audio levels. And as you can see, it goes up and down according to the waves of the audio. So when the volume is high, of course, we're going to go close to 0 up there when volume goes down. So when the volume is quieter, we're gonna go down as we now are playing the sequence. The audio meter represents all the audio that goes through the trucks of this sequence saw or the audio combined together. But if for example, if we go to the project panel and we click on a row number one, and we play the clip number one from the Source panel. Now the audio meter represents only the audio from this clip. So according to the panel you're using, the audio meter represents that specific audio level. Let's come back to the timeline. And let's play from time quote the 13 more or less and have a look at the audio meter. Again. We have different colors. It goes from green to yellow. And then if we wait until the end, now, bang, we got to read. And when he goes to red, it means we are above the level 0 and we are going to distort the sound. And that's something we don't really want to do. We are basically destroying the sound. So we never want to go above 0 where the red signal is, to make it more clear, good to the audio meter. Right-click on it and antique these options show color gradient, and play again the timeline. And you will see now neat lines that separate the green, the yellow, and the red. So at the end you will see the red going, going crazy. And we are distorting the sound and we are going to learn how to fix that to today. You can go back if you want to, the gradient. So right-click on the audio meter, short color gradient. So the first question I asked when I learned the audio level was, how can I choose the level for my videos? And that depends also on the different platforms you are playing your video on. If you play for television, they have a specific order level. For YouTube, for example, they recommend a 0 db or minus two, so you can avoid to distort the sound. And that's what I usually do with my videos. Ie set up the audio levels to minus two. But once more we're going to learn all this stuff in the next episodes. For now, I'm happy you learned what the audio levels are, saved the project and I'll see you in the next video. 80. S.14_03: Audio Clip and Track Mixers: Section 14 latitude, that's the project we are still working on. And in this video, we're going to learn what the audio clip mixer and the audio track mixer are. Let's go. In the beginning of this section, we open these two, these two new panels and we're going to separate them to see them better. So I take the audio clip mixer and drag it to the left-hand side of the audio truck mixer. Okay, let's increase the size to see everything that's going on there. And actually let's say the project panel down. And these timeline to make sure you see all these trucks here in the audio track mixer. So we have an idea what's going on. And there it is. What are these two panels? Well, they as the name says, they are mixers. That's where we can change the volume, apply some effects to the audio clips and also to the trucks. Let's try to compare them. So first of all, you will notice all these tracks and these trucks represent the audio tracks in your sequence. So you can see the name of the trucks, a1, a2, a3, a4, a5. And if you go to the timeline, That's exactly what we have. We have five Audi trucks. Same thing in the audit truck mixer. We got a1, a2, a3, a4, a5. But in the audio truck mixer, we also have the master track, which is the same we have on the timeline too. Because of course, these audio mixer represent the trucks, as it says in the name. And we mentioned in the very beginning of the course that the master track represent the overall audio of the other tracks combined together. If you go to this little levers, These are called faders and we can find them in both mixes again, we can pull them up or down. This action will increase or decrease the volume of our either trucks or clips. If we pulled them up, we're going to increase the volume. If we pulled them down, we're going to decrease the volume. Also, you will notice as I do that, these value at the bottom of the truck that represents the volume of it. So you can go down here, click on it, and literally type the value of the volume you want. So go back to 0. The difference between the two is that in the audio truck mixer, you're gonna change the volume of the old truck. So every clip which is on that truck will change volume as well accordingly. But if you go to the audio clip, you will only change the volume of that specific clip, which is now selected on the timeline. And if you see on the timeline, I'm now at 22 in terms of time code and whether Player ad is this time code. I can see the last two tracks here highlighted because the two clips are on a4, a5. As we can also see there. If we move the player ed on the timeline, let's go to 5 second F5. We have other two clips, and they are laid on A2 and A3. You can see it here as well. A2. That's increased the size and just focus on the audit for now. So we have one guy talking in a2 and the soundtrack in a3. And that's exactly what we can do that in the audio clip mixer, it's probably easier if we actually increase or decrease the volume. As we mentioned, the soundtrack is on a three. So let's go to a3 here in the audio clip mixer and drag the volume down to minus seven. Have a look at the rubber band now of the soundtrack on the timeline, it changed as well. So literally this fader represents the rubber band on your timeline. And when you pull it down, rubber band goes down. When you pull it up, the rubber band goes up and that's how you change the volume of a clip. Let's go I type 0 because I go back to the original value. And from the audio clip, of course, you can change the volume of different clips. So if we go now to second three and go to the audio track A4 here in the clip mixer, we can bring the volume of this clip down. But if we go at the end of the sequence at second 20 to, for example, the volume of this clip, which is one of the sound effects, is still 0 because we didn't change it. And you can also of course, drag the rubber band directly on the timeline. So you can take it up or down. And it's exactly the same thing. For now. Let's keep 0 either on these cliffs and the very first one, these are sound effects. Typing the value is of course more accurate than pulling up and down the rubber band. If you go on the rubber band on the timeline, you click on it and hold the mouse and drag it up and down. You can also see the value of the decibel changing. Then let's go back to the two mixers. You will see these round buttons. These are the pan controls. So panning is basically when you can move the sound from left to right. And these are two channels, these are called channels, usually in stereo type of sound, you have two channels, the left and right. It goes for television, radio, whatever you listening any sound from. And they are on both mixers again. So you can pan to the left, which means you will hear more sound now to the left-hand side. And you can actually test it with your earphones if you're using your phone or your laptop as well, you have the speakers, you will notice the sound going from left. And then when you pan to the right the sound we'd go to the right, you can play the timeline, for example, and change the soundtrack, the panning of the soundtrack on A3. So as you play your sequence, go up here in the audio track mixer Click on the wheel and go to the left and right and you will understand what I mean. Right, make sense. And to be honest, I never, ever used this control. I think in my life in Premier Pro, if that helps. But yeah, if you want if you want to create some special effects with the audio, that's what you can do. And of course, you can do the same with the clips, with individual clips. So if you want to hear maybe a sound effects only to the left-hand side of the stereo channels. You can do so. Let's carry on and we are going to notice some buttons are, and these again are similar to what we have on the timeline. So we have the m on both mixers, which is how to mute a truck. When you press S, which means solo, that's actually the opposite of mute. It means we are going to hear only the specific clip or track, go to the audio mixer. We also have an r, which on the timeline is represented by the microphone icon. And that's how we record voices. And we're going to learn that in one of the next lectures on top of the audit truck mixer, right here, left and side. At the top, there's a tiny arrow and the says show or hide effects. If we click on it, we're going to open this sub tabs. And from here we actually can add and modify some effects. So there was an introduction of the audio clip mixer and the audio track mixer gray stuff, save the project. I'll see you in the next lecture. 81. S.14_04: Audio Channels: Let's carry on with this amazing section today, the audio mix we are still in S 14 Lecture project. We're going to learn what the audio channels are and how to split them. I take the chance to ask you if you have one minute to please leave a review, let me know what does work in the course or what doesn't. It's very important for me to make it better. Let's get into the lecture now by going inside Premiere Pro. When we talk about audio, you might have heard the terms stereo, mono, left and right. Mono and stereo represent the amount of signals and audio clip was recorded or a play that. And I'm going to show you to make it clear, let's go on the timeline and let's increase the size of our clips. And you can see right away on clip number one, we only have one set of waves or the waves down here. But if we go to the rest of the clips, we have two different sets. One of the top, one at the bottom, you see the difference. So only one here and two different sets of body waves in all the others in the sun defects in the music track and in the in the talking parts as well. So only the clique number one was recorded in mono to make it even more visible. Let's go to the project panel. And I'm going to decrease the mixers now for one minute. Double-click on a roll number one and go on the wave icon. We only want to see the audio of this clip. And as you can see here, we only have one, all your wave. So one linear audio wave, you can plate. And you can also notice in the mixers and the audio meter, we only have one column, only one column, which represents the audio of that clip. Now if we double-click on a roll for and we go back to the, all your waves. Here in the Source panel. You can see the two different sets of waves and also you can see how different they are. The one on top is quieter. Waves are tiny, but the one at the bottom is much louder because the waves are bigger. What does that mean? Let's go back to clip number one. It means the clip number one was recorded in mono, so was recording through a camera or a microphone exactly like this. Their records in Manaus. So just through one input while if you go to clip number four, we double-click on it again. This audio was recorded with two inputs. In this case, it was recorded through two different microphones, through the same camera though. And what I did, I recorded one microphone on the left channel. And you can see the channels here in the Source panel. You can go to this icon L. Left and right are for right. So recorded the same audio, me speaking in with two different microphones. The top microphones, as you can see, what's quieter because it was further away from me. But the second microphone on the right, on the right channel was literally a clip Mike like this one. So it was very close to my mouth. And that's why the waves are bigger, because the sound is louder. Recording in this way through a camera is very helpful when you, when you are, for example, interviewing to people. It means you can record two voices in the same clip, but you can split the voices through two different channels, the left and the right, exactly as we see here. And today we're going to learn how to split these two channels in case we don't want to use one of them. So let's do it right now. Let's go back to clip number four. If we right-click on it in the project panel and we go down to modify. Now we can go to audio channels. And from here we can split the two channels. You can see the header audio channel. And at the moment, in clip channel format, we have stereo. Stereo again means we have the left and the right channels together. We're going to split it. So we're gonna click on stereo. We have a sub-menu. We want to go to mono this time. And on the number of audio clips, we want to type two because we want to split the stereo into two Mano channels. So let's type to click somewhere here in the gray, and you will see a new channel popping up in the list below. You can also see L and write the left and the right channels. And the Premier is asking you, where do you want to play the first channel, on the left channel or on the right? And I can sound a bit confusing, but it's just practice to be honest. So we want to keep one channel on the left, 11 on the right as it is right there. We're gonna click OK. And you will have a warning board. We say yes. So it basically says that the changes will not be applied to the clip which are already on the timeline. Perfect. Click OK. Now we can have a look at the difference. Drag the clip a4 into truck A1, V1. And look what happened. Same clip, we had the radio on the timeline. Now has two different channels, the left on the top and the right at the bottom. Which means we could potentially have two voices now separated. And it's great because we can edit them separately as well. So what we can do now is to replace the audio of the clip we already had on the timeline. We don't want the stereo because one of the two channels, what was quieter. So we can go on the new clip. We haven't the timeline. Click on it, and the clips are still linked together. We can link them with comment L. And we can select the channel, the left channel. On track one we deleted. And now we're going to bring the right channel to Aden. And we're going to link it to the video again. So we select the video and the audio, common Dell. And now they are linked together. So if I move it, everything will move together. Good stuff. And what we can do is to overwrite this clip we had before with the new one. And we just drag it over it and cover the V, the video as well on v2. Nice. You can also see that you have two channels. If you play the sequence and have a look at the mixers. You can see that the volumes or on the mixes are different on the left and right channel. C. One is quieter than the other. Okay, now that we know how to do that, we're gonna do it for the other clips as well, just for the talking parts. And you can do at once. So let's go back to the project panel. Select clip to hold a comment. Go to 35, we right click on them, go to modify audio channels. And this time we already know that we don't need the left channel, so we can do something different in audio channels in the header here, we got to clip channel format mono. But this time we can actually keep the number of audio clips, one, because again, we don't want the left channel. So what do we have to do? It's only select and tick, right? Right channel there. And click OK. Yes, on the warning Board. And now we can replace the audio clips on the timeline. Basically we have just splitting the channels of all these clips together. And we only selected the right channel, which was the louder one. That's the one we want. So let's do that. Let's go to clip number two. Double-click here, go to the Source panel, click on the waves, and we're going to take the waves. Actually let's increase the size of the timeline. And we're going to overwrite the audio we have already in clip to make sure you just overwriting it correctly at the right time code. We do the same. We clip three in the project panel, double-click on it, go to the Source panel, take the waves and override the audio of clip three and the timeline. As you can see, we only have one mono channel now. Great. And also we need to do with the clip five, double-click in the project panel today the waves replace the audio of the clip. Now we know how to split that track there was recorded in stereo into two Mano channels, but we can also do the opposite. So we can turn something that was recorded in mono into stereo. And we're gonna do it with clip number one, which was originally the one recorded in mono. So let's go to the project panel. Let's right-click on it. And once more we got to modify audio channels. And here instead, in clip channel format and their audio channels, we want to change from one or two stereo. And also we want to click left and right here in clip number one. So we're going to create two channels in the same truck. We click OK. We ever warning, yes, nothing will be affected or the under timeline. And now we want to drag this clip in the timeline at the end of the edit. And let's have a look at a difference. Now if you ever look at this clip, we just import it compared to the one that was already on the timeline. The very first clip, we now have two channels on the same clip, left and right. So that is a stereo now. And this one at the beginning is still a mono. And before we close the project, let's get rid of this clip now we don't need it. Nice that was it for this lecture. Now you know what the audio channels are and hopefully how to split them. So save the project, keep it open because we'll need it for the next lecture. 82. S.14_05: Essential Sound Panel & Matching LoudnessS.14_05: Essential Sound Panel & Matching Loudness: With the project as 14 lecture, we're going to explore the essential sound panel. And we're going to learn how to match the loudness of different clips. We now have different audio media in the timeline, we have sound effects, we have VoiceOver and people talking, and we have a sound truck. In this lesson, we're gonna learn how to adjust the volumes of each clip, which is very important during the video editing process to give an enhance a particular type of audio above others. And for now we're going to focus on the voices, which is actually what's telling the story of this silly video. So we can start with the two guys talking and we're going to solo the trucks. So going to timeline and click on.'s both trucks. So track number a1 and a2 also for now we can drag the audio clip mixer with the audio track mixer, so we have more space, as we saw briefly before, we can change the volume of a clip by dragging their rubber band in the timeline up and down. And that's one way to match the volume at the loudness of the different clips. So if you add different voices, you want to make sure the volume of the different voices is the same. But Premiere Pro made it easier for us and we have some templates we can use. And we're going to open a new panel today. Let's go to Window and go down to essential sound. Click on that. And we have a new panel at the right hand side of the workspace. We're going to open it up and check it out. So what is the essential sound panel? Again, we have some presets for the audio we can use. You will see two different headers, browse and edit. It opens up usually with a default browse. And this is where you can actually browse for music sound tracks if you want to buy some through the Adobe Stock. So you can just type here the name of the songs or the choose, choose a mood or January or whatever we're interested in, edit today. So click on edit instead. If you don't see anything here, it's all grayed out. We need to go on the timeline and click on one clip, like any audio clip. And here straight away we will see four different sub menus, dialogue, music, sound effects, and ambience, and Premier Pro Belt these four different categories for us to make it easier according to the type of audio we want to work on. And of course we are working with voices. We wanna click on dialog, Click on dialogue, and we will have different options. What we wanna do for now, I want you to close all the headers. So if you click on loudness, for example, it will open up different settings. Let's click on it until it closes down. And let's do the same for the other. So we have a clear view of what's going on. And again, we have other four subcategories, loudness, repair, clarity, and creative. Each of them have different settings for different purposes. Now the only way to go back to the categories and change the type of our audio is to clear the audio type with this button. And that's the only way to go back and change the category of our audio. So do that. Nice. And now I want you to go to the timeline and select all the clips that talking clips, you can just click on the timeline and hold it and drag. Select all the clips where we talk. So we have 12345 clips. Now we go back to the essential sound panel in the Edit and we click on dialog. Ok, we are that again, we wanna go to loudness, loudness option, and click on auto match. And as you do that, have a look at the waves on the timeline. So ever will look at the waves of the clips on the timeline. So click on auto match and look at the waves down here. So they increased size a tiny bit, which means they got louder. And also you will see these icon became yellow on the clip, which means we applied and effect. As soon as we click the button auto match, we start a process called In the video editing audio mix normalization, which means we are trying to give to each clip we have selected, in this case, in the timeline, a constant amount of gain. And in this case, Premier is doing it for us automatically, as he says the button, we can do this manually, of course, but we will cover that in the advanced course. So I want to specify the difference between the gain and the volume, which is actually a concept we are going to explore more in the next lecture. So the gain is how loud an audio signal was recording during the actual recording process. And it also controls how loud any audio clip is before going through any kind of processing. We have seen that as soon as we press on the ultimate button here in the essential sound, that waves of our clips Increase the size they grew. So the regional waves on the clips represented how loud these clips were recorded. But also we can give it a burst so we can increase the gain inside Premiere Pro, which is a digital boost. Basically, volume instead is how loud any audio clip is after the processing. And I want to show you this difference. We can increase the volume of a clip by going on the timeline and going on a clip, take the rubber band and drag it up and down. So we're going to increase or decrease the volume of a clip. And we're gonna see this in the next lecture. So don't worry about it. But the difference is if I increase the volume by dragging the rubber band up, when I release, the waves stay the same. And that's one of the main differences. I'm not actually boosting the original gain of the audio clip. I'm just increasing the volume so I can hear it louder through my speakers. I'm going to undo this action. So auto matching is very useful when you have two interviews, for example, with two people that were filmed on different microphones and different cameras. Premiere Pro will try to match that volume. Now you can play the sequence and actually see if their volumes are okay. There's still some work to do with the voices and we're gonna do in the next lesson where we're going to learn how to adjust the clips and the trucks volume manually. Also, you can check and match the loudness of every clip through the audio meter and the mixers. Now save the project. And I'll see you in the next lecture. 83. S.14_06: Adjusting clips and tracks’ volume: I hope you had a break and if you need to, just take it whenever you want, we are still in the project as 14 lecture. And in this lecture we're going to see how to adjust the volume of the clips on the timeline with the rubber bands. We are in the timeline, we put some tracks on solar mode. We're going to undo that, just stick it on the S. And we're going to adjust the volumes of these clips. Now you can play the timeline. See that we need to make some adjustments to their volumes because it's just a bit messy at the moment. So the first thing we're gonna do is to use the pen tool to adjust the rubber bands. If you remember, it's down here in the Tools Panel or you can press P on the keyboard. Let's do so as many other effects, we can create keyframes on the rubber bands and we can make adjustments on it. We can actually play it and see where we want the volume to go down and then up again. As soon as we begin, we have a bit of voice and then we can increase the volume of the truck, the music try for example. So let's go on the timeline. You can increase the size now all of your clips. And as soon as I finished talking here may be a second one. You go on the rubber band and remember we have a plus icon now next to your pan, you want to click there. And we have just created a key frame. Then we wanna go to second six. Just before I answer my phone with the other character, gone, the rubber band again. And we're going to add another key frame. We can try to lower the rubber band and see what happens if you press V on the keyboard. Go in-between the two key frames on the rubber band until you see the up and down arrow popping up and click on the rubber band, hold it and try to drag it down. So what we are doing, we are still changing the volume of the old truck. This is not really working. So I undo we'd common zed until my level is back to 0 and we can check the volume again in the audio track makes us so don't, don't forget to check those mixes now that you know what they are. And we're going to add another couple of key frames before we can actually create this change of volume on the clips. So let's go back to the clip on time called 513, more or less. Select the Pen tool with p. Let's go back on the clip, the soundtrack, and add a keyframe there. Then we go back at more or less one or seven. And we're going to add another key frame on the rubber band. Now you can press and hold comment on your keyboard until you see the up and down arrow. So you need to be on the rubber band. Press comment, and then click on the rubber band and drag it up. And let's go to maybe to the B. And you can do the same by going back to the selection tool with VE gone the rubber band and do exactly the same. But we, we stay with that. But we're still using the pen tool. So I go back to P and let's have a play. Once they've been guys. Okay, the music is still a bit too loud at the beginning when I'm talking. So I'm going here in the first section before the first keyframe. Hold comment and drag the volume down. The rubber band down to minors may be minus five or something like that. And I play again. One second guys. See the difference. Now the voice, which is more important as a louder volume, I can hear it more clearly. And then we finish talking. We increase the volume of the soundtrack to fill that gap, the audio GAP. And then we decrease the volume down and we carry on with the eddy try now let's go back to second seeks time. Could six. Now we have a lot of talking until the end, basically of the soundtrack. So we're going to go after the last keyframe here in the music track. Make sure you still have selected the soundtrack. After the keyframe, we hold comment and we drag the rubber band down to minus five as before. And let's see if it works. Ok, what I want to achieve is to have a volume in the master track of more or less minus two decibel. I always have a look at these audio meter here in the master track, but also keep an eye on the individual truck. And again, we more or less one to be at around minus two. So let's play. Okay, it's not too bad for now. We can increase the volume of the voice is a little bit. So let's go to the beginning of the sequence. Press V. We don't want to put any key frame this time, we just increase the volume of the clip. So we gone a row number one, the rubber band, and we pulled the volume up to maybe 7.27. That's what I have. One second guys. Okay. It's a bit too loud. If you've seen now in the audio track, look at their level. 1 second guy is 1 second guys, it goes to minus one, so that's a bit too loud. Let's go down to to around two. One second guys. Okay, that's good. And I'm gonna do the same with the other clips. So that's at minus 12. If you check truck to it's a minus 12. So I want to increase that and be more gone. The rubber band, drag it up and we can go to B3 this time. Still a bit more, we can increase it a bit more, 4.6. Okay, it's not too bad. We can do something a bit better later when we're mastering they all track. Let's check the other clips. So I'm clip number three. That's a bit low. We're still a minus 11. So let's run the app of Three until three. Yes. And I do the same with clip number four. Go to three. We're still a minus nine minus 1016. And I do the same with the last clip, clip a roll five, drag it up to three decimals. I think that music is still a bit too loud, so let's go back to the soundtrack. And either at the beginning, we drag this down the rubber band down to minus eight, and we do the same with the last part of the soundtrack minus eight. And let's see. Yes. It's still a bit too loud, but again, I'm gonna change it later. Let's see. Let's have a look at the sound effects on truck A4, A5. So a go at the beginning of the timeline at more or less time, CO2. Ok. Definitely the volume of the cell phone is too loud, so I'm going to drag the old rubber band down to minus ten for now. Much better. Let's go at the end of the timeline at second 20 more or less and play from there. That's definitely loud. If you have a look at the audio meters, it goes to red. So we are distorting the audio. And as we mentioned, we never want to do that. We never want to go above the orange color here in the audio meter. We don't want to touch their bread. Okay, so let's change. Definitely scream is too loud. So in audio for tricorder for all, let's bring the rubber band down. So let's go to minus ten as well. And let's play. Okay, and now we have the scary sound effect to bring down two. So on truck A5, gone the rubber band, drag it down to minus 102 and see and play it again. Ha, much better look at the audio now is around minus, minus eight minus stamp. Perfect. I want to show you one more thing before we end the lecture. So we now have created some keyframes on the soundtrack. And if you click on the soundtrack and if you move it around the timeline, the keyframes will stay there. So if you want to move the sound track on a different part of the timeline, you have to adjust the keyframes accordingly. So to do so, you can select individual keyframes. Let's go in there. And with the selection tool, pressing V on your keyboard, you can literally click on any keyframe and hold your mouse and move it around your truck. And you can change its position. I go back. If you want to move different key frames at the same time, you click on one. When you until you see the, you know, the keyframe icon next to your selection tool, you hold shift on your keyboard and you click on the other keyframes until they become blue. All of them become blue. At this point, you can move them along the eclipse if you want to keep the same volume. So if you don't want the keyframes to move up and down, you can hold Shift still. And then you can drag the keyframes back and forth. And you're all your level would not change. I undo and I go back. If you want to delete keyframes, you click on them. If I want to delete this keyframe, I click on it until it becomes blue. I press delete or the backspace button. So I undo to go back to my original edit. There it is. And one more thing. Now we've just seen how to change the volume of each individual clips. That of course, you can do through the audio clip mixer, as we've seen at the beginning of the section. But if we want to change all the clips on the truck, for example, let's say I want to increase the overall audio or track one where we have the speaking parts. Then I go to the audio truck mixer, appear on track one. And I'm gonna bring the fader up maybe of two decibels. So I go to two. And now, yes, it's another volume of the old truck has been increased. You can play the sequence and change the fader as well as you are playing. So let's see you right now, some fluted rich eye field in Coolidge. Did you see the difference? We're actually clipping, which means that we are reaching that red line. That's the warning. We don't want to be there. But again, you can play it and change the fader as you play so you can actually hearing what you're doing. 16 by 930 FPS. Hello. Okay, so I go back to 0 here. And we're going to master the old video in the next lecture. So keep it open, save it, and I'll see you soon. 84. S.14_07: Add transitions and fades: With Section 14 Lecture project open, we're going to explore the audio transitions, another great tool to enhance the quality of our audio. To do so, we need to open our effect panel today. So let's go back here in window top menu, and let's go down to effects. Also. We need the effect controls. So let's go back to window and let's select a fat controls. And let's place it to the right-hand side of the effect battle. Great saw four. Now we have heat then the mixers. Let's refine our audio by adding some transitions. Let's go to the sequence here. And I want to add a transition at the end of the soundtrack, cause that wasn't really the end of the soundtrack. We just cut the music to make it fade better. I want to edit the full transition. So let's go at the end of the clip, right-click on it and we apply default transitions. And the default transition is called constant power in terms of audio transition, if I click on it, on the transition itself, it will appear in the effect controls panel. And let's explore the other audio transitions. So if we go to the effect panel and open up the audio transitions folder, we mentioned in the beginning of the course, we only have three transitions for the audio. One is called constant gain, which means that the audio will decrease or increase depending on where you apply the transition to a constant rate. So it will be on a straight line. If we use the constant power transition, that will instead create a curve, which means the volume will start going down slowly. And then there's a sudden curve that closes the audio. And basically the audio level will go down quicker towards the end of the clip. And as we can see, this is our default transition because he has a blue outline here in the transitions in their effects panel. The exponential fade is similar to the constant gain. So the first one, and we can apply it between different clips. And this transition creates a smooth curve again between clips. So as one clip is going down, the other clip is coming up or vice-versa. Don't forget, the best way to understand is to apply and practice with the transitions. So during the exercise, you can play with this, with this tools, as we mentioned in the transition section, to change the default transition. You just go on any transition here in the effects panel, right-click on it and select Set selected as default transition. Now let's add more of those in our edit. We have also seen that we can change the duration of a transition. So if we go down back to the timeline, we can literally drag our transition back and forth to extend or decrease its duration. You can right-click on it as well and got to set the transition duration right there. You can do the same from the effect controls panel. Click OK. I didn't wanted this long on the music tracks, so I'm gonna decrease its size, literally just at the end of the soundtrack. I want to apply one also on the last sound effects. So the scary sound here, right at the end, right-click on it, apply default transitions. And this one can be a bit longer actually, so it can fade gradually. And this cream is already fading down as we can see from the audio wave. So we don't need any fade there. Let's go to beginning. The fonts on the facts is fine cause I need actually neat interruption of it, so it's fine. And of course we cannot transitions between two clips. So if I go between clip 34, I right-click on it. Literally you need to go on the cut. Right-click, apply default transitions. And what's happening here? First of all, we have selected also the video. And second of all, we don't have handles in the clips to add the transition. So Premier is adding the transition only to the previous clip at the end of the previous clip. So remember to other transition, either for videos and audio, you need to have handles, which means you need to have extra footage in your clip to apply a transition too. So let's go back and do. And if we go to the soundtrack, we chop the soundtrack somewhere, anywhere with a CAT tool. So we'd see and now you have a cut. And if you apply transition there, we can because the soundtrack as enough footage as enough material to be able to either transition I undo again to have their full truck. There it is. We can add a transition also to a role one actually, at the end of a role one, there's a bit of background noise, as you can see from the audio waves. All these, all these waves is noise in the background. And we don't want that. So we can also drop it out. I don't want to because I want to show you something later. So let's go at the end of the clip. So select your clip, press Alt on the keyboard and select Apply the full transition. Okay, let's decrease the size of the transition. Let's bring it down. And usually what I do as well, whenever someone talking, I actually add the transition either at the beginning, at the end of each clip, again, just to create that nice fade. But in this video, I have already cut the clip for you so we don't need to do so. And that's all for this lesson. That's how you apply and modify audio transitions to your clips. So save the projects and we'll need it in the next lecture. 85. S.14_08: Recording Voice Overs: There's gonna be a fun lecture. We're gonna see how to record a voiceover inside Premiere Pro. So we're still with a project S 14 lecture open. Let's do it. First of all, let's kind of adjust our workspace here. It's a bit messy. And we want to duplicate this sequence audio mix. We're not going to work on this sequence for now, but for the voiceover, We are creating a new one. So go to the project panel, go to your main sequence we were working on at the moment. Right-click on it and duplicate it. So we have a new sequence. We're going to call it as 14 Lecture and delete everything else and call it voice over. And press enter. I double-click on this sequence to open it up in the timeline. And also I'm going to close for this lecture the essential sound panel. I'm closing this down. And I might take the effects panel inside the effect controls. And again, I would need more space to see what's going on. Good. So we are in the timeline, in the sequence as 14 Lecture voiceover. What we're gonna do, I just decrease the size of them. And I'm going to select all the audio clips. So literally dragging my mouse and select all of them. But also you will see we have some video clips selected, which I don't want, I want to leave them here. So let's unlink debriefing with comment L. And let's select the audio again, only the audio clips. Right? Now we press the backspace or delete, and we keep just the visual, just the video. So if you play your sequence, there's no audio now coming in. So the VoiceOver is a great tool to tell the story. If you recorded a vlog, for example, and you forgot to mention something on location, you can add that information now during the voiceover, and we can record a voiceover directly from the timeline in Premier Pro, which is great. First of all, let's go into timeline. Let's expand that tracks, the audio tracks with old plus. You should have an icon with a shape of a microphone that says voiceover record. If you don't have that, if you don't see it because maybe your trucks are too narrow, tried to increase the truck and be more if you still don't see it. Let's go in the header area here of the track. Right-click on one and go to customize. You will have these menu button editor. It's called button editor with different icons and you will see the microphone icon. What you can do is to take it, click on it, hold it, and drag it here in the header of the truck. Now I can't do it because it's already there. And then click OK. To record a voiceover, It would be better to have an external microphone. You don't have to have anything professional, but it's just, it's just better for the quality of the audio. And the closer is to your mouth, the better it is. Also we need to check some settings before we can record. And we want to go to Premier Pro at the very top menu, go to Preferences. And we need to go to audio hardware. Click on audio hardware, and we will have a panel popping up where we can change some settings. Now if you have a laptop, you can record a voiceover With the microphone's off their laptop two, you just need to make sure of some settings in the default input and default output and master clock, you need to make sure that the default input, output and master clock here. You have selected the default inputs of your computer, and usually it's called built in microphone. So in default, input unit, you should have built in microphone, in the output, you should have built in output. And here in the master clock, and automatically issued, issued popup with something by default, again, if you have an external audio interfaces I have, then you can choose the interface from this menu and then press OK. If we go back to the timeline, we have a few tracks now down here, which actually these are stereo track. And to record the voice or it's advisable to create a mono track. If we are to record a band, for example, then the sound will come from different instruments and we need to create a stereo track. But the voice is one, and we want to record it in mano. So let's delete some trucks. First of all, we got to sequence top menu, go down to delete trucks and tick, delete video tracks and delete all your tracks and click OK. And we are left with one audio track, right? So let's create a monitor OK. And we can do it here on the timeline. Let's right-click in the gray area here. Next, close to the headers of the tracks, add trucks. We're gonna type 0 in the video tracks. We don't want any video trucks, but we want one audio track and we're gonna change the track type to model. And also premiere as is asking where we want to place these a new truck placement after audio one. So if we press OK. Now the second track is the one we have created. And what I'm gonna do is I'm gonna narrow down truck one, which I don't need. And they're going to expand the truck too, which also as a different icon, this tiny thing right there, which means it's a mono track. That's a way to identify a monitor. Ok. We need to make sure we have the microphone icon right there. We can right-click here on the header. Again, go to voice-over record settings. And we have another menu coming up. And this time we can see the audio, the audio meters. So I can see there's some input coming in the, some audio c. Whenever I talk, I see the green line that's assuring me that I have audio coming in, the coming through, which is great. We can change the name of the track. And again, we can double-check the source and the input, the microphone, and so on. Also, before we start a voiceover, We will have a countdown that usually three seconds. It would be a visual countdown with numbers, but also we can add sounds. And we can do it by clicking on this option here, countdown sound clues. So on the first seconds before the voiceover, I will hear this sound, which is telling me, OK, now get ready to talk. And I'm going to take it. Okay, I'm gonna close this window for now. Another tip before we record as well. If you have a microphone next to your speakers, I recommend to turn the speakers off, put some earphones on or headphones, because otherwise, the audio coming out of your speakers will get into the microphone and recreate feedback. It's a loop and you will hear a lot of whistling and loud noises. So try to avoid that. Turn the speakers off, put your earphones on just for the recording of the voiceover. Now I'm going to do it once on my own because I want to show you a few things and then I let you have fun as well to record a voiceover. I go at the beginning of my timeline. Make sure you're at the beginning. I'm going to press the microphone. And I've got the countdown, as I mentioned. And did you hear the sound as well? And now I have a button here saying recording. So it's a red button, which is actually telling me You are now recording. So whatever you're saying is being recorded and it is, I am going to start by pressing the spacebar. And now the audio I've just recorded appeared on my timeline, but also in the project panel, I wanted to leave the video clips on the timeline because the voiceover sometimes comes after the final edit. You just want to add their voice to the video. And by leaving the clips here, I can actually follow the video and the story and feel the mood and feel the vibes and be more connected with the visual. Let's go back to the project panel and now have this new item. And I'm going to organize my folders. You know, I like to do this, so, you know, I like to do so or so are going the audio folder, create a new bin, and I call it v o voice-over. I'm going to drag my item in there and rename it. And I call it as 14 Lecture underscore V0. Don't forget you can rename your trucks as well if you wanted to. So we can rename the track as a veal. And also you can change the name of all the clips. If you remember, when we create a project, we also setting up the scratch disks and that's where our voice-over we just record it is going to let's see, let's go to Project Panel. Right-click on the voiceover item and go to reveal in Finder. Now, a new Finder window will open up and it will show you where this item has been recorded too. And if you had set up your scratch disks correctly, it should be inside your API project. So as 14 Lecture API project, Adobe Premiere captured audio. And here you will find your voiceover truck. I'm gonna close this down. Go back to Premier Pro. Now, I'm going to show you what I've recorded. And did you hear the sound as well? And now I have a button here saying, so my audio is there. Now it's your turn. I'm gonna delete my track here. Make sure you are at the beginning of the timeline. And when you're ready, click on the microphone and say whatever you want to, just say a few lines. And once you're finished talking, hit the spacebar to stop recording. You're ready. Let's go hit the microphone. Right? Pretty cool hair. And the good thing is you can record as many voiceovers as you want. So if you are not happy with the first day, you can carry on and on. You can also notice as we have changed the settings of truck to, we also have another button selected in the audio track mixer, which is saying, I'm ready to record. So when you're done with your voiceover, you can antique this button to make sure you are not recording even by mistake. And that's how you record a voiceover In Premier Pro. So save the project, keep it open because I see you in the next video with more all your stuff. It's great. Or IC soon. 86. S.14_09: De-noiser and Equalizer: I love this section, Section 14, the audio mix. We're still working with the project as 14 lecture. In this video, we're going to see how to get rid of some background noise with a tool called the noisy and also how to create some cool effects with the equalizer. And let's close the sequence voiceover. We don't need that anymore. And we go back to our as 14 lecture, all your mix sequence. So I want you to do a few things. Let solo the track number one. And now we're going to create a loop. Do you remember we have seen that in the previous lectures. What I want you to do is to listen to this clip for now. Especially I want you to listen to this part of the clip when we have the background noise we mentioned before. So as soon as I end talking, listen to the audio. If you are earphones, you probably can hear it better. You will hear some background noise, some, again, some, some kind of noise. Right? So we're going to try to fix that and get rid of it. So let's look at the clip for now. Let's go the beginning of the clip. Press IY on your keyboard. And we're going to create an inch mark. Remember, then we go at the end of the clip at more or less two seconds and 23 frames, and we press o for the output. Now let's go to the program panel in the settings icon. Click on it, and go down to look. Now we got to the sequence, to the timeline. And when you play, when you clip finishes 1 second guys, it will start from scratch. Of course, as we mentioned before, we can chop this part of the audio which we don't need. But I want to show you how to fix it in case we actually need it for any reason to do so, we need the essential sound panel once more. So we go to window and go down to essential sound. These will appear on the right-hand side. We go to Edit. Let's make sure we close all these down for now. This time we want to go to repair. And here we have different options. The one we want is reduce noise. And before we do it, I also want to open up their Effect Controls panel because I wanted to show you something there, which is already somewhere in my workspace, so I need to find it. I just click on it and there it is, hidden. So now let's go to the essential sound panel. Click on reduced noise. Just stick on the little box and have a look at the effect controls panel. Ha, we have a new effect popping up right there, which is called the noise. That's a denoise or that's how it's called and that's what he does. He tries to take away from our clip, the extra noise we don't need. Now as we created a loop, tried to play this timeline, and as you play tick and untick the, these options reduce noise is so you can actually hear the difference. So let's do it. 1 second guys. 1 second guys. 1 second guys. One second guys. Yes. Can you hear it? So the noise as completely gone, sometimes is a bit tricky. If the noise is too loud, then the voice also will change. It will modify. And when that happens, I would suggest not to apply the denoise or because it's going to change the tone of your, of your voice as well. So unfortunately, you need to deal with it. The best tip I can give is to actually record the audio properly during the filming process. So if you want to, you can actually leave the denoise or on this clip cause he works pretty well, but we need to unselect the loop now, otherwise we keep playing the same thing. So let's go back to the program panel. Click on the Settings icon. Let's go down to loop and untick that option. I want to show you another couple of cool features. Let's go to a roll number four. Right now, some fruit that now we have this guy listening to someone else's on the phone and we want to reproduce the kind of effect to be on the font, so we need to change the voice somehow. And again, Premier is giving us a quick fix for that. So we select the clip, a roll number four, we're still ER in the dialogue in the central sound. Let's close repair for now. And let's go to clarity, to the clarity option. If we go down to the second option, which is EQ equalizer. So the equalizer basically changes some frequencies of the audio. So it can enhance the low frequencies, or it can enhance the high frequencies of any clip. We're gonna tick on EQ in the EQ box. Once more we have a new effect applying into the effect controls panel. It's called graphic equalizer. And down here, now we have some presets. You can read preset, open up the menu by clicking on this arrow. And we have already some templates that are going to change our voice. And luckily we have one called on the telephone. So let's click on that. And now play your clip. Yes. Hello. Can you hear the difference between the one on the phone and one when we're actually seeing the guy talking. So it's pretty cool. We can enhance it a bit more. You can change the amount of their fact. Again, in the essential sound, you just drag up these dot right there. And also you have the option to select the type of voice, female or male. I don't know how much difference that makes to be honest, but let's go on and male. And now if you can play from clip three, going on clip for you will see the difference. Oh, yeah. I'm sending you. Yeah, it sounds like we are on the phone, so really cool. Now save the project, and I'll see you in the next lecture. 87. S.14_10: Finalizing the mix with compressors and hard limiters: We are the final stage of the audio mix section, bt. And in this lecture we're going to see how to master the audio with the compressor and the hard limiter. Now, let's untick the solo in truck one. And we're really going to master the sound. And this will make a big difference in terms of quality of the overall audio. Let's close the essential sound for now. I don't need that anymore. So this panel, I'm going to close it. I'm going to decrease the size of this panels. And I want to go in the audio truck mixer and definitely need more space for that. Now we're going to apply some effects to the trucks, to the whole tracks and to Dessau. Again, here in this panel audio truck mixer, we're going to click on this arrow we saw before show hide effects. There it is. So from here, you have different tabs. You can see I can highlight different types by going up and down. And here you can actually apply some effects. You just need to go on the arrow there. And it will open up a list of different effects. Okay, this is very technical stuff, but I'm going to show you the one I use the most and they can really enhance and change the quality of my audio. What I usually do is to apply a multiband compressor, quick explanation, an audio clip, as different waves, as we mentioned, they go up and down and they can go very low and very high. So the difference between the waves can be huge. So the compressor kind of evens up these waves. So it pulls the lows higher and pulls the highs lower. So it tries to literally compressed the waves and make them even. So we didn't have this crazy ups and downs. And we're going to add one on track one. So let's do that. Now you can already feel a difference if you play the, the sequencing. Don't forget always to check the volume CR as well. We don't want to go above minus2. And actually that's when I bring up the next effect we're going to apply. If you go to the second slot, here, they actually called slots. Open up the list again, we go to amplitude and compression once more. This time to hard limiter. Click on that one. And the hard limiter, it creates a limit like a threshold of a certain level above which we cannot go. So whatever we do with our clips, we make sure that it will never overtake minus2 decibels. And that's great. But again, we don't want to push the audio too much anyway. To set it up, we need to select the effect which is now selected. We go down near to this wheel and we drag it to minus 2.10. It can be quite tricky actually to change the settings through the wheels. So we can double-click here on this lot itself. And we have a menu like this settings menu popping up. You can change the decibels right there. So you can literally type minus two if you want to have a neat number and now want to show you what happens on the timeline. So let's close this menu. Let's just solo that track again, A1 and go to clip number four. Actually, I want you to, I want you to look at the volumes here. So on the audio track mixer makes sure you can see the volumes. Now gone. The timeline on Clip A4. Play the clip. And one we can do. You see the volume is not high enough to reach the threshold we just set. So Gandhi timeline and drag the volume on the rubber band at the top. And now play the sequence. And have a look at the volume. Now, it will never go above two minus two c. So that's our safety net. Again, we are distorting the sound so we don't want to pull all the audio up. We just bring it down where it was two to three. And for now I'm happy with that. And we're going to apply the same effects to the other trucks. And to do so, you can just go here in the audio track mixer. You take the multiband compressor and you drag it to the next truck. Or if you want to apply different settings, of course you can just add other facts or whatever you want. But I'm happy with those two, so I'll drag it into my second track. But when we talk about music soundtrack, the soundtrack as ready being professionally mixed. So I don't need to touch it and I'm not going to touch the track number three. But I want to add a compressor also to the track number 45 and saw a hard limiter. So I do the same. I go here and the audio truck mixer and just copy and paste my effects. Just do that. And all the settings have been reproduced in order tracks. Also, I want to apply the also want to apply them to the master track just to make sure that the overall audio will never overtake the minus2 decibel and also want to give that compression to the overall audio. So I just do that too. And copy and paste. The setting's important thing guys. When you apply it, a hard limiter, make sure it actually works properly. The second effect, we'll have the priority and basically the hard limiter wouldn't work. So you need to make sure the hull emitter is at the bottom of your list. Now let's go to the timeline. Let's untick the solo track. I'm going to narrow down and you can play and hear the difference of everything once they're good guys. Hello? Yes. All right. There's still something not working properly, so let's go to the master track in the audio track mixer, I want you to double-click on the compressor. So the first effect. Here, we have another menu law, the different confusing options, so don't worry about them, but we have some presets, yea presets. So a gun, the arrow, the tiny arrow to open up a sublist. And we have different presets. As I mentioned, you can play with different staff again during your exercise time. But the one I choose and the one I prefer is broadcast because it brings my voice to life above all the other audio. So click on broadcast. And now you can play the sequence. One second guys. Can you hear that voice is just alive now? Hello? Yes. It's more young here. I'm standing here right now, right? We still need to work at tiny bit with the audio levels and we are done. I want to show you how to deactivate and effect if you don't want to listen to it, it's very easy. You go on the truck mixer and you can tick on these effects icon. When it becomes blue with a bar on it, it means it's the activated, so it will not be applied to our audio. Yeah. Feel a difference. I think the only adjustment I want to make is still the audio of the music is still a bit too loud and I can decrease the volume of the old truck right here in the audio track mixer. So what I can do is to go to truck a3. That's the truck of the music. And I just take the volume down and what I can actually do it as I play the sequence so I can hear and listen. And as we play, I drag the fader down. Now it's 20. Hello? Yes. It's Marianna, somewhere. Somewhere there around minus 12. That does the job for me. And that's how you apply some effects. And that's how you muster your audio in Premier Pro. Well, this is the basic cause, of course, in the intermediate and advanced, we will see many more settings. Now save the project and we can check some other effects in the next lecture. 88. S.14_11: Applying and modifying Audio Effects: We are in the last lecture of section 14. Audio mix has been a very fruitful lecture. I hope you're learning a lot. In the previous lecture, we have seen how to apply effects to the whole tracks, but also you can apply effects to individual clips. And in this lecture, I want to show you different effects. I'm not going into details, but I want to show you where to find other effects and how to apply them and modify them. Here we are, our project is being grades. I want you to open the essential sound panel again. So we go to Window and click on essential sound. We've seen in the beginning, we can click on any audio clip and we will have different options, different categories to choose from. So let's say I want to go to the soundtrack This time. I can still find a lot of effects here. So of course I'm talking about music. I want to click on music. And I can change the loudness as we've seen before. I can change the duration of my truck. And they're also the volume of the clip. But let's see where to find effects, not from the essential sound panels. So let's close it down once more. Just go in the menu here and close it down. Also lets close these two mixers. We don't want those. And as they are in panels group, I can just go to panel group settings and close the all group. Nice, and that's what I want. I want the effects and the effects control panels, which I'm going to separate. Now, the essential sound panel givers a few options in terms of effects. But if we go to the effects panel, that's where we find everything we want. And we wanna open the Audio Effects folder. And we have a big list of things we can choose from. For example, it's gone the timeline. And let's go to clip number three. So let's try to apply some effects right there. And we want to look at, so we go at the beginning of the clip, I press, I go at the end of my clip and I press o to create the in and out mark. I go to the program panel, click on the settings icon and choose look. And now I've got this section looped. I'm going to solo the truck, truck A1. That's it. And let's say you want to add some reverb to the sound, to the clip. So I can go here and choose reverb. And of course you can type the name of the effects if you know it. To apply an effect to a clip is exactly the same process as to apply a transition. Take it and we drag it inside the audio clip. As you can see, we cannot apply it to the video part of the clip, but only to the audio. And I'm just gonna drop it there as soon as I do. So in their fact Controls panel and new effect will pop up. And from here we can customize the effect. First of all, let us try to play the clip. We'll Can you hear it? It sounds like we are inside the church assigned a big space, and that's where the reverb effect does. So if you want to recreate that effect, this is the one you need reverb to modify an effect. It got to the effect controls panel. And you click on the button, edit. A new menu will pop up each effect as actually a different menu. So you need to go through and experiment. That's the only way again, you can keep playing your clip. Changed the parameters and here the difference. For example, in this panel, you can choose the size of the room so you can make the room smaller and your reverb will change according to the size of the room and so on. You have some delay. Makes sense as you're playing your sequence. If you want to go back and listen to the original sound of the audio, you just click on this icon, which is bypassing the effect, as he says, bypasses the effect. So as you're playing, you click on it and you will hear the original sound. I'm going to close this window. And to delete and effect, you're going the effect controls panel. Click on the facts and just press delete or backspace on the keyboard. And the fact is gone. I got, I undo that. You also can deactivated by going to these icon FX. Just click on it until you have a bar on top of the icon whenever you apply an effect on a clip. Also, if you go to the timeline, these effects icon will change color from gray to yellow or green or different other calls. Now before we save and close the project, actually go back to the progression folders here in the project panel and listen to the original sequence we've created and see the difference. After that, then you can save and close the project. And that's how you apply and modify audio effects to your clips. Once again, the best way to learn is to do a lot of practice. The quiz and the exercise are waiting for you. I will see you in the next section. 89. S.14_12: Exercise description: So how are you, how's it going with the course? I know the previous lecture was quite intense, but I bet you learn lots of new skills. And that's what we're gonna do in this exercise. We are going to apply everything we have learned, right in this exercise with some footage I filmed with a ceramicist from Japan here in London for a minute documentary. This is the video I want you to create. My friend was doing ceramics and one day he asked me if I wanted to try. That was it. I can't stop. I'm always hoping to make somebody's smile. It's vital for me to stay. So for the exercise, as I mentioned, I want you to mix the audio. What I want you to do is to of course, change the audio levels of each clip. So you start with your mix and you can use keyframes on the rubber bands than I wanted to add some transitions where you think they are needed. And I want you to add some effects to the trucks, the ones we have seen in the lectures. So the multiband compressor to emphasize some of the audio and also a hard limiter to create the threshold limit. Remember, so you need to set that to minus2. Again, that's a good level for YouTube videos. So you need to apply to some of the tracks and also to the master track. Make sure you emphasize the voice. First of all, that's the important thing of the video. That's what tells the story. And when you add the effect multiband compressor to the master track, I want you to add the preset broadcasts. This time. We don't see anyone talking, but we have just a voiceover truck. So there's no video clip is just a voiceover attract with a voice. And also that's been recorded in stereo so you don't need to change the audio channels arise, so just keep it as it is. So you just need to change the volumes of the clips, mix it, and create a master. There's also a few sound effects that you need to include in the audio mix to, once you're done with your mix and you're happy with it, I want you to create a new sequence and call the voiceover. And in that sequence, I want you to set up a truck for voiceover recording, and I want you to record anything you want to record it with your voice. This time I give you a couple of options. Option number one, I have already created they all video sequence, so we don't really need to touch anything in terms of video, but we will make the audio. So I want you to mix the audio clips. The second option is I actually exported each individual clip as well for the videos. So what you can do to re-add it, what you've seen in the previous video from scratch. So it's completely up to you. And I would advise you to actually challenge yourself and try to do the video editing as well. By if you don't want to, then you can just mix the audio. So if you choose option number two where you want to build your video editing as well, bear in mind you will find different clips with different frame rates, some at 29 frames per second, some would be a 59, so you can slow them down. And actually there have been slowed down in the previous video. So you need to pay attention to the details and also you will find different resolutions. Sum would be in full HD, some in 4K. Some have been put upside down because they were filmed upside down. So I'm actually giving you the original footage and you need to figure out what to do with it. If you want to do the ADT yourself, you will find the material in your structure folder. You go to all your mix section 14 exercise material. And in footage, you will have B-roll. And here you have from Clip one to clip 18. That's what you want to use for your video editing. The last clip called B-roll full video. That's where we are using if you don't want to do the video editing part so you don't have to use the full video at the end. You can always use yet the reference actually inside Premiere if you wanted to. Now, I'm going to build with you the edit, the audio elite. But if you want to do on your own, skip this part and go to the exercise review. I always recommend to check the exercise review anyway, cause there's something you can always learn from it. So I will see you there. But if instead you want to build the audio edit with me, then let's carry on and let start now. So we open up Premiere Pro. We're going to start the project together this time. I'm going to create a new one and call it s 14 exercise. And of course I'm going to check the scratch disk which are set phi1 and eyebrows, my folder. So I go to S 14, exercise, create a new project. Click OK and choose. Okay again. And here I am and I'm going to import some material. I press comment, I and I go to my material in as a as 14 exercise material. We have some audio and some footage. Let's check the material. We have some footage audio with some subfolders missing. So I create the music folder, common b. And putting in there, great. So if you've chosen to only create the audio mix, we're going to reorder the clips here, click on the name until you have an alphabetical order. And we go to the last clip as 14 exercise Bureau, full video. We drag it into the timeline to create a sequence. And this is the old duration of our video, 34 seconds. You can see the clip has been filmed at 29.97 frames. And I'm going to create a folder for the edits. And I drag my timeline in there, and I drag my sequence in there and rename it as 14 exercise audio mix. And I call it 34 seconds, 16 by nine. I can close the Bureau folder, which we don't need anymore. Now let's build some audio together and we need to cut the music. So let's go to the music folder, double-click on it until the opens up in the Source panel. And I want you to type some time code. So if you type here in the time code, 22 seconds and ten frames. Press OK and press o to create an out mark. We're gonna go on the waves and drag the soundtrack, the first part of the soundtrack on A3 right at the beginning of our video. Then I want you to go to the Source panel once more, N-type, 48 seconds, 09 frames. Press okay, and press i to create the in Mark. And then we type 54 seconds, 020 actually, sorry, press okay and press o. And we're going to drag this second part of the clip next to clip number one. And we're going to play it and see what's happening if you're works. Okay, there's a change of volume, but we can fix that. Then back to the Source panel. We are going to type 56 or nine. Press Enter and press i. And then we type 01 minute, this time, one minute. 1 second. 08 frames, press okay, and press o. And we drag the ending part right there next to the second part. And we play, right. We should reach more or less the end of the clips, the video clip. If we don't, we can just extend the clip by dragging it. Okay, That's the soundtrack. Now we need to add some voice and sound effects. Let's go to the voice right there. So the VR folder, and we have three different voiceovers. We're going to take them all and drag them on track one. And you can check the previous video and see what's happening there. So let's take the first voiceover. Voiceover Number one. We start with it at 1 second 19 on the timeline. So that's where you want. That's what I want you to drag the voiceover. The second part, which is the shorter one, we can start at 09. So make sure you're clear begins there. And then the last part, we can start at 15 or three. So make sure your V or three begins at 15, or three, or four or more or less, it's down there. We're going to add a couple of transition to the music to. So here in the cats, apply default transitions and make it very small. It's barely noticeable. And also with the last cut right there, we create a tiny transition. They're nice. Okay, working. Let's go to the sound effects folder here. And we have a pedal which goes when she's doing this action. So at time code 1011, that's when you want to start with the sound effects called paddle. Then we have the spinning wheel. So we want to go when that's, that's one. So we take the first one down and we might need to add another trucks. So we're gonna take the soundtrack to truck for. So the sound effect called spinning wheel 0-1. We'd go from timecard 14 or three until 1717, more or less. And then we have another scene of the wheel right there. And we're going to add the second spinning will sound effects. And we're going to start from this time, 1627 until 2103. And right after we have the last sound effect, when we have the trolley sound effects. So let's go to the sound effects trolley. Take it down to the truck a2. So your clip can start at 20, but also I want to cut it. I want to chop the first part so I wanna start with the sound effects from 21 or four, and I'm going to trim the sound effects just by dragging the clip down. So the final clip would go from 21 or four until we're gonna chop the N2, 2415. I'm going to unselect the solo track and that's the edit 40 audio. And now guys, it's completely up to you. You can follow what we've said in the exercise description above. Good luck. I see in the exercise review. 90. S.14_13: Exercise review: Finally, this is the review of exercise 14 of the section 14. Of course, if you had decided before to create your own video editing as well, then you should take the preview video for reference. But for the people that actually chose to create the editing with me, the audio edit. That's what we have on the timeline at the moment. So let's carry on from here and let's create our audio mix. We have our edit. Dan, I don't care about a video for now, so I want to focus on the audio tracks. What I want you to do before we start actually, let's duplicate this sequence so we can see the difference at the end of the exercise. Just duplicated and I call it original. Instead of audio mix. And I create my subfolder progressions and drag my sequence in there. And now we can start, let's go to window and go down to essential sound. Click on that. And now I want you to go to the timeline and select all the clips that talking clips. Now we go back to the essential sound panel in the edit and click on auto match. I might start with some key frames on the soundtrack so I can start my soundtrack a bit louder. Just creating keyframes and bringing the volume up. And then I lower the soundtrack as we got Arieti and I'm going to increase the volume when I have the gaps between the talking part. So I just create some keyframes and drag the part of the music up and actually lower some of their soundtrack when the McCoy speaking because it's quite loud and a good down to around four. Even, even to be lower, I drag the rubber band down to minus six somewhere therefore now, so we have this nice waves going up and down as the voice comes in or comes, or goes out. Even here, there's another gap. So between this talking part, I add two key frames and drag the volume down to minus six. We can also change, we can always change these volumes data. And she doesn't speak until here, until 15, more or less seconds 15, where I'm going to add other two key frames. And I just drag my audio down to minus six. After these keyframe. Also because we have cut the truck, I need to change the volume separately on the second part of the clip so of the soundtrack. So I just add two key frames and do the same. Bring the volume down to minus six. That's it. Okay. My volume is too high as I can see, it's clipping. And I need to lower that down too. So I go to minus 4.5 maybe. Let's see. Nice. Okay, this sound effect is OK. Actually it's quite loud in the first part where I have these waves. So I'm going to, I'm just going to make this part quieter by adding two keyframes and dragging the volume down. Perfect, so I can just hear the second part more or less. Sounds good. And the other two sound effects, the wheel spinning doesn't really, it's not really horrible. So I'm going to increase the, decrease the volume of it. Let's see. I'm going to solo the truck. It's the area. And I do the same with the other one. Okay. Here are the music is too loud still. I can't hear what she's saying, so I'm gonna take it down to minus 13, let's say. Okay, I need to make better adjustments because the volume goes up quite a lot. So I'm just going to create some key frames in the first section of the truck and bring the volume down to minus ten more or less. So I have a more gentle change of volume. Yeah, much better. Nice. I'm gonna change the volume of the last sound effects or bring it up. The trolley. Maybe it's a bit too loud. So I go down to seven or yeah, round 7.8. Nice. I can hear it's there. I'm going to add some transitions at the beginning of each speaking part. Literally just a few frames to again have a nice fade in and fade out. So I got, so I go at the beginning, at the end of each clip and create literally a couple of frames transition. My friend. Nice. I do the same with the second voiceover clip. Beginning and end. And nice and I do the same here too. With the last voiceover clip. Just a few frames, beginning and end. Also I'm going to add transitions to the sound effects this time because they had a neat cat, so I don't want that. I want, I want them to fade. And this time the transitions can be a bit longer actually, so they have a gentle fade more or less there. So just apply default transitions. Once again, at the beginning, at the end of the sound effects. An unhappy with those. I'm going to add some effects to the trucks. So I go to the audio truck mixer and bring my menu down here where I've got a different slots. I'm going to add and multiband compressor. So amplitude and compression, multiband compressor, that's to the voice and issued change something already. Now I'm going to add a hard limiter. So once more go to the slot arrow down amplitude and compression hard limiter. And I take their voice and I take the limit to minus two, the b, 2.10 or once more, you can double-click on this lot and go inside the menu and change in manually. Okay, what's the volume like? Nice. I'm going to reproduce these effects to all the trucks apart from the soundtrack, remember, so I just copy and paste by dragging each element, each effect to the next truck. So on track 123, on track for we have the soundtrack. We don't wanna do that, but we wanted on the master track. So I take my multiband compressor and I do the same with our limiter. And now I double-click on their multiband compressor to create my preset, to apply my preset. And we wanted the broadcast preset. So I click on that. Now I close it, play my sequence, I'll try to spot any difference. Nice. I can see the volume is always more or less a minus two d B. That's what I want for YouTube, but the music is still a bit too loud. So I'm going to change between the key frames a tiny bit because it's too loud in the non talking parts. So I got to yeah. Just decrease it. And am I decrease the volume of the old truck actually, as I play the sequence, I can't stop. I can't just bring the volume down from the audio track mixer. I'm always make somebody's smile through my work and it's vital for me to stay playful. Okay, there's something here we can fixed some somebody is. Levels that goes down to much great. Even the sound effects actually are horrible. I can hear everything, so I think I'm happy with my mix. If I wanted to, I could apply some denoise or to the voice, See if it works. So I click on the clip, I need to open my essential sound panel and got to repair, reduce noise and see what happens. My friend was doing around me. One day. He asked me if I wanted to try. Ok, it's not really working because there's some distortions going on. So in this case I'm not applying the denoise or and I keep the sound as it was recorded originally, a mapping with the mics. I'm happy with the audio levels and they always under the minus2 threshold. So I'm very happy with that. I'm happy with how he sounds. And now we had to create a sequence for voiceover recording. So let's do it. I'm going to duplicate this sequence. Remember that's what we've done in the lecture. And I'm going to call it, I'm going to delete all this part and call it voice over. I'm going to open it up by double-clicking on it. And it's now my timeline. And I'm deleting everything we have. And also I'm going to delete all the trucks. I don't need delete video and audio tracks. Great. I'm going to create a new truck from here. And I need a mono track saw nor video tracks is 0, but I need an audio track and I go down to instead of standard or go to mono and press OK. And now track number two is my voiceover truck, which has the microphone icon, which is great so I can record straight away. I go at the beginning of the track, right-click on the truck here in the header, and have a look at the voiceover record settings, 123123. So that's a test. I can see the audio coming in. So my input is correct. I have the countdown selected. Great. I close and I'm radian two roles, so I just click on the microphone. One. And now I can actually record my voice. When I've got this recording button read Recording button on, I'm gonna start by pressing the spacebar. There's my recorded voice. Caught my voice. When I've got these recording. Bob, don't read record. Nice. It's right there. I can right-click on it and check if it's in the right folder in find there. So I can just right-click on the clip here on the timeline. Got to reveal in Finder. And there it is. Inside my ass 14 exercise folder. Nice one. I go back to Premier Pro, close the sequence. I save my project and I close it. Cosine, I'm Dan, you guys laminar. How we went. I will see you in the next section. Very, very well done is been it's been a good day. Okay. See you soon. 91. SS.15_01: Project setup & What’s colour correction?: Hello, I hope your day is going great. And first of all, I want to say, thank you big, thank you for choosing the course and also congratulations to make it to this point of the course. Remember if you have any questions, please go to the Q and a section here in the site. And also, if you can spare one minute, I would appreciate a review. Positive, of course of course I'm joking, but any constructive comment, it would really help me to make it better. Another amazing section today, section number 15, the color correction and grading. I usually compare the color correction and color grading to the audio mix, to the process of audio mix. Because these two processes take your video to the next level, to the ultimate quality. And that's what we want from our productions, right? And as the audio mix, the color correction cannot be underestimated. So quick, brief color correction and grading. Sometimes you have to work with different type of footage coming from different cameras and different devices. Which means the clip will have a different quality, a different resolution, and also a different look. As you might know, the light, natural light or artificial light. It has a temperature. The temperature of the light is measured in Kelvin. For example, if you take a shot of a building during the sunrise and then you take the same shot, exactly the same shot in the afternoon. It will have a different color, a different temperature. So color correction is that process in the postproduction where you try to match the temperatures of the light and you try to match the look of all the clips all over the video. Today will work with some sports material and exactly we some motocross clips. And we will go from this video to this. Now let's get into Premier Pro and let's start editing, open a new project. Of course, and I call it as 15 lecture. I'm going to check the scratch disks, change it to same as project, usual routine guys, you should be familiar by now. I'm gonna save my project in my usual folder, the structure folder, section number 15, color correction and grading as 15 Lecture. And I create my API project folder and MS. Belly, right? And I created there. And now we are inside Premiere Pro and need to reset my workspace. So I just go back to mammal one monitor basic editing. Let's import some material then we think about it. So let's go to Section 15 lecture material. We have some audio files and footage. As always. Great. We're going to check some material. You can go and check every clip. And also, I'm going to create my usual missing folders, music and drag my music in there. And that's it. I'm going to create a new folder for the edits. Because soon you're going to create a sequence. So we have some a role today and be roles that a role are going to introduce the video and then we have a tiny promo motocross promotional video. So let's take clip number one and to drag them inside the timeline to create a new sequence. There it is. And we're going to name our sequence as 15 Lecture 23 seconds. That's the duration of our video, 16 by nine. And we bring the sequence inside the edits folder. Now let's take the soundtrack here and take it down to a2, the truck a2. At the end of our two a role clips, literally time code would be 1005. That's when we start with a soundtrack on the timeline. Then we go to the B-roll folder and we select them all. So from one to 13 apart from B-roll for so when you have everything selected, then hold comment on your keyboard or control, and click on number four. So we unselect that clip, or you can just select one by one as you want. And we drug everything on the timeline on v2 right after the arrow clips. And now these sequence of clips should match with the music, with the duration of the music until the end. And we can double-check. I go at the end and it finishes exactly when the music finishes. Right? Now we have one more clip, number four, bureau number four, we want to type in our time courtyard on the timeline. 13 seconds, 21. Press OK, and we drag the clique number four on truck u3, v3, right there. We're going to add some transitions and the first one is going to be on a roll number two. So we click on a clip. We hold old on the keyboard and go on the video part of the clip and we apply a default transition. And there is, we can actually leave it as long as it is. And now we do the same with the B-roll number one at the beginning, the full transition there. But this time I wanted just a few frames. A couple of frames. Now you can play the sequence and see what we're working on today. Once you're done, we go here in the project panel, we duplicate our sequence. Actually, let's change the name of this sequence today, and we call it ungraded. Now we duplicated. And we call this grade or graded, whatever you want. Graded. Now I create my progression folder and I take my ungraded sequence in there. So the end of the section, you can go there and once more, double-check the evolution of the video. Double-click on the graded sequence. And we're going to close the ungraded for now just to make sure we don't confuse them. Save the project, keep it open and I'll see you in the next lecture, is going to be a lot of fun. Let's do it. 92. S.15_02: Lumetri Panel: We're still in Section 15. We're going to work in S 15 Lecture project and we're gonna see the symmetric panel. We finished our edit and we're gonna change the workspace. And little bit, we don't need any audio stuff, any audio mixer. So let's close everything related to all your Which I have the audit track mixer. I'm gonna close this down. I don't really need it. We still need the effect controls panel. And that's more or less okay. I don't think we need the project panel for now, so we just leave it there on the side because we need to see what's going on today in our video. And for color grading, I definitely recommend a second monitor if you have it. And if not, third monitor, let's go to window and let's open to de la Mettrie color down here. Let's open this up. And it will open up on the right-hand side, at least in my case, what is the symmetric colour panel? It's the panel where we can find some effects to apply to the clips in terms of color correction, there is already a list of settings we can change and apply to our clips. Once again, this the basic course. So to color correct our clips and colour grade them. We're only using the geometric color panel in this course. In the advanced course, we will explore different effects and more technical effects as well. But this is definitely enough to make the video look great. So to activate the geometric color panel, we want to select a clip and we gone a role number one. As soon as we click on it or the playhead is on a clip, this panel will highlight. And now we can actually modify all the parameters in the settings. And let's talk about the clips I provided you for a second. The arrow clips and the beer Eclipse. Actually, they've been filled with different cameras. The arrow clips have been filmed on GoPro, so action cameras, the Bureau clips have been filmed on the black magic, which is a professional cinema camera. And I included the first two clips just to give an idea of what you can do to match different types of footage and also really different quality of witted. I mean, GoPro is a user action based camera and the black magic is a professional cinema camera. Still, we can match the two. If we go to the Effect Controls panel, let's close all the effects. We have that for now so we can see what's going on. Let's try to change some of these parameters. Let's go to here basic correction, white balance. And then you will see temperature, as we said before, the light as a different temperature. So with this control, we can change the temperature of the clip to change settings. You want to click on this little circle icon, a bowl. You can hold it and drag it left and right. And you can see the colors of your clip changing. So the temperature of the light is changing. As soon as we touch this effect and new and new effect in the effect controls panel appeared. And that mirrors exactly the same controls we have here in the laboratory. Color. If you go to the Effect Controls panel, basic correction, you can open this up. See exactly the same controls. So now you have two options. You can control your parameters from the effect controls panel or from the geometric color panels. But as we are in the military, let's do it from there. If we go to the timeline and we select clip number two, and now we want to go back to clip number one. Of course, our geometric color effects are still there. So if you wanna go back and change the parameters, that's what you do. You just go back to your clip and you just need to go to the loo matric Control Panel or Effect Controls panel and just change whatever you want to change. If you want to get rid of this particular settings we just apply, then you have different options in the geometric color, we have different sub menus. Now you can click on basic correction and the list of parameters will appear. If we click on it again, the menu will close and we have different ones. Scholar, basic correction, creative curves, color wheels, blablabla, and we'll go through all of these during the next lectures. So for instance, if all my clip I applied all these effects included here in the sub menus. I can just get rid of some of them by an ticking the box in the relative sub-menu. So if I want to get rid of their basic correction, we just applied IN tick, this button. And my effects are now gone. Let's change it a bit. Yeah, let's make it warmer to make the change more visible. C, it goes back to my default look, but of course you can get rid of the old nanometre effects we created. And we do so by going to the effect controls panel, clicking on the effect, and press Delete or Backspace, exactly like any other effect or transition I just undo because I show you another way. And again, that applies to all the effects. We gone the clip on the timeline, we right-click on clip one and we go to remove attributes. And now we have a list of all the effects applied to this clip. Diane, select the ones I want to keep. And then in the effects, that's the one I want to get rid of. And so I keep it ticked and I press okay, and is gone. Now, we still have the clip number one selected. If we make any other change here in telemetric color, just, just drag a few things up and down for now. Then we'll see later what's going on. Just random stuff. If you want to reset a particular settings here, you just need to double-click on the wheel, on the tiny circle icon. If you double-click on it, it will go back to 0. You can also be on the line of the control on the fader. Here we go. So we are back to 0. If you want to reset the old luma tree, then you go to this icon at the top, right top, you will see a reset effects. So let's make a couple of changes again, random stuff. And then we go to reset. And we go back to our original clip. Once again, change more settings, random stuff. And we can of course, copy and paste the same geometric color effects to a different clip. And once more we have different options. We can go to Effect Controls panel. Click on the effect. We want. Like any other fact, we press common C on the keyboard. And then for example, we go to clip number to a roll to I go to the Effect Controls panel. Once more. I click on it, and I press Command V. And now I have exactly the same effect with the same parameters on a different clip. Let's undo this. The second option is to go back to clip number one. Press common C on the keyboard, and now we go to a roll number two. We right-click on it, and we go to paste our attributes at the very top. And here we want to take the effect we want to paste. I want to, I want to paste the geometric color ticket press. Okay. And my effects as being copied. Let's undo everything and let's go back to scratch. Yeah, make sure you reset all the settings or delete the geometric color effects from the clip. And now save the project. And I'll see you in the next lecture. We're going to see the tone and the waveforms. 93. S.15_03: Tone & Waveforms: I love this action. We are in section 15 working on project as 15 lecture. We're going to see the tone and the waveforms. We want to add a new panel to the workspace. We are still in Premier Pro. Lets go to window. Let's go down to lou matri scopes. And now we have this thing popping up. Before I tell you what this panel is, let's customize it together so we're on the same page, right click on it. And let's go to presets and go to the very first one, vector scope HLS. Okay, so we start with the same thing. Perfect. Now we right-click on it again. We want to go to waveform RGB. Okay, right-click on it again. We got to down near to wave form type. And we want to go to y c naught chroma. Right-click once more and we want to click on vector scope HLS again to get rid of it. So basically, we will be left with this wave forms called y c naught chroma, which are green waveforms. We should have the same workspace. Now, let's also move the effect controls panel, and I drag it in the geometric color panel group. So it's right there and I go into the metric color, isolate the room matric color. So what is the volumetric scopes and what is this green stuff? This is not this Lima from Ghostbusters or any chemical product from the ninja turtles. This actually represents the brightness of your image, of your clip. I want you to go on the timeline and play the clip. As soon as you play the clip, see what happens in their noisy, another model, Crosby's day, Yummy. Some brands doing this literally represents your image. It's like the audio waves. For the audio when you see my head moving, for example, you will see here moving because that represents the upper part of the video. Okay, let's explain what this is. The upper part. The upper part of the waveforms represent the highlights of the video, which means that the brightest part of the video, while the one at the bottom, this line at the bottom 0 represents the darkest part of the image. And I'm going to show you some stuff in the geometric color panel to make sense of it. So first of all, we said we have different menus. We want to explore the basic correction one in this section, and actually we just go down to tone. We're going to skip the white balance for now. In the tone sub-menu, we have exposure. The exposure in photography is the amount of light goes inside your lens. And of course you can adjust that with the iris. So by regulating the iris on your camera. So let more light in or not. In the digital world, we can just click a button and drag it up and down. So let's go to exposure and drag the button down and have a look at your waveforms. Here. In the waveforms. The waveforms are going towards the bottom and also your image in the program panel is becoming darker. The opposite is of course, by dragging the exposure control up and our image will become brighter. In this case, it's overexposing. We have too much light. To calibrate the exposure correctly, then you need to have a look at the waveforms always. And you need to make sure you will never touch with your waves the top or the bottom of the panel. If you see we have different numbers from 0 to a 100. So you never want to touch 0 with the bottom waves, and you never want to touch the 1900 with the top, top waves, as you can see right here at the top, my highlights are squeezing against the top line, which means I have some parts of my image overexposed. In this case, I think they are my cheeks. You can see they're very white because we are overexposing the picture. So we want to drug the control down and we actually go back to 0. That was pretty good. And GoPro as an amazing exposure author exposure and white balance. And we will get there in a second. While the contrast, the word says it all. It's the contrast between the darkest part of my image and the brightest part of my image. So once more to understand, it's just better to practice. So take the control and pull it up and down. When we pull the control up, we see the dark parts of the image becoming darker and also the waves will spread along the spectrum. So up and down. So we spread the waves. But if the opposite app, and so if we drag it to the left, we're going to squeeze the waves together. It's like a compressor in the audio waves. Remember. So we are compressing the waves together and in this case we have less contrast, of course, so less difference between the dark and brightness and we want to go back to 0. You can also click on the value and thread 0, like any other control. The highlights, with this control, we are only going to work on the brightest side of the image. And it's always good to see what happens in the wave forms. It's very helpful. But let's go back to 0. The shadows, again, the self-explanatory. It's exactly the shadows of the image. So if I pull it down where I have shadows EMA image, it will become darker. But if I pull the shadows up, all the shadows will become brighter. The whites are the white part of the image. So when we pull it up, it will become brighter. But once again, we're going to touch the top line and we didn't want to do so. So you always want to check the waveforms and find a compromise. And the black, of course that's the opposite that we're gonna work on, the blacks of the image. So the, literally the black part of the image. There's also a no to a button here, which means if you click on it, Premiere will try to adjust correctly the tone of your clip. So let's just try it. Click on auto. And now your clip should be more or less rightly exposed and all your settings have been changed. From here, you can also change the saturation of the clip, which means we're going to enhance the colors of the clip. And you can just drag this lever up and down. And you can see the saturation of your image changing. That's it. If you go with the saturation down, we're going to a black and white style. I'm going to change the saturation back to 100. And if I want to reset all the tones controls, I go to the reset button here in the tone menu. Reset, and I'm back to my default image. So let's do it. Let's work on our clip. Let's go to a roll number one. And let's adjust the exposure and the tone of these image with the waveforms so we understand how they work. So make sure you have Clip one selected. Let's go back to the volumetric colour panel in the tone section. And we're going to play with exposure. But we said the exposure was correct, so we leave it to 0. That's really nice. We can probably enhance the contrast a bit by pulling the lever up. We can go to around the 13 or less. So we spread the spectrum up 32 highlights. I don't really want to touch the highlights unless I bring them down because I can see as I mentioned, my cheeks are already overexposed and little bits, so we highlight, Let's try to bring it down. And we go down to, let's type minus 70. So let's go neat. Let's go. In contrast, we'd go to 33. Shadows wise, less try and always make sure to have a look at the waveforms. If I pulled the shadows too much, I can't see my eyes anymore. So maybe we go down to minus 15. And the whites less See if they change our exposure too much. Yes, I go overexposed so wouldn't really touch the whites for now. So let's leave it to 0. And the blacks, the blacks are tricky because you can ruin the image if you go too low because you are heating the limit again as clip number two, a roll number two was filmed exactly in the same location, same time. We have the same look of the image. So what we can do is to copy and paste the Dmitry effect to the clip number two, Gong clip number one, select it and press common C. Then we go over clip number two. We right-click on it and we got to paste attributes. And this time we want to have only the effects low symmetric color ticked. So make sure nothing else here in the video attributes is ticked. We click okay, and my clip changed and I can double-check if my effects have been copied by clicking, of course, on the clip, going to the effect controls panel and checking if my geometric color as being copied and there it is. And also we can play, and notice that the clip looks the same. Now that was easy. These two clips were the same, so we didn't do much work. Let's go on B-roll number one instead, which is very different. So let's go on the next clip. And that is really dark. Look at the waves. And also you can't see half of the click. And the waveforms represent your image as we said. So the left-hand side is very dark as our clip. But here on the right hand side we have some, some brightness, some light at the end of the tunnel. So let's go back to the geometric color with the clique number one selected, make sure that's selected and we're gonna make it much better. What do we wanna do is let's go to the tone menu. Go to exposure and bring your lever up. And look how your images changing already. Make sure you don't go over the limit at the top, over there, 100. And that's quite good. Rad I'm at 2.7 exposure, so we're pushing the original exposure to 2.7 stops. Let's go to contrast and let's spread those waves are up and down. K, that's much better. Let's go to 70. The highlights. I think it's quite bright now, so we don't really need to touch the highlights, but we can try. And some parts will become overexposed. So I really want to go back to 0. But definitely we can do something with the shadows because we have a bit of room here for more shadows. So let's go down in shadows and let's bring it down. And I go to minus 65, the whites. Let's see if we can do anything with the whites. Now again, I'm not doing anything with the whites and blacks. It's quite low. And now it's becoming dark again. So let's leave it to 0 for now. And let's go back to clip and number two, the a row number two. And we can see now they are more similar in terms of exposure and contrast. So that's all in terms of tone and waveforms. Save your project and us in the next lecture for the white balance and the vector scope is sounds dodgy, but it's fun. 94. S.15_04: White balance & Vectorscope: Section number 15 Lecture, that is our project. We are still working with motocross. I love motocross guys. And in this, in this lecture we are going to learn how to white balance with a vector scope. So what does white balancing mean, as we mentioned at the beginning of this section, that light as different temperature according to the different times of the day, but also artificial lights at different temperatures, different colors. And when we have to work with material that has been filmed in different locations with different cameras in different times of the days. The white, the color of the white changes with the white balancing. We want to match the color throughout all the clips of our video. And that's where we're going to learn today. We're basically going to make the white look white instead of yellow or blue or green or whatever other color. Now let's get into Premiere Pro. I want you to go to the loo matrix scopes panel and right-click on it here in the middle and select this time vector scope Y, U, V. And we have a new window popping up and new weird Star Trek thingy here. This is the vector scope we have seen before. The waveforms represent the brightness of my image, but the vector scope represents the color of my clip. And that's why we need it to match the white balance of this clip with the others, with all the others. Now these two scopes represent the overall brightness or color temperature of the image. Let's increase the size of these panels. Actually, let's take the elementary now down for now, and let's increase the size of the scopes. Ok, we said that top here of the waveforms represent the brightness, the brightest part of the image, and the bottom is the darkest part of the image. If you go to the vector scope here, we have our temperature, our color at the center. So this is actually the white. How white in images. But around the center, you will see all the different colour. So read magenta, the blue, the green, the yellow and so on. And you will see these waves spreading towards some colors on different colors. And from here we can understand what color our images leading towards. In this case, we can see the waves going towards the yellow, as we said, as he says here and the red. So we still have a warm temperature to the clique. And to make sure the white is white, we want the waves to be at the center of the vector scope. That's where all the colors gather. And as we know, the gathering of all the different colors create the white. So let's, let's decrease the size of the scopes for now, a tiny bit, and let's increase the geometric color panel. I want you to go and clip number one, a row number one at the beginning of the timeline. And you can see the vector scope has changed. So we have more colors now going towards the blue as well, which is probably the sky, which we didn't have in the a role clip. And we still have some temperature and colors going towards the yellow and the red appear. Now if you go to the basic correction menu of the geometric color panel, and this time we go to white balance. That's what we're going to work on. This lecture, if you go to the first control, it's the temperature, which is where we said, if I bring the colors toward the blue, we will have a colder look. If I bring it up towards the yellow, we have a warmer look and the tint is actually a team two we can give to the clip as well. So it goes from the magenta to green. And as we move these levers have a look at the vector scope. You can increase the size again. And literally, if I bring the team towards the green, Have a look at the waves. They are going towards the green of course, because they are following what I'm doing. But if it goes towards the magenta, both the waves are going up. And we can push those waves even further towards the, towards the red and oranges or towards the blue on this side. So it's very simple to read. So we want to white balance the clip a role. It's not very easy as it is right now. You can go by I and that comes with experience. But also we have a tool here and I drop which can do it for us automatically. Let's decrease the size of this for a second. Let's reset our white balance controls. So double-click on the temperature level and also the team to make sure they are on 0, both of them. And to white balance a clip, usually we need to find part of the image which includes something white, completely white. In this case, I have the stripe here on the hoodie which is white. So what I can do is to take these eyedrops, make sure you have the icon. And we go to this part of the UI, the white stripe, and we click on it and have a look at your temperature and tint controls. Okay, they barely moved, which means these white is actually very close to the white, the color of the white. And as I said before, GoPro as an amazing wide balancing in inside the camera. But also you contrast this method all the times. It works sometimes, but in this case is working. So what I can do now as the clip number two, a row number two is exactly the same as we said before, is exactly the same in terms of look, I can just remember the tint of clip number one, a row number one, which is minus eight, I go to clip a roll number two, go to the TNT and type minus 0.8. All right, that's it. Now, let's go to the B-roll. Number one, there's a different story and I want to show you a manual way to do the white balance instead. It's not ready to bed. So we select the clip. I'm going to actually use the truck targeting on v2 and we can try the auto settings again. So let's click on the drop, the i drop. Lets go to the vine here at the back, we can see there's a bit of highlight which, which is supposed to be white. So let's click here somewhere on the van. And let's have a look at the controls. Again, not too bad. It nothing really changed them much because probably we have nice white balance already. But a more accurate way is to do manually. And this time I want to show you these options. If we open the effects panel. So we go to Window Open effects. There it is, tiny. We're going to search for a crop which we have seen before. I'm going to drag it to clip be row number one. And now I'm going to the effect controls panel. And we're going to crop our clipped to a tiny section precisely on the van. So let's take the left controls and drag it down until you go more or less there to 84. Now we take the top, we narrow it down to 65. The right hand side, oops, we go to 11 and the bottom we go up to more or less 29. So what we are doing at the moment is focusing on one white part of our image. And let's go to the vector scope. So let's increase this panel now. And you can see the waves gathered more around the center, which is the white. That's what we want. Let's go back to the geometric color and I want to show you what's happening there. We can probably make it better. If you go to the temperature level and we take it down towards the blue, look at these tiny wave is moving towards the center even more, which means our image is still too warm. So let's take the level down until we have everything at the center. But also I think I need to change the teamed as well, which is towards the green. So take it toward the magenta, my case, and look at that. Everything is gathered around the center. Just make some changes, tiny changes until you see everything gathering around the center. And I think that's as good as I can get now to see if he really worked. We got to the effect controls and we antique the crop effect, and we go back to our image. It didn't change much, but that's again, it's a more accurate way to balance the white. I'm gonna finish here the lecture, so save the project. And I'll see you in the next video where we're gonna see how to use the curves. 95. S.15_05: Using RGB Curves: With our project as 15 lecture. In this video, we're going to explore the RGB curves. So what are the curves? Let's get into the volumetric colour panel to find out. So we were in the basic correction menu here and telemetric solar panel. We close this and we skip the creative for now, the creative menu, we got two curves. The curves are different settings in the form of curves. And we're going to see it in a second that allow us to make more precise changes to our image in terms of color and look. You will see two different sub menus, the RGB curves and the hue saturation curves. Rgb is a system to identify the colors. R stands for red, g for green, and b for blue. And we can see these three colors right here in these icons, red, green, and blue RGB. On top of that, we have a white icon, a white circle here, which represents the brightness of our clip in this black square here you will see an oblique line and the bottom line actually represents the darkness of our clip. In the middle we will find the mid tones and on the top right, we'll find the highlights. So the brightest parts of our image hover the mouse over the line. We will notice a new Plus icon. The usual icon we see with the pen tool to are the keyframe and that's what we can do. We cannot keyframes here. So let's click in the middle to create a keyframe. And now let's bring this keyframe up and never look at your image and the waveforms and also the vector scope. As we bring the keyframe up, the image will become brighter. When we bring the keyframe down, the image will become darker. And because we are bringing the keyframe towards the bottom line, which is the darkness. I'll take it to the middle. I'm going to create a two key frames, one towards the bottom and one towards the top. More or less. Let's take the bottom keyframe, bring it up. So we're now working on the shadows of our image. And because you're bringing the keyframe higher, that means we are increasing the brightness of the shadows. So we're making the shadows brighter. If we bring it down, we make those shadows even darker. And the opposite happens on the upper keyframe. So these represents the highlight because we are towards the top of the, our, our spectrum here. If I take the last keyframe and bring it up, I'm going to make the highlights even brighter, so I'm overexposing now the image, as you can see from the wave forms there. If a tailored keyframe down, then I'm going to make the highlights darker to undo and reset the line near the controls as they were, I double-click anywhere in the black space. And I go back to square one. Let's explore quickly. They're red, green, and blue. They work exactly the same. So if I click on the red, it means I'm going to work on the red pigments of my image. So if we go to the bottom of the spectrum, it means we are going to work on the red, the dark area of the image. If we go to the top, we're gonna work on the brightest parts of the image in terms of red color. And we can create a couple of key frames somewhere on the line. If I work on the lower keyframe now and I bring it up, it means we are going to add some red color, red pigments to the shadows of our image. If I take it down, it means some taking away the red from the shadows of my image. And the complimentary color for red is green. So our image is becoming greener, as you can see on the other side, if we go to the highlights and I take my keyframe up, of course I'm going to add some red to the highlights. If I take it down, I'm going to take away the red from the Highlights. I'm going to double-click on the black to reset, and so on for the other colours, basically, they works exactly the same. If I just click in the middle of the line here in the green. Now I'm basically selected the mid tones. I take my keyframe up, I'm going to increase more or less the green to the overall image. So these are all my mid tones. But if I want to make maybe the shadows, Les Green and more red, I create a new keyframe towards the bottom of the line. And I'll take the keyframe down. And It's a complete mass now. But you can see the red popping up in my shadows because that's what we say. So the harsher are the curves. And that's why these settings are called curves, because we are creating curves with the keyframes. So the harsher the curves and the harsher with B, the contrast between the two, between the colors. So I don't like this. I double-click and reset and the same thing for the blue. So you can go and try. And that's how you use the RGB curves in Premier Pro, save the project and I'll catch you in the next episode. 96. S.15_06: Using Hue Saturation Curves: We're going to learn how to use the hue saturation curves right now in the project as 15 lecture, let's get into Premiere Pro. Let's close the RGB curves for now. And let's go to the hue saturation curves. We have different ones. We have five different curves here. So let's start with the first one. Hugh versus saturation in the title USC two names, in this case you versus saturation. The firstname represents what we are going to select, which is the hue particular corner of the image. And sat is saturation, which is, so the second name represents where we're going to adjust. Generally speaking, if we select Hue, a particular color, we are going to change the saturation of their particular colour in this curve settings. Before we do anything, let's go to the a row number one on the timeline. So let's change clip. We have a better contrast in term, in terms of colors. Let's, let's go back to the symmetric color panel and take the eyedropper and select the sky, the blue of the sky automatically, premier creates three key frames on our line. And as you can see on the line, we have all the spectrum of the colors from red to red, again, like a rainbow. And that's represented horizontally with a, with an horizontal line. So if we take the key frame in the middle and we bring it up, For example, we are going to saturate the blue of the sky even more. So our adjustment will be mapped vertically this time. So we need to take the keyframe up and down. If we take it down because we are working on the saturation, the saturation of the sky will disappear. So we're going to saturate that blue. But as you can see, the same blue was also on my hoodie. So we're going to saturate also any other item which has the same blue in the image. To create keyframes, you just go on the line and you've got the usual Pen tool. So if you want to select, for example, the ground here, we go towards the orange, you can do it manually as well. So I suppose that's my orange. I tried to guess it. Of the, of the soil, of the ground. If I bring it up, you can see the saturation going up. If I take it down, I'm going to saturate the ground as well. And I'm going to reset by double-clicking in the black square. That's what you do with a hue and saturation curves. Let's go to the u versus u. Basically with the settings, we can select a specific color and change its hue. And again, I can take the eye drop, I go to the sky. And now I can take the keyframe in the middle and bring it up and down. And of course, it's going to create some crazy effects, sci-fi movies. So definitely something I don't want. I'm going to double-click to reset. If you don't have any keyframe and you just hover your mouse over the line. You can drag the line up and down. And that's going to change the hue of the overall video. And the same will happen with all the other curves. Let's reset, double-click. Let's go to see the hue versus luma, which is a color versus the brightness or darkness of the image. And let's say I want to make my sky darker. Once again, I go to select the blue of the sky. And if I take the, the middle keyframe down, I'm gonna make this guy, or whatever blue is in the image darker. If I bring it up, the blue is becoming brighter. Now when we use this curves, we need to be careful. If you have a look at the skyline near at the horizon line. We are breaking the image apart. So we'll see, we actually see the pixels coming to live and we don't want to reach this level ever. So this is too much, it's, it's, it's very unnatural. And we're going to create some digital distortions to the image. So either if we bring it to high, you see here, these are all the pixels of the image or down. So always make sure you work properly with the curves. Don't go too crazy. Also, as we mentioned before, the harsher, the curves, the harsher would be the effect on the image. So you can basically fate by taking the keyframes apart a bit more. And which also means you're going to include different shades of other colors, the neighbors colors here to the one you have selected. So to the blue in this case, we are creating a fate and definitely as smoother effect. As you can see now, double-click to reset. And let's check the luma versus saturation. This would be different from left to right. This spectrum represent the darkness saw. Darkness is on the left-hand side to brightness, to the brightest parts of my image. And these are represented on the right-hand side of the spectrum. Let's try to just bring the all line up. I'm going to increase the saturation of the old video cuz I didn't create any keyframe. So I'm going to reset. And I'm going to create two key frames. One on the second vertical line right there, and one here on the second last. I take my first keyframe down. And I don't see much difference there because I'm working on the darkest parts of my image. And naturally because we are working on the blacks and the shadows. The blacks and shadows don't have much color in it. That's why we can't see the difference. But actually there's a bit of difference here. And the in the shadows of my cap and also in the shadows of the jacket. So if I bring it down, the colors in the shadows disappear. But if I bring it up and read, shade is appearing here in the shadows under my hat and also on the jacket. So if you have weird colors in the shells of your image, this is a good way to use this curves. And let's try to put in the middle, in the mid tones and, and change the last keyframe. So in this case, we're going to work on the brightest parts of the image. I'll take it up. And as you can see, I'm saturating the brightest parts of the image. And if I take it down or the color of the highlights is disappearing, let's reset it. Double-click and let's check the last one, saturation versus saturation. This time on the left-hand side of the spectrum, we will find them more saturated parts of the image. And on the right-hand side we will find the less saturated parts of the image. Let's create a couple of key frames again on the second vertical line and the second last vertical line. If I take my keyframe up, if I take my first keyframe up, it means we are going to enhance the saturation of the more saturated parts of the image. Let's go back to the center of the spectrum down here. Now if I take the last keyframe up or down, nothing is really changing because the saturation was already quite low. So that's why I can't see the difference. And let's try to create one in the middle and bring it up. Now we are working in that range between the more and the less saturated parts of the image, I reset. And you have just learned how to use the hue saturation curves in Premier proc. Now save the project and I'll see you in the next video where we're gonna see how to match the clips with the color wheels. 97. S.15_07: Matching clips with the Color Wheels & Match: And yes, we are still in the project as 15 lecture. And in this video we're going to see how to match the clips in terms of colors and white balance with the color wheels. We are still in the volumetric colour panel. We check the curves in the previous lecture. Now because the menu and we go to colour wheels and match, and we open the sub menu up. Okay, new settings. First of all, I would like you to click on the comparison view button right there and see what happens. Our program panel will be split into two. And let's take the luminary Scopes down. Because otherwise we can't really see what's going on there. And also my timeline down. That's not going to change anything. What happened here? So on the left-hand side, this is a reference monitor. Basically we can select any frame, any part of the video to keep as a reference. And on the right-hand side, we actually have our video that we can play through this timeline or through the original timeline in the Timeline panel. This is a very useful way, again to match different clips. We will always have on the left-hand side, our reference clip. And on the right-hand side we can scroll through the timeline and match color, the tones, the exposure, everything with the reference clip, you can choose a particular frame of your video here in the reference monitor by scrolling through with a scroll bar, you just take this fader and go up and down and search for the clip you want to keep as a reference. And I want to keep as a reference our first B-roll clip, if you go to more or less 1121, as you can see, there's a time code here to that's the clip we want to use for matching all the other clips in the sequence. Here on top of the timeline, we have different views, so we can split the screen in different ways. Now we have a side-by-side comparison. We can split the screen, and this is a vertical split. And then we have the horizontals split. That works this way. So it will split the screen horizontally. But I like the side-by-side for now because I want to see the whole image. Let's go back to the volumetric color panel. In color match, we will also see an option that says face detection. So if you have a face in the reference clip, when you apply the match, Premiere will try to match the color of the face, their skin color, which is very important in color grading. But in this case we don't see any phase because we have the athlete with a helmet. So I'm gonna antique that for now. And I want you to go on the timeline on the B-roll. Number two, we will be here when these when we have this motorbike coming. Now what we have to do is to match these image with the reference clip. I think it's better to actually adjust first the exposure and all the tones settings of the bureau number two. So let's close the comparison view. And by the way, you can select the comparison view also in the program panels. So let's close it from year. Let's go in the program panel, right-click on it. And then we can go down to display mode. As you can see there, there is a comparison viewed option. We're gonna click on that. And we're going back to our normal panel program panel. So let's go to the basic correction menu in the geometric color. We're going to take the vector scope and the wave forms. And we're going to adjust this image at the moment. The image is quite bright By can try with exposure, bring it up a bit. Also the contrast. I want to spread that contrast up. And definitely I need more shadows. Saw a taste all the shadows down to minus 80. And also I need more black. And there it is. So I definitely have more contrast. And now you can work on the curves. Now that you know what they are, we can go in the RGB curves and maybe give it a bit more brightness at the top with a one-up, burst it. And I think tiny bit of black in the shadows. A tiny bit. Great. Now we could also try to do the white balance of this image. And in this case, I want my comparison monitor back. So let's go back to color. We're some match comprising view. We are still on clip number one, be row number one in the reference monitor. You can try if you want the auto white balance, which was in the basic correction menu. We take the eye drop here in the white balance sub-menu and go on a part of the motorbike, which is white right here in the front. And that looks more or less right? It's probably a bit too yellow. So I'm gonna change the temperature of the clip down towards the blue a tiny bit, maybe around free. That looks kind of why to my eye. And it kind of matches actually with the other clip. So I'm happy with that. Let's go back to the color wheels and match menu. Because we haven't checked these wheels yet. That's why the menu's called Wheels and match. So these wheels represent the shadows, the mid tones, and the highlights. And we can give a different tint to any of the specific part of the image. So the shadows than mid tones and the highlights, and just try in this case, it's pretty well balanced in terms of whites. So I don't think we need to change anything. But if you want to go in any of the wheels and you just click somewhere here in the wheel. And basically you're adding color to the shed is now a different color. As you can see, I clicked on the red and I did read to all the shadows of the image to go back and reset you double-click on it. If I want to change the mid tones, the tint of the mid tones, maybe towards the yellow. There it is. I just click on the yellow here in the wheel and my image will change accordingly. I reset and saying for the highlights. And maybe we can try to give a bit more blue to the highlights here. So I go still close to the center of the wheel, but I give it a tiny bit of blue. And that actually I think the Sky actually matches better in this way because we are working on the brightest side of the image. It's time to save the project. And are we see very soon in the next video where we'll explore the HSL secondary colors, hue, saturation, and luminance. 98. S.15_08: HSL Secondary: Hello, how's it going with the color correction and color grading? I hope everything is actually quite clear. If it's not, please go to a Q and a section of the course on the website and Lemmy Laminar, there were still in the project as 15 lecture, we're going to close the color wheels and match menu in the symmetric collar panel. And we're going to explore the HSL secondary colour panel. The h stands for you, as for saturation and L for luminance. And as you can see, we can find them down here as well on these settings. So with the secondary color, basically we can select a specific color and work on it even better. Even more precisely, you will see the eye drop icons as always, I want you to go to clip on the timeline bureau number six, which is the one of the motor bike from the back jumping up. And I want to show you how this works. If you select the eye drop and select the blue of the sky somewhere here on the left-hand side of the image. You might have selected a different color from mine actually occurs, the pixels changing so by something must have happened here on your controls more or less like mine. Now for each of these categories, HSL, you will see a line. The first line represents the colors they use. And we will have two triangles on the top and bottom of the settings. So the top triangle expands the range of the color that you want to select to apply your new effect too. And as I move the top triangle to the left and right, you can see in the program panel that I'm expanding that range, some from the region of blue. I want you to add more of the blue, they're nearby blues. And by dragging my triangle to the right, I'm going to increase differentiates of blue. Now the bottom triangle gives a fade to this selection, to this range like have we seen in the curve's more or less. So if I click on the bottom triangle and take it to the right, I'm going to expand that fade. So it would be more gentle on the pixels. So what you're seeing in the program panel at the moment means that you're just selecting the blue of the sky of the image. If I release, my image will go back to normal. If we go down here, you will see this box named colour gray. That's how you visualize the changes you're applying to your clip. We can change it to call or black. And now you will understand if you drag one of your triangles up and down, that's basically what we're referring to. I'm now seeing my color, stealing the original color by everything else, which doesn't include that color will be black. It is just a way to visualize our selection. There's another one, white and black. And if you change the controls, now, you will just see black and white. But I actually want to see my color. So I usually use one of the top two color black or colored gray, whatever you choose. If we go down to saturation, of course, we're going to select more or less saturation of that color. And it works exactly as the previous one. If I decrease the saturation, look at that. And now I'm going to select less of that blue, so the least saturated blue. But I want to include all of, all of it, so I'm going more or less there. And also we can work on the illuminance on the brightness of that specific blue. If I expand this section, I'm going to include more brightness and darkness. So I'm going to select a wider range of brightness. But if I narrow it down, I'm just going to select the brightest parts of the image where I have my blue. And that's what I want are the 12. I don't wanna go too narrow. Otherwise, I'm going to create a pixels effect we saw before. So find the range, and that's pretty good for me. My blue is selected, my sky is selected now to change the color of the sky to a different color when you want to scroll down here. And you will see a big wheel. And he actually says correction. So now that we have selected our color, we can correct it and change it to another color and we can change its temperature that team the contrast and different other settings. And here in the big wheels, you can give a different tint to it. Let's say I want a yellow tint to my sky. Now, I'm going to click here in the wheel towards the yellows. And as you can see, Premiere is adding yellow pigments to the sky. If you go to the left-hand side, you have the scroll bar up and down, which means you're going to in intensify that yellow. Or if you take it down, you're gonna blend it with the original image. Here we go. To reset. You can double-click on either the scroll bar or that we'll also, you can change the temperature of the sky now by dragging this wheel up and down, we can make the sky more orange if it's, you know, if you want to give the sunset mood and also a new tint, I'm going to reset everything. So double-clicking here on the wheels, on the faders. And also I'm going to reset my selection right here on this button. Keep these settings in mind, the HSL secondary colors because you will need them in the exercise. Now save the project. And I'll see you in the next video. 99. S.15_09: Adjustment layers & LUT: Or I'm sure you're gonna love this lecture. It's very creative. We're going to see how to use adjustment layers, how to create lots, and also how to add a vignette to our video. Let's get into premier Prof. We are still in project as 15 lecture and we are still in telemetric colour panel. So the second from the top, open that up. And this is going to be fun. Let's go to the program panel, right-click on it, and let's get rid of the display mode comparison view. So go to display mode, compares a view, comparison View, click on it. And we have a big screen now. Great. And also a bit of the scopes right there. I'm also going to delete the effects panel from now. Okay, so what do we have in the creative menu here in the geometric color panel, I would say this is kind of the final stage of the color correction where we're actually adding a colour grade a lot, a final layer to our video and check this out. If we go down to look, you have a menu. You can open up with this arrow on the right hand side. And you have a list of presets. You can actually visualize those presets in this screen right there. You have two arrows, as you can see, one left, one right. If you click on the arrow, you can actually preview the look of your new video. And to apply a look to your video, you just need to click on it now right there, or you can click on it here in the list. If you don't click, you can keep scrolling with the arrows and check the different ones. So this is a preview of how your video will appear when you apply the look. You can check them out. Before we add any look, I want to go through the adjustment layers. Let's increase the size of the project panel. Now. We really need that one and also less decrease. Let's adjust our timeline. As I mentioned, the grading, the lot, the look of the clips. This is the final stage of the color grading and color correction process. So we need to pretend that we have already matched all the white balance of the clips on the timeline. We need to pretend that all our clips in the timeline have derived white balance, the right tones, and so on. But of course we know we have only worked on a few of them, actually four of them. So we're going to see how the lots work on the first four clips. As I mentioned, let's create an adjustment layer. I want you to go to File New. And there is a title called adjustment layer. As you can see, it's great doubt. And that's the first step. When you want to create an adjustment layer, you have to be in the project panel. So you need to have your project panel active. So we need to do so. Let's select the project panel. Okay, let's go back to File New. And now we can select adjustment layer. So click on it. And we have, of course, we can choose the size of our frame, which is fine. And we have a new item in the project panel now, which we are gone to drug somewhere. We can create a new folder and we call it, we can call it great. And I'm dragging the adjustment layer in the great folder. I can also rename my adjustment layer. I can call it great. And what we do now will take the grade and we'll we're going to add it on a new truck, and we're going to create a new truck V4, on top of all the others. You can extend the clip. Now we have, we have a default duration of five seconds, like any other still image, but we can extend it by dragging it to the end of the video and try to do so. So just take your, just Malaya and take it to the end of the video. And now we can add a lot on top of all the clips. Of course, you need to select your adjustment layer item. Go back to the creative year in the geometric color. And you can scroll through lattes and you have already a preview of our your video will look while look at those. So when I click on it, now I have applied the specific lot to my video. If you go to the volumetric color and click on another one. For example, this one, Kodak 5-2, R5, and I click on it again, my previous lab will be replaced. But when you apply a lot, even on an adjustment layer, you need to remember that you have already collar correctly your clip, your individual clip. And this slot will be applied on top of your correction. So let's say I'm going to clip number the row number two and a good two basic correction. And I'm going to change the temperature. My clip will still change. So you need to make sure you remember that because if you have created a really quite extreme basic correction, your lat will not appear as it actually appears here in the nanometre panel. So I'm gonna do my actions and I got to the Adjustment layer and I can change the intensity of my lattes, which means r. I can blend the lot with my original clip. And you can do so by scrolling the fader up and down. And you can reset it by double-clicking on it. Also, you can go back to the default image by going in the list and select none. So now we don't have any lacked applied down here in the adjustments controls. You can add some fade effects. Like a vintage, to give a vintage look, basically your shadows will become brighter. You can also sharpen your clip. Again, you don't wanna go too crazy or you're going to create some digital effects you don't really want. Then we have the vibrance. You can pull up and down. And we're going to enhance the vibrance of the colors. And also you have the saturation, which of course is going to saturate. The color is even more, as you can see there. I'm going to reset everything as the original image and you also have another T. And so, as you can see throughout the geometrical or you have different ways to apply the same effect. Bear in mind that the looks are not intended to fix any problems with the color correction. This is literally just the creative approach and it's going to add a particular mood to your video hearing the looks. You will also find some black and white versions. So if you want to create a black and white video, That's where you can find it. Or you can just take the saturation down and work on the exposure, the contrast, and so on. So I want you to go here in look and go and find one called SSL matrix Mars. So you need to scroll down somewhere. And there it is, SL matrix Mars. And I am going to apply this lad by clicking here in the previous video. So now my lot is on the Adjustment Layer. And I can play my sequence from the beginning. And notice that my field towards applied to all the clips. Of course, you can see your original Eclipse by blinding the truck here on the timeline. So what I suggest usually is to do the white balance first and adjust the right exposure and contrast of an image. And then step-by-step, you're gonna work on individual colors. And as the last stage, you're going to add an adjustment layer on top of the old video with a specific lot. Now save the project and I'll see you in the next video. 100. S.15_10: Vignette: This is the very final stage of the color grading and color correction. It's how to add a vignette to our video. Let's do it. We are still on our timeline. And I want you to do a couple of things. First of all, you want to make sure you select the grade layer. So you want to be on the track number V4. You'd want to be on any particular clip because we're going to apply a vignette to our video. First of all, what is a vignette? A vignette is a black fade around the image, the overall image. You can give a different shape to this effect. And we're going to explore in now still in the symmetric colour panel. We also want to make sure we unblind the trucks or we can actually see the effect on our clip. Now we go to the geometric color panel. And if you still have the basic color correction menu open, let's close that up. And let's go to the very last option vignette. You will see different faders. If we pull the first fader down towards the left, we're going to a negative amount. And that's what's gonna give us a black fade. As you can see around the edges now around the corners. If I pull it up, we're going to have a white vignette. I want a black vignette, so I pull it towards a negative amount, somewhere around minus 2.5. The midpoint is literally the center of your vignette. So you can squeeze the vignette towards the center of the image, which means you are going to increase the size of your vignette. Or you can decrease the size of your vignette and just leave the fates around the corners maybe for the roundness. If you go to the left, you're going to create a more squared vignette. And you can actually see that more when you move the feather fader actually. So if we go to the left, we're going to create a more neat and visible vignette. And you can also see now we have a square vignette. So if I put my roundness towards the right, I'm going to create a more round Vignette, as you can see there in my case, I want some feather. And also I want to round vignette, not too centered, so I'm just, I just keep it around corners somewhere like that. And that's literally the last thing I do on a video. Of course, if I want to add a vignette, Now let's go back to the timeline and we're gone. Blind this track again, the grade, because during the exercise you will have to match the other clips first in terms of white balancing, then you can make this truck visible again and work on your look on the lat. And that's how you apply a vignette to the video. Now you can really close, well, first, safe, and then close the project because I will see you in the exercise. 101. S.15_11: Exercise description: Section 15, exercise time. Okay, this is gonna be fun. I love color grading for this exercise. I don't want you to create a new project, but I want you to open the S 15 Lecture project and save it as a new project for us Section 15 exercise, because the purpose of this exercise is to finish our previous aid. It's the one we started in lecture 15. I show you quickly here we are still in our edit. We have more or less worked on four different clips, the very first four. So two, a role clips and to B-roll. Of course, there's more work to do in terms of saturation, exposure, white balancing, and so on. What I want you to do is to do whatever we have done in the lecture. So double-checking all the different settings in the geometric color panel. Make sure you double-check your vector scope and the wave forms to make sure the exposure and the white violence are perfect more or less. And then I want you to finish matching all the rest of the clips on the timeline. Again, you can play with the auto match or you can do manually whatever. But I want you to really focus on the white balance. So make sure the white is white for each clip. And also make sure they match. Again in terms of contrast, black and white, highlights and shadows. You can work with the saturation if you want your video to be more saturated or less saturated, I want you to play with the curves, is that helps you to achieve your look. And also you will have to play with the color wheels and the secondary colors, in particular, in specific clips, because sometimes the color of the sky is different from each clip. So that's when you want to work with the secondary colours. And then as the final stage, which we have seen in the lecture, we have already created a look, a final lacked that we'd put on top of the old video. You can change a lot or you can use the one we have already applied. But bear in mind that when you apply a lot, you might need to make other adjustments, again to your clips individually. Once you're happy with the grade, make sure you double check everything again, and make sure your clips match before saving and closing the project, go back to your progressions folder and double-check the evolution of your video. I'm sure you will create something great and I'll see you in the exercise review. 102. S.15_11: Exercise review: Alright, exercise review for Section 15, the color correction and grading. So we had to open our S 15 Lecture project and carry on from there. So this my project, I'm gonna save it. We had to save it for the exercise project, some going back in my structure folder, exercise as 15 exercise. And I create my API project. I never get this right. And I changed the name of my project in as 15. Exercise. Great, it's all there now what I have to do is to match every clip and my adjust my workspace a bit here causes a, really, it's a mass. Now I can see, and of course I need my reference monitors or right-click in the program panel, go to display mode, comparison view. And now I can see what's happening there. Let's start from the beginning. Okay, we worked on this clips already. I still have a bit of highlights there, but I think it was just overexposed. So I can't do much. Ok, let's work on these clips and then we match the GoPro clips with this. So that was my very first one. We worked on. The second one, I go to the clip number three, B-roll three. And that's quite similar to the first one. So let's see if I can copy and paste the lumen telemetric color from the clip one and paste it into clip three. Let's see if that works. Aha, no bad. I think there's a bit too much highlights. So I can take the highlights down somewhere there. And I think there's some green in the sky. So I might take this down again. Now it's two magenta liquid work, maybe the whites there. And I'm going to add some black and a B shadows. Now I have a nice contrast. So I tried to copy these settings now into this clip, which is their B-roll number four. And once again, I go to clip three, copy and go here and paste telemetric color. Okay, it's definitely too bright, so I might take the exposure of this clip down. And there's a bit of magenta in the sky again, I think is that there's a bit of vignetting going on. That's not too bad, okay? And step-by-step, I'm actually playing the sequence and see if everything works together. We need to work on Alessio now here. And I'm gonna do manually saw. I'm gonna take the exposure up. Actually you know what you can do. We can try to automate the Eclipse. So if I go down in color wheels and tried to apply the match and see how it works. So definitely there's more contrast. It kind of worked out. I still need more exposure. I need to bring this up. This guy, of course, is different color because it was a different time of the day. And let's see if it works with a lot at the end. So for now I just want to work on the tone and the exposure and all that stuff and bit of saturation to. And actually I need to add some saturation. Okay? Then we have the jump. Okay, there's this a tricky one, I think. We need to do some changes here. First of all, I need contrast. So I'm gonna take my shadows down. Okay, that makes sense. And also there's a bit of green in the sky, so might take the temperature down towards the blue hat. But my, my ground now is blue too. So we will have to create some adjustments here with a secondary color. Let me take a new reference clip. I want to see a clip with the soil, with the ground. There it is. So as you can see here, the ground is very orange and here it's blue or green or whatever. So we can make a choice. We can make the ground here towards the orange, and then we can change when B the sky. And I try some adjustments and then work on it step-by-step. I just change some of these settings, just adding some more shadows and black to the image. And now you can see starts to work well apart from the sky. Let's have a look at the secondary color and year and see what we can do. I want to get the orange of the sky and we're going to work in this selection. So I'm going to expand the tiny bit, the Whew. And definitely I need to increase the saturation because I can't see much. Here we go. So we are selecting all the orange of the sky. Okay, in this way, I've got all this guy selected more or less. And I want to change it towards a blue. So I want to give it a, a blue temperature and I'm literally dragging the temperature down. Here we go. I can go to minus 50, minus somewhere, somewhere there. And also I changed the wheel as well. I've got two words, this light blue there, and probably adding a bit of green, a tiny bit of green, something like this. Let's try with the grade. Okay, we need to see all the video together. And that's what you can do. You can blind and unblind your final lot and then play the video and see if they match. If MCP works on all the clips. But see it's not too bad actually. It's getting there. Okay, let's keep going and then we can come back to this clip. Let's carry on. Are we spent too much time on one clip. Okay, here let's see if we can do anything in auto in the basic correction. I got to auto. And that's pretty good. Look at that. So I also want to test the white balance, the auto white balance. So I check anything on the helmet which is white. And it's really good. Actually, I just need some contrast and increase some shadows. Yes, and some blacks. And now I can see these two images are, are quite similar approach I need to add. There's a bit of orange in the sky, so I want to make it a bit more blue and that's, that's better. But I can also work, remember with the curves. If I go to the u versus u curves, I can select this guy and make it more similar to the other image. So that's more green. And I can also increase the fate. And now go to the U versus luma. And again, I select this part of the sky which is a bit brighter and make it darker if I can. Without breaking the image into pieces. That's a rides quite similar. Let's go to the next. And that's very similar to this clip, so I tried to copy it and paste the effect and CP works. Nice. I carry on. And also I'm gonna paste here the same effects. And that works too. I might need to adjust the sky a tiny bit and make it more towards the green. So I changed my u versus u. That's too much somewhere. Somewhere there and may make it darker as it really nice. And I might add some contrast in this particular clip. So wanna go back to basic correction and add some shadows to it. Let's go to the next. Okay, that looks a bit different, specially the sky. So I try auto. I definitely need more shadows as always, be more blacks and saturation. I think there's too much yellow year. So I'm going to change the temperature down and bring it down to yeah, that's it. Just the sky is different and also actually the ground is too yellow there. So let's see if we can do anything with the, with the secondary color. Again, I'm going to select the sky and tried to make it a bit darker and more blue. Oh, where is it? And see if that works somehow. Ok, so I'm changing the blue sea. It's much better now. Let me take the saturation down a little bit. I think that was the best option I try with a grade on. Okay, while I love this, look at it. Let's go to the next clip. I got two basic and I'm going to adjust the shadows and bit of Black. And I play with a lot. That's really nice and really matches. Great. I go to the next and I'm going to add more contrast for sure. And also this is two yellow, so I need a temperature to be a bit colder. Somewhere there. We can try with the auto again in the white. Not doesn't work. Shut us down with black. Okay, let's increase the saturation. And we can see that the ground is different. I think this is more orange a bit. Okay, let's try to work on it with the curves. Let's go back to the curves. I want to select in a hue versus you. I'd say the eye drop and select the ground and see if I can make it more orange. Ah, yes, that's much better now. So I've got the nice white of the birds, but also the orange is matching with the previous clip. And I'm going to test it with a great nice yeah, I'm happy with that one and go to the next. And then we have unless you're looking at the camera, badass. And let's try to auto match. So I'll go back to the color wheels and match and apply match and CP works. Wow, he actually very similar. So what I have to do is to adjust the exposure and the contrast. Exposure is good. Make sure you always double check your waveforms, guys. Yes. And I add some shadows, some black. And I might need to change the sky a bit so good towards the blue, again, towards the colder temperature. And and that looks very similar. Wow. Okay, now we only had one clip I was unsure about, which is the jump. What I'm gonna do is I'm actually leaving the grade on now so I can make the final adjustments to each individual clip. Also the GoPro. You can see it's quite similar. Now we can adjust the sky, the color of the sky little bit, and also the ground saw. Let's try with the secondary colors. And I'm going to select the ground. Okay, somewhere there. So now I have my ground but also my face as a tricky one. But let's see if we can do anything. So I want to move it. So there it is. I can just change the temperature now a little bit and it's getting closer. It's really getting closer. I might add some magenta tiny bit. And there it is. This is just a darker image. So what I can do is to actually bring my exposure down a bit. And maybe the shadows and the whites. Okay, it's more similar in terms of the ground. Now the sky changed color. So I go back to my curves, are going to u versus u. With the eye drop, I select the sky and I tried to give it a more, a greener look. It's not changing very much on my need to expand the range. That's towards the red eye you regard. So definitely more similar. Like it too, to make sure my second Arab clip matches with a role one. I'm just removing all the effects we applied to the clip number two. So I'm going to remove the geometry color. And I'm going to copy the new ones. Copy and paste Lu metric color. Now the first clip are the same. Ok, that's a bit different still, I might need to add definitely is too dark in terms of shadows. So I need to bring the shadows up and also add some cold temperature. And the magnitude increase the whites and exposure overall. That's much nicer. And now they're matching apart from this guy, which could change or not, but I leave it as it, as it is. That's nice and saturated. Maybe I can take the saturation down actually a tiny bit. Set and change the exposure a little. Ok, that one still needs a bit of change. So here I can work on the saturation may be actually so the ground is more similar. I'm still not happy with the sky. I'm, I need to go to the secondary color once more. Go towards the green a bit. And I need to keep playing here in the secondary because it's not working very well yet. So I don't want to go too crazy. Alright, that's not too bad, right? I'm gonna decide to rate it a little bit. And I think that's as close as I can get with this particular clip which was actually filmed against the sun. So it's the only clip against the sun and that's going to make your your color grading a bit trickier. But overall, everything kind of matches now. And it looks great. So what I have to do is to go back to my progression folders and see the difference from the original video to what we have achieved with the color grading and color correction section. Well done. I will see you in the next one. Take a rest and be ready for the next section. 103. S.16_01: Project setup & Preparing the sequence for the export: Hello and welcome to your section number 16, where we're gonna see how to export our videos. Finally, this should be the very last stage of the video editing process and the postproduction of your video. Let's get into Premier Pro and let's find out how to do that. Today. I want you to actually open one of our old projects, section or five. So we're gonna go in the structure folder finder and we're going to section off five sequences as of five lecture API project. And we're going to open this file. I chose this project because we already had some sequences with different aspect ratios. And that's where we are going to see as well today we are going to see how to export different aspect ratios sequences. You should have three sequences here on your timeline. We're gonna work for now with the one called SO five lecture 2516 by 9. First of all, we're gonna resave this project as Section 16. So press Shift comment.'s to save as a new project. And we're gonna go in section 16 folder as 16 lecture. And we're going to create an API project folder. And we're going to save our project in there. Of course, we need to rename the project. We're going to call it as 16 lecture. And we are inside Premiere prompt before I show you how to export your video. The big TPP I'm giving you today is to double, triple check your video before you export it. So many times, I have rendered my file uploaded on YouTube and then realize some big mistakes may be missing subtitles or my frames were not in the right position, or there were some black frames in the video and had to delete my phi from YouTube and start from scratch. So adjusting the video, re-export in the file, re uploading it on YouTube. And that's very time-consuming. So I would advise you to check your v2 before your exported. Now you've done that and now you can render your file. And how do we do it? I'm going to show you three different ways. As always, we've got different ways. And first of all, I want to go on the timeline and show you a couple of things there. Let's expand this sequence. If you want to export only a section of your video, then you can do so on your timeline by adding an in and an out mark. So let's go off, for example, at time caught five or somewhere there. And we're going to press on the keyboard to create any mark. Then we're going to move our cursor, the selection tool. And the play had to be a further down the timeline. And we're gonna press o to create announced mark. Now we've just created a section of our video. As you can see here. This is this gray area. This is a section we just selected on the timeline. If we now launch the command to export the file Premiere will export only this section of our video. If you want to render out the whole file, then you can either go at the beginning of your sequence and create the in Mark, then go at the end. And if you create an out mark right at the end of your video, you will notice here in the program panel, it's a black frame. This is a black frame. So if you press o now to create an out mark any render out your file, your final video, we'll have a black frame at the end. So if you want to export your video with the in-and-out mark, you want to go at the end of your timeline, at the end of your video, and go back one frame. So with your arrow, with your left arrow key, you want to go back one frame literally until you see the picture again in the program monitor, and then you press o again. And if you have a look at the time code, usually you will end up not with a neat number. So before it was 25, let me give you an example. That was 25 exactly. If we go back one frame, our video, our time code will end with the last frame. Based on the frame rate we have saw 24 seconds and 24 frames. So always remember that to go back one frame if you choose this option, if you don't want to add any Marquis in or out, or if you have already some section selected in your timeline, you can clear the marks by going here on the timeline. You can see where you've got the numbers up here. You want to click in this area, right-click in the, in this area, and go to clear in and out and look at that hour marks are gone. And whatever way you're exporting your file, your video will be perfect. So it will end normally without any black frames. Now let's actually see how to export it. Let's clear out all the marks that go in the timeline if you have any. And I show you one way you can export the sequence from the timeline. So make sure you are there. And then we can go and file and down to Export Media. And as Premier suggests, every time we have a shortcut command M, so we already have two ways here to export our video from the drop-down menu or with the shortcut command M. Let's try to press comment M. Here in the timeline. We have this nice menu which we are going to check in the next section. So for now, press Esc and we're going to delete that. And the last way to export a video is actually from the project panel. We wanna select the sequence we want to render out. In this case, the third one here in the list. As of five lecture 25 seconds, 16 by nine, you need to click on it, saw selected. And then once again, you can either go to file and export or comment or press comment M. And we're gonna do that again. So let's do common dam. And we are back in our settings menu. So you can now press ask once more. Press also comment as to save your project. You can close it or keep it open because we are going to work on it in the next lecture where we're gonna see how to export high-quality videos with some of the presets we can find in Premier Pro. 104. S.16_02: Using export presets: Hello, good to see you again. We are still in the project S 16 lecture. And in this video we're going to see how to export videos with some presets we can find in Premier Pro. And I just noticed we probably want to change the names of our sequences in the project. So let's get into Premiere Pro. As I mentioned, we still have the sequences called S or five lecture. So we might want to change the name of them so we don't get confused into S 16. So we just click on them and we just change the name. All right, just in case we still keep the names of the items as they are. We can close this actually so they don't bother. Here we go. We keep our sequences and our editor open in the project panel. Let's find out how to export high-quality videos for social media online platforms, but also for professional works. If you wanted to. We're going to select our sequence S 16, lecture 25 seconds, 16 by nine from the project panel. And we're going to press comment on our sequence to open the settings menu. Now what is this thing? So you will notice on the left-hand side as screen, this is a monitor where you can preview the video before exporting it. At the bottom of it, there's a timeline and here as well, you can add an in and an out Mark if you want to do so. And if you forgot to do and the timeline, for example, you can just click on these triangles and scroll, scroll it up and down, and you can notice your timecard, they're changing. So you're basically changing now the ending of your video. But of course we don't want to, so we go back to 25 seconds. But as you can see actually here in the time code, we can export in 24 seconds and 24 frames, as I mentioned in the previous lecture, this is nothing else we can really check here in the monitor. You can change, you can zoom in into your image if you want to double-check things. Let's get to the right-hand side of the panel. This is the important stuff and we will see this title called export settings. Now to make it very easy, we could just click on the first title here, match sequence settings. If we click on that, automatically, our export will have the same settings of our sequence. Super easy. But we don't really have an option to choose the codec or the format we want to export our video with. And as you can see here, the default one is mpeg. And I haven't used Ampex since probably 2009, so definitely, I'm not, I don't want to use the mpeg. So we're going to antic this. And we got to format. Format is basically the type of CODEC we are using to export our video. And actually the one we want is H.264. But you can open this list with the arrow here, and you can see different options. There are some more professional formats. H.264 is very good for all the social platforms. It's a very light Codec, but also very good quality, and that's why it's commonly used. Not just for, not just for social media, but also for professional work. Let's close this list and we can go in press set. And that's where we're going to have a look at. So let's open the list, different things. Luckily, premier created some templates for us already, for YouTube, for example, or via email. If you have a Vimeo account and you can scroll down towards the end of the list. And you will see YouTube ten ATP, full HD. And that actually can match the settings of our sequence of our video. You can find 4K templates, smaller resolutions as well, and so on. So let's click on YouTube ten ATP, full HD. And to be honest, right now, we could be ready to export our reader without touching anything else. So it's as simple as that. We can double-check something before clicking the button export. So let's go in the output name here. We can change the name of our video, of our export and we can do so. So click on the blue name and you can browse where to save the video, the experts. So we're gonna go in section 16, exporting as 16 lecture. And here we create a new folder and recall it exports or whatever you want. Sometimes I call it for web or renderings, whatever you like. But exports is a good name. I create a folder. And here in the name, I'm going to add YouTube at the end. So I will know that this file was made for YouTube. I save it. Important here is to double-check this two boxes, Export Video and export audio. Few antique any of them. For example, the video now will export only the audio of their video. So don't wanna do that. And the opposite happens with the next box. If you antic that, you will export the video, let's activate it again. And here you will have a summary with all the different settings. But we're going to check all these in depth in the next lecture. So for now we just go at the end here of our panel and we can click on export. So let's do that. Let's export our first video. Ready, let's go. This process might take from a few minutes to a few hours as well, depending on the size of your project and the length of your video. But that's quite quick. We are done. And let's go and check our video. Actually, you will not find your video now in Premier, you need to go and find their own wherever you saved it to actually check it. So let's go in Finder. We go to section 16 exporting as 16 lecture exports. And there it is, that's my file. So you can check it out if they're looking for history. And that's ready to be applauded anywhere you want to, or you can send it to a client for approval. Now save the project. You can close it if you're tired or keep it open because we will need it in the next lecture where we're gonna see how to export the files manually and now to create presets as well. 105. S.16_03: Creating and saving your export presets: Zhao, Hawaii, I hope everything is going well. And once again, if there's something you want to ask about the course about Premier Pro, please go to the Q and a section rested in our project as 16 lecture. And in this particular video, we're going to learn how to adjust the settings manually, the exporting settings manually. And also we're going to learn how to create and save and export preset. We're are still on the timeline with the sequence as 16 lecture 25 seconds, 16 by nine. I want you to click on the timeline and press comment M to explore more, this panel, the exporting panel. This time we're going to learn, as I mentioned, how to change the settings manually. For example, if you need a particular codec from a client or if you just want be more quality to your video, we're going to learn how to do that. Let's go here to the export, the settings menu that you can actually close so you can open it and close it. And we can keep the format H.264. This is the basic course. We're gonna check more exporting settings in the intermediate and advanced scores for actually a professional videos. But once again, all these settings I'm giving you are very good for online platforms and also steal for professional work. So don't get me wrong. I'm still teaching your good stuff. So let's go to Format H.264. We keep it as it is in pre-set now we want to go to customer. So if you open up the list here, if you didn't see a Custom option at the very beginning, I would suggest the god down to again, YouTube 1080 P, full HD. Click on that. And then as soon as you touch any of the other settings, you will create a Custom Preset. So let's go to these boxes, Export, Video and ticket. And here we go. We have already created a Custom Preset. So we want to go back to the export video box and ticket again. So we have the video selected. Great. Now we are on the same page. Once more, we can change the name of the file and we can click on it. And we're gonna change it to custom this time. For example, let's just, just for reference, we save it. Perfect. And now we can check the summary again. And here, very, very important. The big tip of this video is to usually match the frame rate. So the big, big tip of this video is that you want to match the frame rate of your export with the frame rate you have used in your sequence. So hopefully you have worked with one type of footage on your, on your edit with the same frame rate. In our case, it was 25 frames per second. As you can see, it's right at 25 frames per second. Any output. These are the settings of your final video. If you go down to source, these are the settings of the sequence. You can double check. You have 25 frames per second on your sequence, but also there will be 25 frames per second in your export. So that's great, and that's what I recommend. Always keep the same frame rate throughout the whole project when you're filming, when you're editing, and when you are exporting more of this stuff. Also in my filmmaking course, you should do the same with the resolution. So if you're filled something in full HD, Make sure you edited in full HD and you render it out in full HD. Let's go down to the sub menus. You will see these titles, effects, video, audio, and so on. Okay, we're going to work on the video for now. If you go to basic video settings, you will see this button called Match Source. If you click on it. Once again, Premiere will match the export settings to our sequence settings in terms of resolution and frame rate. And you can double-check here, 1920 pixels by 28025 frames per second grade. That's untick the resolution box. Now we can customize also the frame of our export. If you wanted to make these videos molar as well, you can do it from here. We can keep this scale, the proportional scale on the proportion icon. Basically, if you have it's selected, whatever changes make to one of these values, the other value will change accordingly in relation to the first one. But if ticket, you will have a bar now on the icon, it means we are free to change the values as we want to. And now if we want, let's say we want a file which is HD instead of full HD, we can type 1200 NAT and press OK. And the second value we change proportionally, and that's a perfect HD file now. So let's keep it HD Actually, just to understand how it works. Then we want to scroll down. We can check the frame rate 25, perfect. And we want to click in this box render at maximum depth, which is going to add more quality to the video. We'll keep scrolling down and coding settings. We don't care about that. It's all good. We keep scrolling down until, until we reach bitrate settings. That's quite important if you want to export your file manually. What is this? Ebit is basically the unit of measurements for the quality of your video. In a few words. The higher the bit rate, the better the quality of your final products. There is a list of different bitrate encoding. So if you open up this list, you will see three different ones, CBR, VBR One Pass, and VBR to pass. So CBR stands for constant bit rate, which means the Premiere will give a constant bit rate throughout the whole video without carrying about whatever happens in the video. And we are going to understand more. Libya is variable bit rate one pass, which means that while export in the file. Premiere will check the actual video. It will check all the frames one by one, all the different shots, and try to understand where your video needs more quality automatically. And it does this as he renders out your file. So at the same time, VBR to pass means Premiere will check again every different scene and tried to assign the best quality to each shot. But it will scan the video once and then it will go back and assign the right quality to each shot. Of course, it can take longer time to 34 times longer than VBR one pass. So it's just a matter of time to be honest, I usually choose VBR One Pass cozy for YouTube, it's more than enough, so I'll leave it there. But if you add to the lever maybe a file for a client that you might try VBR two passes, which is a bit better quality. We're going to leave it on VBR one pass. And you will see also the target bit rate. So this is the bit rate we want to assign to our video. And as I mentioned, the higher the bit rate, the better quality, but also the bigger your file. And have a look at this 16 bit rate is actually suggested by YouTube for uploading videos. So it's perfect for what we want for the social media. But again, if you want to upgrade our video, you can increase the size of this bit rate and you can just crawl the fader up and down. But also as you do, have a look at this estimated file size here at the bottom of the panel. So let's scroll it up to the, to the maximum, our size increased drastically. So if you have a one hour video and you push that betrayed to 50, while your video is going to be a lot of gigabytes. And that's all up to you. It's all up the job. And you can change the bit rate for each video. So it just comes with experience and with your needs. But let's leave it to 16 for now. But that's how you change your bitrate if you wanted to. We scroll down and that sit in this menu. We wanna go down to the very last area of the panel and we wanna click on Use maximum render quality. With this button, we're going to add the maximum quality to the video, and that's really it. That's how you customize your settings for rendering. So we're going to export this file to just click on export. And you can see the rendering is much slower than before because we added more quality to it and premier needs more time to process it. Now that our file has been exported, let's draw the timeline and press comment m once more because I'm going to show you how to save the settings we applied as a preset. So if the next time you want to create a video with exactly the same settings, you can do it with one click. Let go here in preset and the voice preset. And you will see this icon with an arrow facing down. When you hover your mouse, you will read Save Preset. We click on that and we're going to name it with your name, marmot underscore. Hd, HD video. We click OK. And the preset has been saved. We're gonna close this window and check it in a second. Saw press Esc to get out of the window. We press common them once more to get into the settings panel. And we go this time to preset. We open the list and one of the first names here should be your new preset. So there it is, mammal HD video. So next time you just click on that and you'll be ready to press on the Export button. Boom, done. Now I'm gonna exit here. I actually press cancel this time. And that's how you create manual settings, export settings for your videos. You can save the project and keep it open because we will still need it from how strange in the next lecture. See you there. 106. S.16_04: Exporting in batch with Media Encoder: Hello, here we are in our project as 16 lecture. In this particular episode, we're going to see how to save different sequences in a batch and also to save different clips all together. So let's get into Premier Pro and let's get started. Okay, now that we know how to export a file or a sequence, let's see how to export different sequences together just to save some time. We got to the project panel and we have three sequences in different aspect ratios. We want to select all of them. We click on the first hold, shift on the keyboard and select the last one to select a list of sequences. Now we're going to press comment M as a shortcut. And we're going to open the export settings panel. From here. We cannot change every individual settings as we did before, but we can do it in the next step. Still, we can go to explore settings at the very top, and we can choose the format. Saw, this new format would be applied to all the sequences selected. We still want to choose H.264. So that's great and impressed that we still want to match the source. So every setting would be matching our sequences settings. This is just a double check in video, in the video section, once again, you can click on Match Source just to make sure the resolution frame rate and everything is the same as your sequence. And then we just go down and click on Q. Now this process can be done, I think, only if you have Media Encoder, Adobe Media and quarter, which is another software that can help us to render out or transcode different files. So we're gonna click on the button queue. As you can see, median Coyer is opening up and it could take a few seconds before we can start the process. Okay, getting there, you see the first file appearing and all the others one by one. So from here, once again, we could change the settings of our video. You will see the name of your sequence. So we've got the three sequences, one by 191616 by nine, the aspect ratios. We can still change the settings from this panel if we wanted to. So we go to next to H.264. There's an arrow that will open up our cardiac, our containers list. And once again, you can go in, change the format. You can go to the next one preset, under preset, and choose the template that preset you want to apply to your sequence, exactly as we've done in our previous lecture. And then you can choose the name and the folder where you want to save your video. And I'm not gonna do that yet. We don't need to export any fire. If you want to change the format or the preset of all the sequences, you can select them all in this panel as we did before with shift, holding Shift. And then you can go on any of the settings. For example, in pre-set, let's click on the first one. And we have a warning bore. Saying you are about to edit decoding settings for multiple outputs. If you want to change the settings, these will be applied to all the files you selected. And we click OK. And this is exactly the same export settings panel we found in premiere in the previous lecture. So you just need to go through your settings, change whatever you want to change. For example, let's say we don't want the audio. I'm gonna antique on the audio. Click OK. And now all these sequences will be exported without audio. And you can see the preset changing to custom. You can also double check. You just click on the third one for example. And you will see that the audio as not been ticked, saw perfect, it worked out. We are going to cancel and you can actually undo your action. The action we just took two, untick the audio by pressing common zed. Like in any other software, you just go back one step. And now our sequences have the preview settings. Now to send these files to the actual expert, we wanna go to the top right corner where you have this Play button, start cubed. It's a green play button. And you want to click on that. And I'm gonna do it and then canceling straight away. Just to show you what it does. You can do it in your machine and the prosody restart, and you will have this rendering bar with a percentage of their rendering. And of course, if you want to stop it, you can click on this button, the Stop button, the red. And that's it. If you wanted to pause it. So I'm going to restart it. You can pause it with the pause button. And in this case you, you'd be able to restart the process from this point onward. But with the Stop button, you are just stopping the process completely for that sequence. If you have changed your mind and you want to delete some of these exports, you can just click on it and press the backspace or delete, and you're going to delete it from the panel. Once the process is done, you can just close Media Encoder from the top menu or just with these acts, the red X in the panel. And we're going to close it. And coding is in progress that you really want to quit? Yes, I wanted to quit. What is the big advantage of having Media Encoder? Where basically when you export a file from Premier directly, you are not able to work with the software until the process as finished by if you send your 5s2 Media Encoder, that's a completely different software so you can keep working in Premier Pro. As I mentioned before, a rendering could take hours as well. So you don't want to have Premier Pro pose for a few hours not being able to work on any other project. But if you send your 5s2 median corner, then you can keep working on the actual project. You can export also a batch of clips, not just sequences. For example, that's what I'm doing with your exercises. I'm editing old videos I had, and I'm just exporting individual clips in a batch for your exercise. And let's try to do that quickly. Let's go to the timeline, the 16 by nine sequence. And we're going to go at the beginning of the timeline and recreate any mark. And then we got at the end of the first clip. And you need to go back one frame, remember as well to have the correct duration. And we press the o for the out mark. In this way. Remember also we are exporting the audio of this section. So we're going to mute their songs. And that the trucks, whatever we have done there. And we only want to keep the speaking part. So always remember that when you export individual clips, you, you really want to export just what's related to that specific clip. Now I'm going to press common m from the timeline. Even for the clip, I'm going to choose the H.264 formats and going to YouTube. Full HD, ten ATP, full HD. I'm going to save it. What I want to save it, of course, I'm gonna do it quickly, are going section 16, lecture exports. And then I'm going to call this instead of 16 by nine clip or one, like I do with your exercises. And I choose Save. And I'm going to send it to q sum, sending the first clip to queue, and it's going to open it in Media Encoder. Now I can either press place or start the render, or I can go back to Premier Pro and select the second clip. So I go at the beginning of the second clip, press ie, at the end of the second clip and go back one frame. And now press o. And I selected the second section, a second clip. And I do exactly the same, press common them. And I'm gonna check the settings and send this clip to Q. And you'll see the new clip being added to the list right there to the cube. Now you can press expert and you can keep sending files from Premier Pro. And once again, that's are you explore different sequences or different clips in a batch in Premier Pro. Save the project and keep it for the next lecture. 107. S.16_05: Exporting videos for social media in different aspect ratios: Have you ever wondered how to export videos for your social media with different aspect ratios for Facebook, Instagram, and whatever. That's where we are going to learn in this section with the project as 16 lecture. Very similar to the process we've seen in the previous lecture. In here, we're going to see how to export different sequences with different aspect ratios for our social media. First of all, you want to know the specs of the uploads for each individual social media. And I would recommend to go actually online to the individual websites. And usually they supply you with the right specifications for the videos. I show you a couple of examples which I have selected. So for example, I just searched best video format for Instagram. And you can find here the H.264 codec, the one we used. This is the type of audio that's the one we use. And also they tell you the best frame rate for them, the maximum file size, 50 megabytes for example, and so on. Same thing happens even for Instagram TV for example, if you need a different type of video, does the portrayed mode saw in vertical format, they advise you on anything, the size file and so on. So always make sure you check the specification before you export and upload your file. Let's go back to Premier Pro. Now here in the project panel, you can select individual sequence and work on the different settings for each individual sequence. The second option is to select all of them and send them to Media Encoder. But maybe not all of you have Media Encoder. So let's do it one by one from here from PM Premiere Pro. Let's click on the first 11 by one. So first sequence S 16, lecture 25 seconds one by one. And we're going to send it to export, saw a comment m. Now luckily we already have this, the right format, right? That it's a square one by one frame as you can see. So perfect, that's, that's ready to go. I can always double-check here in the summary if everything matches the frame rate resolution and so on. But the important thing for the social media files is down to the beat trait. If you remember. Now you again, you can double-check the video resolution here in this panel. And we scroll down until we see target beat trait. And as Instagram was suggesting, the preferred file size was 15 megabytes. So this is a bit too big for Instagram, for the Instagram feed, and it's quiet, and it's quite a short video so we can lower the quality down a little bit. And you can just scroll with a betrayed fader down until you reach more or less 50 megabytes down here. Also, you need to test your file so you need to render the file and double-check the fires after the rendering. If you notice too many pixels of the quality really is not good enough, then you're gonna increase their target betrayed and exported again. So it's just a matter of practice and experience. So that's one thing to match the specifications of our uploads. But also from this panel, we could also change the aspect ratio of our output. And we're going to find that here still in this sub menu. We want to go back to the resolution of our file. It's the very first option in basic video settings. We're going to antique next to the resolution. And now we are free to change this aspect ratio. So let's say we want to create an Instagram story like a portrayed format. First of all, we need to unlink the proportion of the frame with this icon. And then we can type, for example, in the width 607.5. So we're going to press Enter. And as you can see now we have a vertical like a portrayed image. Of course, we have the letterbox. And to delete the letterbox, we wanna go here just above the, our picture source scaling. We got to scale to fill. And now we are ready to export our file as a new Instagram story, of course, you need to double check that your images are actually centered to the frame. If they are. That's a quick way to export the same file with different aspect ratios. And then you just click on expert. Now we are going to cancel all we've done just by clicking on this button match source. We are still here in the video settings, basic video settings. Click on Match Source. And our format, it's back to square one. And this time we're actually exporting it. So you can change the name if you want, if you want to add will be Instagram or whatever. Usually with a one-to-one. I know that's the Instagram post fire adjusted browse where I want to save it. And we're gonna save it in the export folder we have created before, which is still selected here. So I show you once more. We go back to the structure folder, section 16, lecture exports. And now the name is ready to go. I click save and I click on expert. And my first phi has been exported. Right now. That's done. We're going to go to the second sequence, the nine by 16, the portrait one. Click on it and press comment M. And the same thing again over and over. So I keep the settings or I can change the resolution if I want to, I can change the bitrate. I can make a smaller file. Now, Iran 19 megabytes, and I click on expert. And then we have already exploited the 16 by nine in the previous lecture, so we don't need to do that. And that's basically how you export different aspect ratios for different social media and platforms. You can save the project and keep it because we are going to have another lecture for this section. I will see you there. 108. S.16_06: Exporting and converting Audio: And you just finished a podcast to put on a radio or somewhere. Or maybe you want to convert one of your favorite songs. You can do that in Premier two, and we're going to see that now in this lecture with a project S 16, project open. So if you ever wondered how to convert your favorite song, or maybe literally you have just finished to edit a podcast. Because remember in Premier Pro, you can also just edit the audio if you're just working on a radio project, for example, you can do that without any video, but just working with the audio. So it works exactly in the same way. We can do that in Premier Pro. We can export different audio files. Or for example, if you have a blog, you can export just the audio of that blog for a specific reason. And let's just try to do there. Let's just try to export the audio of our blog. We still have two trucks muted on the timeline, so we're going to unmute them and we're going to clear the in and out mark. And of course you can export sections of the audio. It works exactly in the same way. We right-click here in the timeline and we're going to clear the in and out. We are on the timeline and press common them. And we have the same export settings or nothing is changing here is just a matter of selecting what we want to export. Two ways. One is to antique the Export Video box. And automatically some, some settings will disappear because we are, of course they're not related to our video anymore. Or the second option, which is my favorite, actually I tick the Export Video box. Again. We got to export settings in format. We wanna go down to wave forms or audio. We're basically saying to premiere, I just want the audio of this file. Click on that. Once again, the settings are changing, but also down here, you will notice our video header disappeared completely. So just to make sure you are just exporting the audio, that's what I recommend to do. And then very simple, I just changed the name and browse where I want to save it. So the waveforms audio type, it's that kind of format that gives you the wife abbreviation at the end of your name. So you probably have seen this before. It's a very common audio file or the format, this is the WAV file. But let's say you want to convert your, your song into an MP3 is still here in the format list. We open up the least and we go to MP3. Or if you, or if you want more professional audio, you go to AAC audio. But let's change it into MP3, for example. Let's click on MP3 down here. Now if you go to preset, you have different options. We'd better or lower quality. And that's completely up to you. And we can double-check some, some other things down here in this tab. So you can choose to export in mono or stereo and caudate quality fast or high. It depends again on the quality or on the speed of experts. I can just send it to queue or click on experts. We can try to export it. Actually, it's going to be called 16 lecture 2516 by nine. And let's see if it's still in the same folder. Yes. I click on expert. And now let's check in Finder. Lets check our project still in S 16 expert lecture, experts. And I can see the icon is very different. If they're looking for history, culture, Great. And that's it. That's my audio. Another way, let's go back to Premier Pro. Lets say I want to convert my entire song. We don't have to do it from the timeline, but we're going to project panel into the music folder, open it up, click on the music and press common dam. We have our settings panel and we do exactly the same thing. We choose the format, MP3. Completely fine. Everything is fine. And I just maybe changed the name here. Ma, whatever you can call it S S 16, lecture music this time. Are you with me? Okay, click on save. And I click on Expert. And it's very quick. Usually I go back to find there and check it out. And there it is as 16 lecture music. And my soundtrack as being converted to an mp3. So that's how you export audio in Premier Pro. And now you can actually, well remember to save your project common deaths also don't forget, you have to save your file always as you're working as well. So I know you have your Auto Save setup, but also really make it a habit to press comment on your keyboard every five minutes. Now save the project and close it cause I'm gonna see you in the exercise. 109. S.16_07: Exercise description: So how did you find the section number 16? I hope everything is clear. As always, if it's not, please leave a question in the Q and a section of the website. So what do we need to do for this exercise? First of all, we want to open one of our old projects as 07 exercise. That was about the source and the program monitors. I just opened it in Premier to give you a quick reminder, it was the one for wifi clothing with Sofia doing some balancing. And that's quickly the video I want you to work on. Once again, if you haven't checked my clothing brand yet, you can do so by going to www, not with few.net. And you can support my work even more. And I would appreciate, but jointly jokes apart, the products are very good quality. So if you're into sports or just outdoors, the gear is good. Back to Premier Pro. So what do we need to do for this exercise? In this project, we only had one sequence, S 07, exercise 16 by nine, I want you to save this project as a new project for a section 16 exercise. So save it as a new project in our 16 Section four, of course, then I want you to rename the sequence as, as 16 exercise. And I want you to duplicate it a couple of times. So we will end up with three sequences. You should change the name of them. One, keeping the 16 by nine. Then we're going to create one with a one-by-one aspect ratio and one with a nine by 16 in portrayed format. Once you are duplicated and change the name of the sequences, I want you to adjust the actual aspect ratio of the sequences. And if you don't remember how to do that, go and revise Section S or five above the sequences. That's when we have learned how to change the aspect ratio of the sequences. Once the aspect ratio is being changed, you need to re-center or your clips according to the new aspect ratio to the new frame. When that is done, I want you to go online and search for different specifications for the different applaud for the social media. So we are going to, I want you to export the 16 by nine as a format for YouTube. So go on YouTube and search for upload specifications. Then I want you to explore the one-by-one, like the square format for the Instagram feed. So go and do your research about that. And I want you to explore the portrayed one in nine by 16 as a tick tock video, which I've never done. So that's gonna be fun. Once you're done that explored the three sequences, you can do it one by one if you don't have Media Encoder. But if you do have Media Encoder, then you can export them in a batch. And I want you to say them in a new folder that you need to create and call exports in the section 16 main folder. Once again, before exporting, check your sequences, check the settings, the right resolution, frame rate, and the size of the file. So you can change the size with the bitrate. Just remember that. And then to finish off, I want you to export the soundtrack of the video, the only soundtrack We have in the project as an MP3. So I want you to rename the truck in the project, call it as 16, exercise music and export it as an mp3 in the same exports folder. And only then you can save the project and close it. And I will see you in the exercise review where you can see what I have done. Once again, congratulations cause you're reaching the end of the course and you have really done a great job. 110. S.16_08: Exercise review: Second last exercise of the course. This is the section 16 exercise. And let's get into premier Prof, Actually, we had to open our project as 07 exercise. So that's what I'm gonna do from finder. It's already been selected right here in my structure folder. I double-click on the project and I opened it up in Premier Pro. First of all, I'm gonna change the name of the sequence. That's what, that's what we had to do. And I'm going to name it as 16, exercise 16 by nine. And I'm going to save the project as a new project common shift s. I'm going in as 16 folder exercise. I'm going to create my API project folder. And I'm gonna change the name of the project of course to as 16 exercise. Press OK and we're ready to go. First thing we had to do was to duplicate the sequence we have right there. So I'm gonna close the footage folder for now. And I'm going to duplicate our sequence two times. I'm going to duplicate it once actually for now. And I tell you why. Okay. I'm going to call it one by one. This time. I'm going to double-click on it and I'm gonna change the aspect ratio of the sequence in the sequence settings. I'm going to change the aspect ratio from 1920 to 1000. Nat saw 1080 by 1080, that's a square frame and I'm going to click OK and have a warning board. That's fine. Or I'm gonna check my sequence, which has been changed to a square format. Now I need to recenter all my clips to the new aspect ratio. And I'm just going click my clip literally. And I need to open up actually the effect controls panel. There it is my best friend. And I'm just dragging the position. There isn't a position value and re-center Sophia more or less so create a better frame for this kind of aspect ratio. So that's working for me. I'm going to the second frame that could be actually centered with Sofia ri there. She could be centered DR2. And they're here to just centering all the images. And so the important thing is fear and the brand. Remember, so we're gonna put the brand in the center of the frame. So maybe here I'm going to copy and paste the settings actually for the last two frames because it's the same clip just split into two. So on copying the settings from the first half and pasting. Settings in the second half. And let's see if it works. Yeah, so I can see still the brand in the first and the second clip. Great. Now I wanted to duplicate the sequence only once because in this case we are reframing already our Eclipse. And we can just duplicate this sequence now the one-by-one. And basically we are almost ready to go. If we duplicated the very first sequence twice, we had to do the same process two times so it could save as a bit of time. Now I'm going to duplicate the sequence one by one and changed its name into nine by 16. So this is going to be the portrayed version. I'm going to double-click on it and go to sequence the menu sequence, sequence settings, and change the aspect ratio once again, the right horizontal value to keep the proportion of a 16 by nine, or actually a nine by 16 format. If we have a vertical amount of pixels of 1080, the horizontal amount of pixel would be 607.5. So we're gonna type six or 7.5 and press OK. perfect, that's ready for Instagram stories. We're going to reframe a few of these clips. That very first Center, the second law should be in the center. And this one is to be moved a little bit. That's fine. That's okay. We actually need to recenter a few of them. That's fine with the label. And this one is going to be tricky now so we can keep the brand in frame for the first half and then moves to fear to the left on the second one. The next thing we had to do was to export the three sequences one by one. So I can start with a one-by-one Actually, husband ratio, I select on it and I press common m. I still have my mp3 settings. So this time I'll go down to H.264, Match Source high bitrate. And actually I need to check the Instagram feed. Specifications are just went online. And I found this specification. So we're gonna keep a file at 15 megabytes and everything else is fine. So that's great. Maximum video with is 1080 P, which is exactly what we have right there. So go back to Premier Pro. I check my settings here and make sure the export video and audio boxes are ticked. And that's okay. I can actually use one of their YouTube preset, full HD. Now my frame changed. So I go to video, basic video settings, and I click on Match Source, and I have a one to one aspect ratio. Again. I check my estimated file size, which is 30 megabytes, and I want to bring it down with a bitrate to 50 megabytes as cooled down the fader at around 8.40. And now I can reach a 16 megabyte size, which is great. I'm going to check my name and save it. In the exercise, I'm going to create a new folder called experts and save my first file. In there. Great. Let's go to the sequence number two, which is the nine by 16. So vertical we add to export the file for tick tock. And I found this specification seer. Saw video satisfies 72 megabytes. We can stay lower as well. Video length maximum 15 seconds. That will we have. Perfect. And I said dimensions 1080 by 1920. So let's do that. I'm going to the second sequence, press common them. And as I can see, that's already a good feet. Resolution is fine that they mention is okay, I can increase the beat rate a bit. So I go down and scroll down here in the video tab and bring the bitrate iron this time. Well, you don't wanna go too crazy anyway. So I think around 1615, that's good enough for a tick tock. 29 megabytes. Perfect. I've got 15 seconds of video. I'm just going to click on the name and browse where I want to save it and I'm ready to go. Very easy, everything is already done. I can double-check the former, the preset, the two boxes year exports video and export audio, the summary, everything is fine. I just exported. And then I've got the last one for YouTube. So let's go and see what YouTube says. In YouTube, we need a container MP4. That's what we have learned to do. H.264 video codec, perfect frame rate. Any frame rate on YouTube is fine. Bitrates. So in betrayed, you can double-check different options. For a betray the recommend to stay around 12 megabytes. So that's what we're gonna do. For a full HD. You've got different resolutions and different megabits there. So let's go back into Premiere Pro. Click on the third sequence, 16 by nine, Press common dam and double-check everything again. H.264, Match Source betrayed. I'm actually going and choose this time they are ten ADP full HD preset for YouTube. So it's perfect. I'm just gonna check the resolution 1920 by 1080 and checking the bitrate once again. Vbr one pass if you want to double check the settings to better, more than less. And yes, they recommend to stay around 16128. So I'll give it a push to 16. That's super fine. I'm going to browse where to save it. Name is fine. And I'm going to export it. Now the last thing was to change the name of the track into S 16. Exercise music. And we're going to explore the truck from the project panel by pressing common m. And here I go to export settings in format. I go down to MP3. So my video settings are disappearing. And just double-check a couple of things there. Stair is fine because the music track is a stereotype of audio. And then I'm just selecting where to save it. Once again, exercise music. Save it, and click on expert. I'm going to double-check all my phi's in Finder. If they are there. Section 16, exercise exports. And I've got one by 19 by 164 tick tock, and 16 by nine for YouTube. And then I've got my sound truck right there. Nice. That was it for this exercise. I hope you've done something similar and I hope the review helped once again. Now you can save the project and close it. And I will see you in the next section. 111. S.17_01: Project set up & What are captions?: All my days, section 17, the section of the video editing course. Can you believe it? What am I gonna do without you? Well, you're going to be like because you're not going to see these ugly face again, put, how am I going to spend my days anyway? I'm afraid all the good things come to an end. So last section of our video editing courts for beginners and guess what? You're not a beginner anymore. So let's get into Premier Pro and let's check these captions. This time I've already created my project S 17 lecture. And before we do anything, I want to go in Finder and show you the material we are working on today. You want to go to your structure folder, section 17 captions, section 17 lecture. As you can see, I created my API project folder with my S 17 lecture Project in it. But we want to go to material. We have some footage, it's only one video. And here we go these, in this video, you will find the video and the audio already completely exported. So we don't need to do any video editing for this project, which is cool. We just going to add the subtitles to it. Then we have a captions folder. In here, you will see three different files, which are actually the same file, exactly the same file. It's the script we want to use for our subtitles. I just created three different versions in case you cannot open a specific one and you can open a PDF maybe instead. So I'm going to open the generic text. And there it is. So let's go quickly through this text file. Well, that's the title at the top. Then you will see two time codes by you're going to understand more when we actually adding this otitis in Premier Pro. This is our script which has split into different sentences to make it easier. We have two languages, English and Italian, my original language in case we wanted to translate the video as well. And on top of each sentence we have two time codes. The time in and time out of debt specific caption. So the very first sentence will start at 00 and finish at four seconds or three frames. But let's get back into Premiere Pro. As I mentioned, you are not a beginner anymore. I am expecting you to have created your project already. And don't let me down. Don't let me down. And let's import some material. Double-clicking in that project panel. And I just go in my section 17. Let's do it from scratch. Section 17, captions folder, lecture, material, footage. I import the whole folder and I'm going to create a new beam for the edits. And we're going to create a new sequence. We're going to work with 30 frames per second. And I just drag these into the timeline. And there it is, that's my video. Now into a new sequence. Let's talk about captions, shall we? So why do we use captions? Let's have a look at this video for now. And here we go. These the building guys, you pay 15 shampoos to go to the root of human crop with photo, the wrong. And the city. Let's go. If you come here, then you need to Sunni 15 shackles. They only give you 20 minutes to this day. I'm going to stop it there from second 15 or 16, more or less, we have a lot of wind blowing into the microphone. And unfortunately, sometimes even if you have one of those hurry and fluffy things on your microphone, which is a windscreen. Still, sometimes it's not enough and the wind will be strong. The people cannot hear you talking. So in this case, that's a good use of the subtitles. You can also use captions, for example, to translate a video into another language. And that's why I put two different languages in the script because we might work on that as well. So I'm going to first of all, to move my new sequence in the edit folder. And I guess that's all for this lecture because there's much more in the next ones. So make sure you save the project and I'll see you in the next video. 112. S.17_02: Creating Captions: We are in the project as 17 lecture. Let's carry on with our captions. Let's see how to create and customize the subtitles. And first of all, I want you to customize your workspace. As you can see here, I have this panel called captions. If you don't have one and you shouldn't have one. Good to window and go down to captions. So click on that. I'm just going to close it and do it with you. Let's go to Window captions. And there it is. Awesome gonna drag my source panel here in the program panel to, okay, this is the panel for the captions, but we can't do anything yet because the we didn't create captions items. So let's do that. Let's go to File New and we go down to captions. We have this panel popping up with the, with some of our favorite settings. And first of all, you have a list here of different captions. The default one I think is the first one, CEA Sikhs 08. And I want you to go to the last one, open captions. And that's where we are going to check in this specific course. In the intermediate and advanced, we're going to check the others, but open captions are basically those subtitles that will stay on your video the whole time. If you do closed captions, for example, the viewer can actually switch the captions on and off, but with the open captions, they will stay on the video always. So let's do open captions. You can choose the frame rate, 30 frames per second, and usually premier matches your sequence settings already saw. That's great. You can check the resolution, but that's completely fine. So we press OK and have a look at the project panel. We have a new item. This item behaves like a normal clip, like a video clip. And you can also see there's a film icon exactly like the, the video clips. So let's create a new folder and you been common b, and we call it captions. And also we're going to drag this item in there and we're going to rename it. And I actually keep the captions text, but I'm going to add underscore E and G English. Now when we created this item, you can see more settings appeared in the captions panel, but at this point, the captions are not on the video yet. So we need to drag these item in one of the video tracks. And let's do cell. So let's take the clip captions English, and let's drag it to V2 on the timeline at the beginning, at the very beginning of the timeline. Now when we the play head, I go on top of the clip. Look at your program panel. You will see your video with on top the captions we have we have just created. You will also notice that all the settings in the captions panel that now disappeared because we didn't select captions item on the timeline, but we have actually selected the video. So to modify the subtitles, you always need to click on that item on the timeline. So we're going to select it. And actually to make sure that every time you go on the timeline, we have the subtitles selected. Let's change the truck targeting. So let's antique V1 and let's go to V2. And of course, to make sure that your subtitles are visible, they have to be on the higher track in the timeline. So above all the other trucks. Now let's see how to change the text of this captions we have just created with the item selected on the timeline, we go to the Options panel. And first of all, you need to select the actual caption. So if you click here, for example, in any of the empty area of this panel, nothing is happening. So we need to select the specific caption we want to modify to actually modify it. So let's click on that one. Now this is the most important thing we need to keep in mind. The type-in box in here. We can paste or write and type the script. So let's go in our text file, in the script I gave you, you should have it open. And we're going to, we're going to select and copy the first line, common C. Then I go back and Premier, I delete this text and replace it with common V with my first line. And as you can see in the program panel, my subtitles as being replaced. And now you can go in the timeline and play the sequence from the beginning. And here we go. These the building guys, you pay 15 shackles to go to the root dot. But as you can see, the duration of the subtitles is not the right duration. And we're gonna see how to modify it in the next lecture. So save the project, and I'll see you there. 113. S.17_03: Changing the duration of the Captions: Right, shall we carry on with the captions? I think we shall. We are still in the project as 17 lecture. We just created our first subtitle, but the duration of it wasn't right? So how do we customize the duration of the captions? Let's find out. Let's go to the timeline and let's click on our caption item. By the way, you can double-click also in the caption items here in the project panel. That's another way to open up the clip. But if, but if you do and the timeline, you can also see your video underneath. So I prefer this way. We mentioned that the captions behave like a normal video clip. So if we go on the timeline and we go at the end of the clip, we can actually stretch it out so we can extend its duration. And that's going to be the duration, not of the specific subtitle, but of the subtitle track. And I show you what I mean. Let's drag the clip to the end of the video, so to cover the whole duration of the video. Now if we scroll through the video, we will not see any subtitles apart from the one at the beginning. So basically the first captions we created is just a section of the captions track which goes from now from time codes 00 to time code 03. And that's one thing I want to clarify because it can be confusing. These two time codes in the captions panel and not refer to the time code of the timeline. In this specific case, they actually corresponds. So the 00 in Mark actually corresponds to the 00 of the timeline. But let's go to the timeline and let's move our captions clip forward. Let's start as seconds, five, for example. So let's move it down to five. Still with the clip selected, let's go to the captions panel. The first subtitle, The very first subtitle, steel starts as 00 and finishes as 03. So the time codes you will find here in the captions panel are referred specifically to the captions clip and not to the actual timeline. So that's a bit tricky sometimes to understand and also to explain, To be honest. But just to keep in mind, if you move your subtitles truck along the timeline. This time codes will not correspond to the time code of the timeline. First of all, let's change the duration of our subtitles. So let's, let's drag the item back at the beginning of the timeline. And we said the duration of the first subtitle was incorrect. So let's play it again. Building guys, you pay 50 share could still go to the root zone. If we also double check our text file. The first subtitle issued finish at four seconds and three frames. So we can literally copy this time court from the text file and paste it in the out time code here in the captions panel. That's it. And now you can see on the timeline that the time code changed to. But once again, if I drag my clip down the timeline, the time code in the captions panel is not changing because this is just the duration of my subtitle. There is another way to change the duration of the subtitles were gone, the timeline, and I'm going to increase the size of it. So we can see better. You will see this script on the actual clip here. And this is a section of our truck. I can click on it so I can click on the black background, which is exactly what's mirroring hearing the program panel. Let's click on it and he will become gray cuz you have just selected it. Now, I can either slide these specific subtitle along the track and I can just click on it and hold it and drag it along the timeline. And now if you have a look at the time codes in the captions panel, they changed because we just moved this specific subtitle 2 second 5. And also we can change the duration of it by dragging the handles. Here at the left or right. Again, he behaves like Eclipse, so we just extend it either ways. If you want to extend the duration of the specific subtitle, but it was actually correct as he was. So let's do it from here. Let's click on it and drag it to the left at the very beginning of the truck. So make sure it starts at 00 and it was finishing at four or three. So we go on for three, select this section of the subtitle and drag the handle down to the specific time code. And now it should match the voice. You teach and acoustic or to the rooftop. Nice. And this is something I wanted to mention if you need subtitles for a certain section of your video only and not for the old video, then you have two options. One is to create a subtitle struck, a caption struck, added to the timeline from the very beginning of the timeline. And then you work with the time codes. So this time cause will actually match with the time code of the timeline, which is great, so we don't need to go crazy. So let's say you want to start your time code at second ten with the first subtitle. You just go here and the captions funnel and you type 1000 and then you go to 1400 for example, or 0-1 whatever. Now your clip just moved to that specific time caught and the time codes will match. So that's great. The second option is to start with the captions truck directly when you need the subtitles. So if I want my subtitles to start a second ten. Let's say I want to start with a truck from second ten. At this point, I have to create the subtitles here in the panel and then slide my specific subtitle along the track. Well, I hope it makes sense is quite hard also to explain a have to be honest, but this is how you change the duration of your captions. You can now save the project and keep it open because we will still need it in the next lecture. 114. S.17_04: Customising the style of Open Captions: We're gonna see how to customize the style of our captions here in the project as 17 lecture. We've just learned how to change the duration of the captions. Let's explore more the captions panel and let's see what we can do with those. We have typed our first subtitle here, and now we want to change the style of it. So at the moment we have a white text on top of a black background. Always make sure you select your subtitles here in the timeline. But also to change the style of the captions, we need to select the specific captions here in the panel. Remember, so we click on it, we click on the first. And we want to change the style of the captions before we actually add other subtitles. When we add subtitles, we will have here a list of different taps like this. But if you don't choose your style at the very beginning, you will have to change the style for each individual captions. If we do it at the beginning instead, the others will match that style, the specific styles. So let's do it now and let's explore this panel. You will see as searched up here, where you can type a specific word. So if you're looking for a word through the script, you can just type it there. And Premiere will take you to death specific caption. You will see the font. We can change the font of our captions. And let's go to adeno, just try a few just to see what happens here in the program panel. And then if you have it and I think you should go to Arial, Arial font. And we can customize also the font-weight. So if you want bold, regular, italic, UK, you can change it there, but I keep irregular usually. And you can change the size of the font. And maybe we can type 45 to make it a bit bigger. There is also line spacing and which is the space between the line. You will have a paragraph alignment and we go to align centre. Then we can customize the color, either of the text and the background. And we can also add a stroke to the text. So you will see the square icon background color. We click on that to select the background. And then you can change the color from this tiny rectangular shape. It's barely visible Actually, it's not great, but at the moment it should be black. We click on it and we will open a color palette. And from here, you can choose the color you want Read, and your background will turn into red. But usually I leave a clear background so you can change the transparency of the background or, or even of the texts by going to hear opacity, we'd bring it down to 0. You can type it or scroll the value up and down. And my background disappeared, of course. Now we go to the text icon and we can change the color of the text. So you can click on the color once again and select black for instance. And now you have a black text or I don't like it. So I'm going to undo common Zed. And also we can create a stroke around the text. So we click here in edge color and we can add a red stroke. And you can see here a bit of red around it. And you can change the size of the stroke here in edge. If we go to 15, you can see the difference there. But once again, I don't want it, so I go back to 0 actually in the edge size. Then we have this open position caption block icon. This basically refers to the position of our captions in the frame. Our caption at the moment is aligned at the center of the frame, but also at the bottom of it. If you go to the top center. Now the caption would be at the center, but at the top of the frame. By Usually I leave it as default right there. And that's how you customize the style of your captions so you can save the project. And yes, we still need it for the next lecture, I'm afraid. Okay, I'll see you there. 115. S.17_05: Adding & Deleting captions: How to add new captions you're asking, you're going to find it out in this lecture with the project S 17 lecture. So here we are in our Premier Pro project. Let see how to add different captions to our subtitle track. Of course, you want to select it on the timeline or in the project panel, we wanna find the first way to add new captions. Here in the panel, the captions panel, you will see this plus icon, which if you hover your mouse on it, it says add captions. So let's do that. And straight away and New Caption tab as being created. You will also notice the time code. The new caption will start exactly next to the previous caption. The out time code of the previous caption was four, and the new caption will start at four. So at the same time code, and you can also see that this caption was created next to the previous one on the timeline. So let's go to the timeline. Let's increase the size of it. And you can see here that the two captions are neighbors. We are here. I want to show you how to delete the Caption tab as well. So if you don't need a specific subtitle anymore, you just click on it and you can press the backspace, the subtitle we disappear. Or I'm going to undo and bring my caption back to life. We're going to go on the minus icon, delete caption, and we're going to delete it from here, gone. Now what we're gonna do, we actually create one. So let's go back in the plus button, add caption. Now we want to go to the text file. We have. We go to the second line. So we copy it now, here and we go back in Premier Pro in the caption stab, the second caption, we're going to paste it right there in the tab. And also we want to change the time code according to our text here. So let's call p the in time code 0404, and we can paste it right there in the in time codes in the caption stamp. Press Enter. And we're gonna copy also the out time code 0920. Copy. Let's go back here and paste it. And you can see the duration of this clip changed also on the timeline. Now we forgot to do something in the previous lecture. We wanted to start with the captions track from the beginning of the timeline. So we wanna drag it back at the very beginning. Just take it to the beginning of the timeline. And now the time codes here will match with the time code of our timeline. And we can double-check by playing the sequence. And here we go. These, they're building guys, you pay 15 chakras to go to the rooftop, crop a photo of the dome of the rock and the CT. Let's go. Perfect. And that's what I meant in the previous lecture. You need to be careful if you move captions track on the timeline. Your time codes will not match anymore. That's why I recommend to start with the captions from the beginning of the video. And I want to show you another way to add captions. And as we are here on the timeline, let's stay on our clip here. And you want to go on the second caption and click on it and actually right-click on it. You will have the options to delete this caption or to add one. And we're going to add one from here. And once again, it will be created just next to the previous caption. Now we're gonna do the last one together. So let's go back to the text file. We copy the third line which says, if you come here, you need to sign in and pay 15 shackles. We copy it and paste it in the third tab in the captions panel. Now we're going to change the time codes to. So we go back to the file, to the script, take the entire code, and paste it in there. And we're gonna do the same with the out. Copy and paste here. Press okay. And you can play the sequence once again to see if everything matches. Don't forget that if the duration doesn't match, you can always slide the subtitles along the track, or you can change the duration with the handles so you can make micro adjustments on the timeline to now, I'm going to undo to go back to the correct duration. And I'm gonna save and keep my project for the next lecture. 116. S.17_06: Exporting captions: Right, last lecture of this section number 17. And we're still working with the project S 17 lecture. We're going to see how to export a video with the captions and also just the captions with alpha channel. So let's pretend we have finished to edit our captions. And that's actually something we have to do in the exercise. But let's say we are done with it. Now we want to export the video, including the subtitles. We have already seen how to export the videos, but we need to change something in the settings actually for the captions. So let's do that. Once again, we pretend we have all the captions laid on the video. We want to go on the sequence in the project panel and we press comment m. Remember to export the file. I'm checking on you, you know. Now here we're going to choose the format and everything as in the previous section, how to export the 5S. So we got to H.264. We can just go down to the Youtube full HD and just double check something in the summary. So the frame rate, resolution and everything is fine. We just scroll down. We can render at maximum depth if you wanted to hear in the video section. But the important one, this time the important tab is captions. We want to go there and we want to make sure this option is selected. So if you open up this menu, by default, it could actually come with none. So in this case, because we need to burn the caption in the video, we want to select. We want to click here in the menu and click on burn caption into video. Let's do that. Let's click on it. And now we can render the file and our video will include the subtitles, but to test it out, we have to do it. So Let's go, let's pick a name for the video. We want to go back in. In our main project here, let's go to S 17 caption lecture. And here we create a new folder and recall it exports. And we can change the name of the file as well as 17 lecture video captions underscore E and G English. In case we wanted to create a different version in a different language than we press OK. Save. And I'm going to export it. Now we're going to wait until this process as finished, and I'll get back to you in a second hour exporting process as done. So let's double-check in Finder if we actually exported it correctly when we got to say 17 captions, lecture exports. And we're going to open up the file. And here we go. These the building guys, you pay 50 shekels to go to the root. Perfect, of got audio, video and subtitles burnt in the video. I'm going to close these, go back to premiere, and now we're going to learn how to export only the captions with alpha channels. And why is that useful? Well, I've done some works, actually professional works where I had to edit the files for the client and supply also just the subtitles with alpha channel, which means we will only send the subtitles as a standalone text basically without any video, because maybe they want to added themselves or for any other reason, sometimes we have to do this and let's learn how to do it. First of all, we want to go on the timeline. And because we want to export only the subtitles without any video underneath, we need to blind and mute the trucks we don't need. So we're going to blind the truck V1, and we're going to mute the truck as well. A one just in case audio goes through. So as you can see, we only have the subtitles now here. And once again, we're going to press the comment M, even from the timeline to open up the Render Settings. But this time we actually need to change the format of our expert because the H.264 format doesn't support the alpha channel. So we need to find the settings that actually do. And there is one. If we go down here in the list, we want to go to QuickTime. So quick time supports the alpha channel. Alpha channel is the transparency. So click on Quick Time. Then in pre-set, we wanna go to where is it? Apple progress for, for, for, for, with alpha is just says it in the name Apple Perez 4444 with alpha. Click on that to make sure I'm not going to have any audio here. I'm also going to tick the box, export audio just in case I'm gonna go in the video tab here and go down to render at maximum depth. And this is very important guys cuz it's key for this process. In this tab, you need to make sure here in depth you have eight BPC plus alpha. Or you can also choose 16 BPC plus alpha. So let's, let's go on 16, which is higher quality. Then we go back to the captions option and once again, export options. We opened it up and we make sure the burn captions into video is selected. So click on that and you will see your captions appear in back here in the monitor. Now you can take also use maximum render quality. We're gonna change the name and also browse where we wanna save this video, these expert we're going to call it. I'm actually copying the same name as before. Captions with alpha. This time I'm going to add with alpha. And then I keep the English At the end, ENG. Okay, we're going to click Save and we're going to export it. And fingers crossed. I'll catch up with you in a minute. Once again, our video has been exported and now let's double-check. We did it right? Let's go into finder or Windows wherever you have saved your captions as 17 captions, lecture, exports. And now fingers crossed should be the first video here and the least, we're going to open it up. And we can see a transparent background with our captions in white text. To double-check even more, we're going to import this specific item into Premier Pro, and we're going to add it on top of the video and see if we actually have a transparent background. So what I do is drag it inside Premiere Pro into captions. I'm going to blind our actual captions, track and unblind and unmute the video and the audio. And I'm going to drag our experts on V3. And now I'm going to play from the beginning, but I can already see the subtitles have been exported correctly with the transparent background. And here we go. These the building guys, you pay 15. Check. One more thing before we mess up the exercise, let's delete this file because we don't need it. It was just a double check. So we go in the project panel and we select the S 17 lecture video captions with alpha in English just deleted. And I will have a warning boards saying it's going to be deleted from my timeline. Great. And I'm going to unblind the actual captions track on the timeline. Now you can save the project, and I'm afraid to say that was the last lecture of our video editing course, but I will see you in the exercise and the exercise review. 117. S.17_07: Exercise: So we are in the exercise of Section 17, which is actually not the last exercise of the video editing course, ha, surprise. For this exercise, we have to use the material from the lecture from Section 17 lecture. So what we have to do, let's open the previous project as 17 lecture and re-save it as S 17 exercise in the S and T and exercise folder in Finder. Then what I would like you to do is to delete the captions track we have built in the previous project. We just deleted completely. And I want you to recreate it's so you need to create a new captions item. Then you wanna go in finder in the lecture material if you still have open that tax file. So you want to go in as 17 lecture material, captions, open one of the texts fires, and create the subtitles by copying the text, the script, and the time codes from this particular file. So basically we do what we have done before, but you have to finish the old video. So it's going to be around one minute and 15 seconds of video. You need to create all the subtitles for the whole video. Also here I give you the option to choose the language you want. So you already have here English and Italian languages, but if you are speaking another language as well, and you want to translate my video into your language, feel free to do so. Once you're done with all the captions, then I want you to export the video with the captions, but I also want you to export the captions only with the alpha channel. Once you're done, just save the project and I'll see you in the exercise review. 118. SS.17_08: Exercise review: Section 17 exercise review. Let's do this. I've already opened my S 17 lecture Project, which was the one we had to open. So opening the lecture project from Section 17, and I need to re-save it. So shift comment s. And I'm going into S 17 exercise folder and create my usual API project folder. And I'm gonna save it right in there. I'm gonna change the name to Section 17, exercise. Good stuff. I also want to change the name of the sequence to exercise. And yet that's all. The next thing to do was to delete our captions truck. Let's do that. I'm afraid. Ok, just go, just do it. Great. And we're going to create a new one by going to File New. And we go down to captions. We double-check. We are in the open captions here in standard press. Ok. And I'm going to drag this item in the captions folder. And also I'm going to rename it with underscore DNG. Actually, I do an Italian this time. My language, eta. What I wanna do, I drag my item on v2 in the timeline and extend it to the end of the video. Also for a quicker copy and paste, I am going to decrease the size of my workspace so I can just see the PDF as well and just copy and paste the script. So I'm going to select the item on the timeline, and I'm going to add the very first line of my script in Italian. There it is. I copy it and paste it here in the tab. And I'm going to change the time codes to okay, I'm gonna take the time code. Well 00, that's perfect. The time code out for the first caption and pasted there. Now that I've created my first captions, I'm actually going to change the style of it. And this time let's do something different. Y naught, you can do whatever you want. As we mentioned in the description of the exercise, I'm just gonna change the background y naught into maybe a dark gray, something like that. And I'm also change the opacity of the background to 50%. Just to show there is a background, but it's not distracting to the I know I'm going to add the second caption here and copy the time code, which is actually just a literary the next frame. And the time code out 0920. And copy my second line in Italian. And this is the tip of the day. I worked on a project where I had to build two different captions in two languages. And I actually mixed up the languages during the subtitles. So. The client came back saying, hey, what have you done here? And that's yeah, that's just to say you can work on one language at a time instead of doing as I'm doing here with two different languages because I might copy sentence in Italian and then the next one in English. So just pay attention. Now as this is going to be quite boring, I'm gonna finish to other captions on my own. And then I'm gonna see you just before exporting the file. And here I am. I finished with the captions and I also double-check everything. So I rewatch the video and see if the captions were matching with my voice with what I was saying. And it works fine. It's actually really nice with these light grey background which I never used. So I'm, I start using it. What I wanna do now is to export the video. So again, the timeline or here in the project panel, I select the sequence and press comment M, and need to make sure all my settings are correct. So I'm gonna go to H.264 and going to pick my YouTube preset, full HD, and check the oldest settings match as well. And then here in the tabs, I wanna go to captions and make sure the burn captions into video is selected. I'm going to change the name and the location of my expert or go to S 17 exercise and I create a folder called experts. I'm gonna yeah, the name is fine. I'm going just to add captions. And this time they are in Italian, so I'm going to add captions, ITA. And I'm going to save it right there. Now I only have to export the subtitles with alpha channel. So what I'm going to do is to unblind the video on track one and also mute truck A1. And I'm going to repress comment M on my keyboard. This time we had to change the format settings. We had to go to QuickTime. Remember down there. And in pre-set, we wanna go down to Apple progress for, for, for, for, with alpha. Then we had to go in the video settings here in the tab and make sure we scroll down and choose render at maximum depth. And we wanna change the depth to 16 BPC plus alpha. Very important. Again, we go to captions and make sure the export options are selected with burn captions into video. Subtitles are appearing in the monitor. Good sign. I'm going to teach also use maximum render quality down here as the last thing I'm going to antique also export audio. I changed the name of my file, save it in the same folder as the other expert. And I'm just going to add captions with alpha and save it and export it. And now I have exported just the subtitles with the alpha channel. I'm gonna double-check if you worked out. Before I forget, I'm going to unblind and unmute this trucks, but I'm going to blind the captions track. Let's go into finder and see what we have done are going to exercise experts. I check the one with audio and subtitles burnt in first. And here we go, this building guys, you pay 15 shackles to go to the root. Perfect. My audience there, my subtitles are there until the end. And of course you can double check once again just by rewatching the old video. Now let's have a look at the subtitles with alpha channel. Here they are. No video, no audio, just the subtitles with a transparent background. Awesome stuff. I'm going to import it inside Premiere adjusted double-check. Drag it in there, and I drag it into v3 truck v3. And I'm going to play that sequence. Last thing before I close, I delete this file, the captions that render captions. Yes. And I'm going to unblind our original captions. I'm going to save the project and close it. That's it. I'm going to only see you in the huge exercise, the last exercise where we're going to actually apply and see everything we have learned in this video editing course. I can't say congratulations enough. I will see you in the next and last exercise. 119. S.18_01: Exercise description: This is the ultimate exercise for Section 18 of our video editing course. We are going to reproduce this 35 seconds video. I've got time now and time is money. So they say, I've got time to breathe, to listen to the new sound of the city. Time is money. So they say, I've got time now and I wouldn't trade it for all the gold in the world. I have included as many tasks as I could in this project for you to revise all the skills we have learned throughout the course. And first of all, we want to create our project, SAT and exercise, and save it in the usual folder for the exercise. As soon as you are in the software, I want you to reset the default layout, the Workspace Layout as editing, the editing default layout of Premiere Pro that I want you to get rid of the panels you think he will not use, then save these workspace as a new workspace. Call it your name, basic editing, SAT, exercise. And then we want to import the material and I'm gonna guide you through the material very quickly. It's still in our structure for there is we want to go to Section 18, final exercise, section 18 exercise material. In here you will find audio material with music, sound effects, and the voice-over. This is a voice-over truck. I record it personally. And one task of the exercise is to record a voiceover. So if you can use your own voice, but if you cannot, then you can use my voiceover right here. Then we have some footage with be it roll. These are ten clips that will help us to build the edit, but also you will find a preview video. And this video is the final video I wanted to achieve and tried to reproduce. And he can now pure So with the timings of the music and the eclipse, then in script and time codes, you will find three different files, which again are the same file just in three different formats. So I hope you can open one of them. And in here you will find the script, which is going to be helpful to record a voiceover. So you can just read the script and also sometime called to cut the music because there was a bit tricky to understand through the video. So here you've got a different sections you need to grab from the music. As you can see, we have four sections of the truck. The first line of each section refers to the section of the track you want to grab from the music. And the second line refers to the time code on the timeline. So you want to drag each section to this specific time caught on the timeline and everything should work fine. Bear in mind that the footage material is not in chronological order. So this time you really need to go and look for your clips, then create an auto save when you are in Premier Pro and set it to two minutes interval, create a full HD sequence and set it at 24 frames per second. Then I want you to organize your project and your folder as soon as you import the material and whenever you create a new item, also rename all the trucks on the timeline according to their relative clip you're going to use on each truck. And now here comes the fun. I want you to record a voiceover by following the script I just showed you. What I recommend is to use more or less if you can, the same speed of my VoiceOver. So the duration of the video will match with the final preview. And then of course we'll go to the elite. So I want you to look at the eclipse, scale them up, change the speed of them, and bear in mind there are some time lapses in the clips so you want to speed them up a lot. You can rotate eclipse, apply all the different motion features and so on. You need to add the music and the couple of sound effects. And then of course, you want to mix your audio. Don't forget to use the hard limiter and the compressor. I want you to create an animated title at the end of your video, something similar to what you've seen in the Video Preview. And just ride whatever you like. And also choose the style of your graphic. Once you're done with the animated graphic, I want you to save it as a preset, then work on the color correction and colour grade of your clips. Saw white balancing using the tone or the curves and everything we have learned in our course. To polish everything up, you need to add a lot. So I particularly look you like, or you can reproduce exactly the one you've seen in the video here and add a vignette. The look I've used is called SSL blue steel. Then I want you to create letterbox bars at the top, at the bottom of your frame and create an animation. So I want the bars to come in as the video starts playing, maybe just for a couple of seconds and keep the bars on for the rest of the video. Then we want to create some captions. And once again, you want to use this creep provided here in the material. So you need to create subtitles for the voiceover. I want you to duplicate the main sequence twice and change their aspect ratios. So at the end of the project, we want to have 116 by 9112119 by 16 sequences. Of course, you need to change the position of each clip in the new sequences to match the new frame. I want you to lock or the trucks in order three sequences, and I want you to export the three sequences with a different aspect ratios. Final step, save your project and close it, and I will see you in the exercise review. Good luck. 120. S.18_02: Exercise review_01: So how did the exercise Gore? I hope everything went well and you remembered everything. Let's see now if phi remember everything. So I'm gonna open up my Premiere Pro software and I'm going to create a new project. I will call it S 18 exercise. I'm going to browse where to save it, which will be in my structure folder in Section 18, finite exercise. And I'm gonna create my API project, which you are going to miss. I 17 there and I checked the scratch the same as project arrived. First of all, let's have a look at the notes. I want to open up my preview file, my preview video, which is in the material in footage. Great. And also I'm going to open as I'm, yeah, I'm going to open this script and the time gods. And I'm going to squeeze down everything there. Right here. Let's check the notes. Okay, I need to check my workspace so I'm going to reset my basic editing one. And on my get rid of some stuff. Thank you. The source moratorium say that program wants to to save some space and I've got the effects and FX Control Panel one next to the other, and I'm ready to roll. Okay, what do we have to do here? We want to save these workspace now. So I'll go to window. Workspaces save as a new workspace, and I call it mom or basic editing. Skt. In exercise, we need to import the material. Double-click in the project panel. And I'm going in the same folder, but immaterial footage and also audio. Why not? Let's import everything here. And we're going to organize the project panel with the different folders. Now, let's have a look and let's create a Nubians. In the audio. Of course I'm missing the, the usual Music folder, common b, and also a voiceover. So I'm going to press it again, common b, and I call it v, o. And I drive the relative files inside the folders. Okay. So on the facts, we've got to some defects, the B-roll, and we also have the full video preview in case you want to drag it in one of the trucks on the timeline and just copy the timings of the clips. But let's try to do without that. And also I can see we've got 24 frames per second material. So let's create a new sequence with this frame rate. And we need to create an HD, full HD sequence. Don't forget, these are actually 4K clips. If you scroll down your metadata, you can see the resolution of the videos. She is ultra HD, so close to the 4K, I'm going to create a new sequence with a common end. Because I want to choose my frame rate is time, and I've already got the iris selected. Re ten ATP perfect, full HD, 24 frames per second grade. And I'm going to press OK and I rename it now in near and I'm going to call it Section 18 exercise. We said it was a 35 seconds video and this is going to be 16 by nine aspect ratio sequence. And I'm gonna create a new folder, of course, and I call it edits and drag my sequence in there. Now we have to create an auto saved. So I go in Premier Pro preferences auto save. And I've got ten minutes at the moment, we want to bring it down to two. That's it. Save backup project to Creative Cloud, that's fine. Maximum project versions 20. Fine. And this time of the warned to auto save the other projects. I didn't have any other projects open anyway. Click okay, so as I mentioned, we are a lot of task to do, but we don't have to do in the in the chronological order I mentioned in the description so you can change the workflow as you go. But of course we're going to take off all the task we had to achieve the next boards to organize the folders, which I have done. So I'm happy with those. We had to also rename the trucks of the timeline and we can do it now or later on. I'm going to use my useful shortcut to increase the size of my timeline. So usually on my video track one, I have the, a role explaining and telling the story. But in this case we don't have anyone talking in camera. So I'm going to name the truck number one as B roll one. And we'd go we'll go step-by-step anyway. Also, we will not have any audio for the B-roll, so I'm not sure what to do with this trucks. And again, we're going to change their names as we go. Now we have to record a voiceover because that's going to tell the story of our video. And I hope you remember to do so. And first of all, we need a script. So what I can do is to split the screen here and keep my script on the side. So I can actually read and play at the same time. Ok, let's set up. First of all, here, I'm going to create a new track and monitor. Ok. So I got to sequence and go down to Add trucks. I don't want any video truck, so I put 0 and in audio I've got one and I create mono. And just expanding for now truck number five, which is the one I want I make sure I'm at the beginning of Mike timeline by it doesn't really matter because we can cut the voiceover track anyway, but just in case it's a good habit to do so. And I'm going to check the settings first of all, the VoiceOver settings. So I click here on my truck and go to voice-over record settings. And see if I've got any audio. 1-to-1 to perfect name of the truck. I'm actually calling it class. I'm just gonna call it voice-over for now, V. And one too. Great, and I'm ready to roll. So whenever I'm ready, I'm going to press wreck and try to follow the script as we go. You can record it as many times as you want. Anyway. Let's try. Beep. I've got time now and time is money. So they say, I've got time to breathe, listen to the sound of the city. Time is money. So they say, I've got time now and I wouldn't trade it for all the gold in the world. Press the spacebar to stop, and I've got something on my trucks. Let's see if we place. Okay, great. Also have a new item. I can expand my workspace. I'm going item in the project panel, which I'm going to drag in the voice-over folder and I'm gonna rename it actually with I. I just copy the same name as before and I'm just going to add my name. Voiceover exercise V0, mom or English. So it's a reminder. Okay, great. Now we can work on the music track. That's something that can help us again in telling the story and build the Edit. And we had some time codes, we can just copy and paste in the truck. Once again, I've actually I'm going to leave my workspace. Yeah, like that so I can just copy and paste. We have to go to this time called first. And I just double-click on the music truck and paste it in there. And the Press I for an in Mark. And then I copy this second time called Go back to the truck, pasted Enter press law, and that's my first section of the truck. And I put it on I'm gonna put it on a one for now on the truck A1, I think I'm going to leave it there. So these, this section of the music was running from the very beginning of the sequence. So 00000000 up to 6 second and we can double-check on the timeline. Great, that's where we want it. Then we have the second section. So just copy that in Mark and click again on the music truck. Place the time port, the Press. I and I've got it in and I do the same with the out Mark. Go back to the music pasted enter o. And this is the second section. I just drag the audio down on the timeline next to the first section because if you look at the time, God's, This section is running from six or one to 1418 and we're going to double-check. Perfect. That's it. Now we have another section, section three. I'm going to copy the time code in, go to the music truck, paste it, enter and press. I. And I go back to myTime called 0 time cut out. Go to the truck, pasted, press OK. And I've got different section. And this time we want to go to on the timeline from second 21. So just copy this time code and paste it this time on the timeline time court, press enter. And it, it's gonna take me directly to that time called. And here I'm going to go to the music and drug this section down. And let's see. Ok. Last one is going to be from this time code. I go back to the music truck and double-click press i for the in Mark. And then copy the tanker doubt pasted their press. So and is the last part of the thing and it's gonna go literally from, yeah, 30072 to the end of the video and we're gonna double-check ends exactly at 3423. But let's see if it makes sense here in the cut. Nice. Okay, it starts working. Now we're actually going to edit the eclipse guys. It's time to roll. And as we mentioned, the clips are not in the chronological order, so we need to find out what's going on with our preview video. So we just need to edit now. And what I can do, I'm going to delete some audio tracks for now. I've got too many. So delete this one and we probably have one truck for the sound effects. Saw. I'm going to keep one for the sound effects, or I can start naming my trucks. Then first one will be music. The second one, I can call it with the sound effects as effects. And the third will be my voiceover. The of righty. Let's have a look at the preview video here. What do we have? Okay, we have these staircases shot, and then we have these plants. So these are time lapses, so we might need to speed up the clips there. Let's start with these two clips. So staircases and the plants, and let's look for them. So you just wanna go through the clips are here regard as the first one, which is actually the second clip. And I'm going to drag it on the timeline. But we have some audio, as you can see there. So I'm just double-clicking, taking the video from the Source panel and drag it on my timeline whites. It's a four minutes clip. We definitely need to speed this up. And also these are 4K files, as you can see here. So we need to scale them down to HD, full HD. And I'm just going to scale and type 50%, which is half of the ultra HD. And as you can see, it matches perfectly our frame. Okay, there's a bit of shakiness at the beginning of the video, so I'm gonna cut that out. And also we might need to add a stabilizer, right? So that's the second clip Anyway, let's look for the, ok, this is the very first clip, again of Go audio I can see from my icon. So double-click on it and just drag the film from the Source panel. And let's have a look at is, I'm going to mute some trucks. Once again, I need to scale it down so I can just go here and the effects control 50%. And once again, I need to speed this up because as you can see, this is two minutes and 30 seconds. It's very slow if we play at the normal speed. So we definitely need to speed it up according to our preview video here. Okay, we need to split it up a lot, I guess. So I'm going to change the speed of it to I go to 4% thousand. And as you can see, our clip narrow down drastically and going to the trucks. I'm actually meeting the voice-over for now. Okay. And I'm going to cut it on the beat here. So at two or six, that's what I'm going to cut the first shot. Let's try to cut on the music and also you can check your preview video as well if you want to just drag it onto a truck, as I said before and just take the right timings. I'm just dragging the clip on the truck one, let's say the clip number two. And we need to speed this up as well. And I right-click on it and I change the speed to 5% thousand. And again, it narrows down a lot. It's impressive how the light changes and the plants move towards the sun. It's incredible nature. And I'm going to cut it here at 507, more or less on the beat again. Now we have some shakiness and I'm going to add a warped stabilizer straight away. So I'm going to affects panel. Look for the work stabilizer. I drag it on the clip. But remember we cannot do that because we scaled the clip already down. So what do we have to do in this case is to create a nested sequence. So I right-click on the clip nest and I'm going to call it the role. This was called B row number one. And I add nest. And we have a new sequence here which I'm going to create, which I'm going to add in a new folder. In, inside the eddies folder. We'd call it nests. And I'll drag this in there. And now we can either work stabilizer on top of this clip. Okay, it's analyzing and we'll see the results in a second. So let's carry on with that. We can also start building the voiceover We wanted to. So around second three then that's where we have the first piece of the voiceover. I've got time now, I can actually start chopping the voiceover as well and delete the parts that don't need. So if we check the waves, we already know where we have some audio coming in. And I just chopped their parts without any audio. So the first part, I just chopped basically these middle parts. And then I'm going to delete. So noisy outside, so noisy. Ok. So let's delete. Let's get rid of these things I don't need. Okay, so we said around the second three, that's when we have the first part of the VoiceOver. So I drag everything down for now and go around. And around 221. We might need to start working on the volumes as well to hear the voice silver and be better. Let's have a look at the next clip. And we got straight away the voiceover that says, and time is money more or less. And then we have the shot where I approached the window, which is which is clip number ten here. Okay. Let's have a look at a clip. And I think I needed from when I go in front of the camera to when I put my hand down to open the window. So the frame is still empty more or less here. And I drag my video clip down. And again I want to go on the beat and need to scale down. Once again, I go to 50% and it's a big crooked probably we need to do something there. So I need to extend it. I think that's a good timing when I'm actually putting their hand on the handle. So I'm going to put the clip there to hand here. Okay, so B is low to play, sorry guys, my machine is this stabilizer here. I didn't do a good job. Is still very shaky. Let's see if we can change the mode. Let's try with a subspace where I leave it for a second as he works again. And let's carry on with the edit. So we want to find clip number four, which is the hand. And it goes up to more or less second 11. So we literally open. The window, which is clip number nine here in our project panel, we wanna take this clip when the hand is coming into frame more or less there. And let's see if it works. And then we opened the window and we said it goes more or less to second 11. Okay, I need to scale it down as always, I go to 50%. Think it goes to this beat of the piano, so 1110. And I think it's going to work well, there. Let's have a look if your work so far. Ok. It does. Okay. This clip B-roll number ten is a bit it's a bit crooked, as you can see from the program panels. So I'm going to give it a bit of rotation in minus1 maybe. Yeah, the line here in the middle seems to be more straight. And I'm going to scale it up now because I've got some black coming out in the frame like that, even here actually, this line is not perfectly aligned, but probably the shot wasn't filmed aligned. Let's try to go to one here. Yep. And scale it up once more. Okay. Also here we'll need the sound effects of the opening door. Okay, it's there in the video. We need to add that. Okay, let's add the sound effects here. The sun effect is called opening door. And I'm going to listen to it. Ok, I just drag the whole thing down to the sound effect truck and tried to match the action with the sound. So I'm going to mute all the trucks that part from the sound effects one. I think I need to drag it further back. Okay, ambit down. That could work. I'm happy with that. So I'm I start taking the music truck down a little bit in the parts where where I talk and leave it louder where, where I don't talk. So with the pen tool, I'm going to decrease the volumes of my truck right here. Okay. I've got two other pieces of voiceover during these two last clips. Okay, this part was actually connected to the other one here. Ok, when I open the window, that's where I have a good time to breathe, which is there. And then some of the C. Okay, before we change clip here, I've got the last part of the first section to listen to the new sound of the city. And also we are missing a clip, which is that. So where you see a bit of the outline of the man looking outside of the window. So let's look for the eclipse, which is clip or four. There. And we just take a few seconds of this clip. Yeah, maybe when you see some movement, that's fine. And we drag it in the timeline. Again, I'm going to change the size. I can copy the motion from one clip and paste it online just for a change. And my scale changed again and we go to more or less, I leave it to 1306. What I can do, as I already know, more or less, where my trucks are in terms of music and voice-over. I'm going to take my audio track mixer and start adding some effects and compressions and all that kind of stuff. So what I can do open up here my effects panel. I'm going to add a compressor, first of all, to the master truck. So multiband compressor. So I can really here already how the sound will be at the end. And I can play with the IOU levels. And I'm gonna go to motivate compressor in pre-set, I choose broadcast as always. And I'm also going to add a limiter, hard limiter. And I'm going to take it down to minus two. That's my limit. And let's see if it works. So the audio track is definitely too loud. So I'm gonna actually delete the key frame here. And I'm going to decrease the old audio. So I go to minus 7.1. And don't forget to check your volumes here in the older trucks mixer. But also we need to change this volume of the second part. It was around minus 7.1. There it is. And also here. You can also copy and paste the volume of the audio clips. Don't forget, I'm going to drag the music. The volume of the music down here where I speak with my pen tool. I'm going to add the keyframes literally where I don't speak. And yeah, put the music down. Even there, I've got a gap. So whenever you've got gaps, you can, you can increase the music basically or make it quieter. And now we're going to work on the volume of the music, on the levels of the music. And I bring it down when, whenever I speak. Nice. And here again, it was around minus 15 and time is money. And again, cuz I'm still talking. Then it goes here, it goes down again, minus 15. And again. Okay, it's a bit too wavy. It's a bit weird, so I'm going to lower actually the volume of the old tracks a little bit here in this middle parts. To make it more subtle in terms of change of volume, it was a bit too weird. We can also expand the fades. I'm going to add a compressor to the voice and the highly emitter as well because it's too quiet. It's too quiet at the moment. So I'm going in my audio truck mixer in the voice-over truck. So I can see here, that's my voiceover truck. And literally copying and pasting the same effects of going the master track and see how it works. I've got time now and time is money. So they say, OK, I'm happy with that. I'm not going to add any effects for now on the tracks. I don't think our wheel, but for the sound effects and the voiceover, We, we can definitely, we got five clips to go. Now we have another clip. If you go to your preview file, the clip of the street. And there's a bit of shaking us at the beginning of the clip. So I don't want to take that those frames or just take it from the middle to here. More or less, code is going to shake again at the end. And let's see how many seconds we need of this. I go to 1614 and I'm going to narrow down this clip. I just trim it and delete what I don't need. And of course, something happening in my voice over time is time. Okay, I'm just gonna add a transition at the beginning of the, of each clip and at the end of it as well. Just in case there's any clipping that can help to make him more subtle. Time is money. Okay, that works. And when do we have the voiceover coming in actually. So here we have the birds, the effects of the birds up to sign this morning. Second 20 more or less, and then a second 20 we come in with the Time is money. So as second 20 we move everything down a bit before actually Time is money. And then we have the sound effects of the Bird, which I'm going to double-click and check. It's a very long clip. So just take a bit where I can hear the birds. That's good. A few seconds and I drag it down and added, I'm going to add it actually from this clip B-roll or for a bit early, and I'm going to add a fade and fade in. So it comes in slowly. And I go up to second, second 20 and I'm going to add another transition. But also I noticed I need to change the dimension of this clip. It's still in 4K and I'm gonna go to 50. Time is money. I'm actually happy with the volume of this clip with the birds. But at the end I need to drag the volume down with my pen tool, adjust, adjust the level here before I start talking again. Time is money much better and then it fades out. After this treat the shutter, the street. We have the other streets, so the wide-angle of the street here. So let's find that one which is clipped 0-2. And let's have a look what we have there. There's a bit of shaking S at the beginning of every clip because I'm I was pressing the rec button. But let's take a steady shot somewhere there. And let's see. And we go up to 1812. Somewhere around this time code, I still need to change my dimension to 50%. And also these images a bit crooked again, it's not perfectly aligned, so I might add a rotation like 1% and the need to increase the size of my clip now a bit to cover the black lines on the edges, right? The next clip we'll be clipped six with a birds on the antennas. Again, lot of shakiness at the beginning. So I'm gonna take it from here. It's still a bit shaky, so we might try the warped stabilizer. Once again. I just drag it on the timeline times. Ok. You definitely need to decrease the size of that. Also the antennas are crooked. So let's go to minus2. Yeah, and increase the size again, same as before. That works. And we go up to here when the music starts again, 2103, I'm going to cut it there because it got a piano coming in. And I'm gonna change my clip on the piano bit. And then I start with a voiceover again. Okay, before actually, it comes in before time is money, time is money. And then I'm going to chop this part of the voiceover I don't need because I've done the noise again and I don't want it this time. Money. So they say, I'll also, we want to add some warp stabilization here in the bird's shot. That's going to slow down all my machine. Let's see how it goes. So we want this clip now. When I'm already looking outside yet, and it looks good. But let's have a look at this clip. Okay, in this clip I can see I can see the old shoulders and my head is just the just about to touch the frame. So let's keep that in mind and let's try to reframe it. Cause if we go to 50%, that's too small. So let's see what we can do here. We just drag the value up. And also we can see a bit of the window on the left and the right hand side of the frame. So I need to move my clip like that and also towards the top of the frame and try to center it actually. Ok, I need to scale it up a bit more. I think somewhere around there. That's four we have in the previous video. So I go to I wouldn't trade it for all. Here when the music changes again, 2516, that's where I cut. And I'm going to add my last clip, which is the clip number seven. And let's have a look. So literally we need to take it before I leave. So there I think when I still have the two hands on the ray on the fence and then I leave. And I just used the time codes and it goes up to more or less 30 seconds. So literally when we changed the music and we have the last bit of the piano, gold in the world, oh, I need to scale is down 50. And also we have a fade to black before the title. It's a long fade to black. The jump just going to add a default transition. And I'm gonna extend it because I needed a long fade out over gold in the world. Actually, I'm just going to start with a fade. As soon as I disappear. Otherwise this, there is too much of nothing happening for all the gold in the world. I'm going to trim the clip and being more. And we still need to double-check the voiceover. Always silver. So I've got time now it's around 23 seconds. And the last part of the VServer, it's around 26. So that, that's going to feel the last part of the video. So around 26 more or less between 2526 and I wouldn't trade it for all the gold in the world. Yes, it makes more sense. And now we have the last bit of the piano here. So they say, I've got time. I'm going to decrease the volume where I'm talking here in the last part of the video with some keyframes just a little bit because actually it doesn't really bother the soundtrack that much even when I'm speaking. So just a few decibels going to check my volumes here in the audio track, I can see my limiter is working, so my audios is more or less at minus two decibel the whole time. You don't want to hit the limit anyway, every time otherwise you're going to clip the sound. But to listen to the sound of the city and my extend the birds actually a bit more because there's a bit of too much quietness here. I say time is money. So they sit and bring the volume up. Time is money. So they say, so don't forget, you can always do micro adjustments throughout the whole process. That's that's how he goes. I've got time now. 121. S.18_02: Exercise review_02: Right, shall we do some color grading? I'm going to open my luma tree panel and I'm going to actually get rid of some of these panels so the audio truck mixer can go. I'm gonna take my luma tree color and also my luminary scopes, your favorites. I know. Has we do some color grade. I have an idea for stabilizing this clip. Let's try. If it works, I double-click on the nest sequence and I'm going to stabilize the clip before I apply the speed ramp. So I'm gonna change the speed to a 100%, the original speed. It's gonna take forever. But in my work, and I'm going to add, I'm going to go back to their effects panel, and I'm going to add a warped stabilizer to their whole clique and see if it works. This is going to take until Christmas. So my warped stabilizer Fs has actually finished to analyse the clip. And I think this time worked out. I still have a couple of jumps, but it's okay. I mean, it's really watchable. Got time now. Nice. You can work with it if you wanted to maybe enough their effects and adjust the stabilization, but I'm happy with it. So let's go to the color grading and let's take this clip to start with with a white balance is the Bureau number 09, which is clip number four on the timeline. And what I wanna do is again, starting with the white balancing, I can start with the auto match and see if that works. So with a white balance are going in the white. So let's grab, Actually, let's grab first of all, a frame where we have a bit of skin tone and the white. That is good. I take my eye dropper tool and go here where the brightest part of the image is on the white. Okay, that's what he did. It doesn't look too bad, it's poly. But to my Jante, let's try with our trick we've learned with the crop effect. So let's search for crop, which I have via already. I drag it on the clip and we're going to narrow down the frame. Here somewhere on the white handle, see if that works out. Somewhere there. Is him say is done actually a pretty good job. I've just changed the values to double-check. The temperature is Okay, let's see the tint. The tinnitus well, probably needs to be a bit cooler. I think that's it. So I'm gonna get rid of my crop effect. That's my white balance for the first clip, I just need to change the tone. So with exposure maybe a tiny bit up and add some shadows, a bit of blacks and also some saturation just to give some color to this skin. That's pretty good for the first clique. So let's start now matching the others. So I'm going to split my monitor with a comparison view. Right? Let's start with a clip number one. So I keep this frame is reference. I got to the first clip. There's a bit of Green, I think so. Add some magenta little bit and also a cooler temperature somewhere there. Thank you. Works pretty good. I'm going to add some saturation if it changes anything. Okay, pretty good. That's easy. Maybe more shadows a tiny bit and Blacks. Right? Second clip which is 001. Okay, I do this manually. There's a bit of green which probably comes from the plants, the reflections of the plants. So let's try with the auteur white. Ah, we actually worked. I just, just going to change my contrast. Don't forget always to check the waves. Some contrast, some saturation. And it's only two yellow still. I'm going to add some magenta and make it colder with this temperature fader. Okay, this would be too much magenta in the sky, so I'll take it down. Great. I'm going to the next clip, B-roll number ten. And I'm going to try in order to match again, go here on the frame of the window. Wow, Premier is impressive. Surprising me. I'm just going to add some shadows, some blacks and some saturation. But also probably a bit of, I wanna go colder. Yeah, that's falling more similar to my image here. Great. So the next clip is what we have selected. I go to the next one, which is Ruby row number four. And we just actually, I'm trying to copy and paste from our reference clip the luma tree effect. Let's see if it works. So I copy and then I go on B-roll four or four and paste the effects. It's not bad. Actually, I think it's fine. Absolutely. Phi i go to the Bureau of number three and I do the same because it's probably the same time of the day so the light could match. Hmm, I think these two magenta, so let's take the magenta down. And also it's too warm a little bit. It's quite brights or take the brightens down. So I probably could have done this manually, but that's not too far. The next shot is similar to the previous, so just copy and paste the luma tree effects. And that works out. Great. Next. Okay, this one is completely different because we have a lot of sky. And I can bring the exposure up at tiny bit, as I can see from the waves. But also the blacks and the shadows and need more contrast for sure. And the saturation, because the chimneys have a nice color. Right? What I can do is go to the curves and try to change the color of the sky a little bit. So in hue versus you, uh, select the sky. And let's see what we can do here. Maybe. Make it a bit more blue, intense blue. Yes, something like this. It was to greenish. I like it this way. Got to be roll number five. And this one again is similar to one of the previous one. So I copied and pasted, actually adjust based their facts because it's already copied here. Let's have a look. Yeah. It looks good. Maybe too much shadows so I can change the shadows a little, bringing them up. But the rest is fine. And then we have the last clip. And I try again manually this time. So I'm going to add some contrast I can do with the curves if we want to change the tools. And I'm going to add a contrast from here. So I am going to add some shadows, bringing the curve down. Perfect, and also some exposure up by bringing these keyframe up. And yeah, that's fine. And I want to go too much. I go back to basic correction and add some saturation. And that's pretty similar. So I think I'm actually happy with the first white balance and color correction. We're going to add a lot, a look. And if you remember, we need to create an adjustment layer. So let's go in the project panel because you have to be there to create an Adjustment Layer File New. And then we go down to Adjustment Layer. Settings are fine. I'm going to call these item locked. And I'm going to create a new bin, and I call it color grade. And I'm going to add my item in there. What to do next is to take the last item. I'll drag it on the timeline on v2 right from the beginning of the sequence. Oops. Here. And I cover the old videos. So all the clips, I just extend the item to the end of the clips right there. And now we had to add a lot in creative called SSL blue. Still. If you've seen x2 lender the film, you will understand SLR, Blue Steel. There it is. And I really like this. Look. Let's check if it works on all the clips by playing the timeline. Okay, I'm going to go back to my display mode, composite video. And I'm sorry, there's a bit of pixel 0, but I had to compress the files a lot, right? I think it works all over the clips actually. Make sure you're still on the last. We're going to add a vignette now. And it was that kind of square vignette. But again, you can add the largely prefer and also the style of in yet I'm just copying what it was written in the exercise description. So it was quite a square vignette. And it's quite Vinton G in it reminds me of my parents photography films from the seventies. A little bit. Okay, I'm gonna add some feathers. And I think that was pretty much it. Okay to give more vintage look as well. There is another effect in creative called faded film. And what this does is he pulls the, the shadows up. And I really like it. I'm going to play the video from the beginning and see if the lat works throughout the old video, everything works out pretty well. This is probably the more contrast eclipse because the sky is too bright. So I can really be pooled exposure down. And here we go, make it a bit darker. And now is matching the other clips better. I'm happy with the color correction and colour grade at the moment. The next thing we can do is to add animated letterbox. So let's do that. We need to go in the project panel, go to file and create a new matter. So a color matter. Yeah, settings is fine and we choose a black color. And I call it black letter box. Now have a new item in here. And I'm actually going to leave it in the color grade. Y naught is still part of the grade. And if you remember, we need to drag that. It behaves like an adjustment layer. So I just take it on V3, covered the old video. And I need to add a crop effect. So let's go in the effects. Panel. Crop is already there, putting in here. And now we need to animate it from the beginning. I need to add some key frames at the bottom. And I'm going to go to 90. I've got this stripe now at the top, so I can actually see it. And then I go a few frames ahead, a couple of seconds. Let's go to second two. And here I'm going to go to, Actually I'm just adding a keyframe. Then I go back to my original keyframe and go back to 100. So the first bar will come down as we play. I'm just duplicating literally the, the first tribe and I'm just gonna change the crop effect. So I'm going to delete this. Crop values, I go back to 0. And now it creates some keyframes. So from the beginning of the clip of the top one, I create a keyframe and I'm going to add 100%. That's where I'm starting from. And then I go to second two. And I'm going to add another keyframe and bring the value down to 90. And now I have to animated stripes. I've got time now, lovely. Now if you wanted to, you could increase the size of your vignette because they disappeared. We can just bring it down. Just to see that it's there. I like it. I like it. Let's work on the graphic, shall we? So we have to create a title and at the end of it with the tax we wanted. So I'm gonna create a subscribe title and this again up to you. You can create whatever style of graphics you like. I'm gonna use my branding. So I'm going to create these rectangular shapes. And first of all, I'm going to close some panels, cause I need the essential graphics panel. There it is a good to edit. I'm selecting Actually the type tool here on the Tools panel and going to create a new text. And I write subscribe. Subscribe. I'm going to change the font of it and maybe the size, again using the one I like. So you can choose whatever you like. And I'm going to increase the size. Of course that's a bit too small. So the font is right here, the font size. That's probably good enough. And I'm going to center it at the center of my frame to start with. Then I want to add a rectangular shape, which I can find again in the tool panel here in the Penn option rectangle, rectangle tool. I'm going to create more or less rectangular shape of the size of my text. And I'm going to change the fill to an orange. That's my branding color again. So I look for an orange, something like that. And I need to drag it behind my texts. First of all, I'm going to center it as well, so the matches with the other one. But I need to bring the shape behind my text here in the layers. Now I'm going to add another tiny rectangular shape, which is again part of my branding. And I'll add it here on top of the other one. Still orange. That's could do. I'm just going to drag it yet to match there with my alignment. And in terms of animation, don't do anything too fancy. I'm just increasing the size of it so it's a tiny zoom in. Because it's because the music is nice and gentle. Other wanna do crazy things. So, so just selected my graphic. I want to trim it for us on the timeline because it needs to appear For my choice, right when the piano is playing again at the last minute. Like that. So what I'm gonna do is to scale it down a little aether beginning. So I'm gonna create a keyframe on the item, bring the scale down to even 85. And then I go to the end of the clip. And now I go back to 100. And I will create automatically a keyframe with scale up. Nice and gentle and slow. Subscribe. Do it if you haven't done it, guys go on my youtube and subscribe at mom or air. There's lot of stuff I'm sharing. You will appreciate. I hope you do happy with the graphic. We need to save it as a preset. Some gonna select it once again, go to graphics and go down to export as motion graphic template. I'm gonna call it momma Sue scribe texts. You can call it whatever you want. Local templates. I can save it the eye my local folders for now. And it's gonna take a couple of minutes to render out. And there it is as being saved. Let's double-check if it is. So I go in essential graphics browse and issued be in mom or undermine or so I can actually type here mammal and subscribe there it is. Subscribe text. Next on the list is to create captions and we had some script we can copy from. So I wanna go back to my folder in Finder, opening up their script first. And as a teen, material script and time codes, I'm going to open the PDF. Perfect. I leave it there for now. And I'm going to create a captions item. First of all, I'm going to create a bin and I call it captions. Easy. I selected, I go to File New captions. And remember we needed open captions. I check the settings, they are good. And I call it open captions English, ENG. Actually I name it as a teen exercise. Captions English. And I'm going to drag it on a new track, on a new layer and extended entirely. I'm going to double-click on the very first caption I've got here. And I opened my panel. I'm going to close the essential graphics panel that's done. Let's keep it there. Luckily, there's not much to do. Now with the first thing we had to do before we recreate the other captions is to change the style of it. And I really liked the style we did in the lecture. So I'm going to change the, the color of the background to a gray, light gray. And I might give it a bit of opacity actually and bring it down. Yeah. Like that. I like the position and everything. Helvetica is fine in terms of font and just copying the first line. Or you can type it if you understand my English. And That's our first one. I'm just gonna increase the size of the font actually to 45. For better view. I'm going to add another caption straight away. So what I would do, I just adore the captions and then I'm going to move them on the timeline and adjust the duration on the timeline. I'm not sure if you can hear this noise, but I'm literally shaking from the cranes outside of my house getting crazy. The son of the CT, Time is money. So they say I can just copy it actually from here as well. It's the same part of the script. This has been done during the quarantine, the covariate quarantine, and I didn't know what to do. So one day I just did this short film, which is actually the longer you can check in on YouTube as well. And the last one. And I wouldn't trade it for all the gold in the world. Lovely. Now let's go to the timeline. Let's adjust the cleaves, the captions clips from here. And we're actually lucky because we can see the voiceover clips. So we can just match the duration of those clips and we'll see if they work. I just drag them down. Sometimes you might need to give a bit more time to your captions if you have more time on the timeline, cuz people, when people speak too fast, the other people, the audience cannot really read it. So you might want to extend your captions are being more. Even if no one is really speaking, you can just delay the captions a little bit. If you make sense. Everything is fine. Next step, and we're going to duplicate the sequences and create different aspect ratios are that's going to be fun. Let's go on in the project panel and we duplicate our sequence once for now, and I'm going to call it one by one. I double-click on it, go in the sequence settings and change the aspect ratio. So I'm going to create a frame which is ten ATP by 1080 is going to be a squared one. Yes, that's fine. And now we need to reframe all the images or maybe not. Let's have a look. And also maybe the Subtitles. As you can see, the vignette adjusted to our new frame, which is good. I've got time now, okay, this is really annoying. But it's centered. Instead of playing, I can go click by click. And the important thing here for me was the light, the change of light on the wall. So I want to center that action. This is the window which is great. The hand here is a bit of the frame, so I want to reframe it towards the right. And I see the handle. And the, the key is the script is still inside the frame, which is good. In this one, I can't really see anything, so let's try to move it. Yeah. I want to keep the man in the shot, so something like this. And the next one is the road. This is not a great angle. So let's see if we can do anything better. Maybe than ten gives a bit more depth to the frame, to the shot. This one I like the house that I like to see the house on the sites on my actually expanded this way. Like this. This completely personal taste and a bit of knowledge of directing. But as in this clip, as we hear the birds were, I can probably want to see them, so I'm gonna completely move out. And actually we can scale the clip down now because we, we have the bars, remember, so we can just scale it down and show the birds and a bit of the chimneys to show we are on top of the roofs. The next one, the man from here. So again, I'm gonna keep it may be on the side is time or at the center. I just keep it at the center. And the hands definitely at the center of the frame. Right there. Oh, something happened to the graphic here because we probably changed the center of the frame, so let's adjust it. It kept the scaling, but I need to open their essential graphics again. Going to edit, select my graphic at the end of the timeline. And let's click on the subscribe button and tried to recenter it as it it was just the two center. And also my this thing here moved, so I'm going to bring it down somewhere there. Okay, we have one, we have one more aspect ratio to do. So I'm going to duplicate this sequence, the one by one, and change the name to nine by 16. So that's for Instagram stories or Facebook stories. Double-click on it, got to sequence settings and change. Here. It was 6.507 pixels. Click OK. And now we have a nice vertical frame. First shot, let's change the first shot. I wanted to I still want to see the window and the lights on the wall, so that's fine. This is always the same third shot that's centered. So we'll leave it there and we still see the man coming in hand. Okay, we wanna go on the hand even more like here. Nice. Okay, as you can see, we need to adjust the subtitles. Otherwise they're going to be out of frame. So we want to go on to lines I think. And what I do, I just click on it, double-click on it to open this panel to listen to the new sound. Let's see if we go the next line like this. And I can center the paragraph. This is fine. The first one was wasn't fine either. Okay. The second one wasn't fine either. That's ok. Now, important thing, always, always double-check your videos before you export. Don't forget. Now here we need to see the man a little and we go back to the effects control panel and move movie there so we can see the hand and also beat up the street. In this shot, I go back to the antenna to show a bit of the antenna. There it is, something like that. This one actually could be fine out because it's really narrow. And I just showed bid up the window like this. Bird's definitely, it's the most important thing of this shot. So I'm going to crop everything else. And that's a nice one. And then we have this man looking out. So this time I probably want to keep it on the side to show a bit of the tree is two. And the last shot, I'm going to hold one end. The last one that goes away from my from the action. Yes. How about the captions? Let's double-check all of them. Last one is too long, so I'm just going to split this into two and re-center the paragraph. There it is. Quick double-check goes on the graphic. Ha, I knew it. Let's recenter it there. Now this is really small. So what we can do is to actually change the scale and start to be bigger, because otherwise we can't really see this thing. So we start from a 110 and we finish maybe with a 120. There's still a bit of scale going on. Even a 125. And we need to change this, the position of this item, this graphic item here. Lovely job, Lea. Last steps. Okay, we wanted to lock all the trucks of all the sequences. So let's start from this one. Because now I'm mapping with everything. I just lock all the trucks, even the that's it. I'm going to the one-by-one and I'm going to lock this one's make sure you see all the trucks. And the last one here. Also, I resize all the trucks to keep it nice and tidy and make sure whenever you finish a project, it's nice and tight for the next time you open it up. Or also someone else. If you are a professional and someone else needs to work on your project, make sure you are really, really organized as much as you can. Put yourself in her on his shoes. You really don't want to open up a Projects and find stuff all over the place and waste lot of time in finding out where the things are going. So always be tied in, not just for yourself, but think, think about the others guys, what I'm gonna do, I'm also closing all my folders here. Apart from the sequences. One, that's nice. And we need to export the three sequences, okay, I'm going to export one by one in case someone of you doesn't have the median quarter. So I'm gone with a one-by-one aspect ratio and make sure I have the H.264 format selected. And I go down to the YouTube preset and ATP full HD. As you can see, the aspect ratio is Bronx or I match the source here in the video tab. But also important, don't forget we want the captions. And luckily the options is already selected. Captions into video. Great. And going back to video and check a couple of things. Render at maximum depth and scroll down. The size of my file is 71 megabytes, 16 bit rate. That's great. And just ticking these use maximum render quality. I'm gonna browse where to save my file. And I want to go inside exercise. Here, I create a new experts folder. The name of my file is fine. I can always change it later on. I'm gonna save it and export it. Next file is going to be the nine by 16. Actually, I'm gonna explore them together. So if you don't mind, is just easier and quicker is exactly the same thing. You know how to export stuff now, so I don't have to show you anymore. And I go down here to YouTube again, full HD and match the sources. Perfect. I'm just going to click on the render maximum depth makes sure that the captions are sea burn captions into video. And also I'm going to use maximum render quality. And everything should be fine. I'm just going to add it to Q opening Media Encoder. So for the people that have Media Encoder, that's what you had to do. Well, we're just going to browse where to save our files. And if we're lucky again, it should be in the same folder as the previous expert. Let's double-check. We got our files here. I can always double-check their settings. Yeah, that works. And yet the folder is the same, so I'm just going to push on star q. And it will start render out. And my export are done. And what we're gonna do, we're gonna double-check them. So let's go to finder. In the export folder we have created, I've got three files and then just select the one. I'm just checking the audio, the aspect ratio. And if the subtitles are there, I just scroll through. You should actually watch it carefully. But I'm just scrolling through these attest. But you make sure before you applaud anything, that everything is as expected. One by 19 by 16. So they say, is mani, really lovely. Eating 16 by nine for YouTube? Or ready to go? I go back to Premier Pro, What I do, press comment as the most important shortcut ever. Remember that I'm going to save the project and I'm going to close it down. I'm going to quit Premier Pro. And we made it. Now you are a free bird. Let your creativity take flight and don't stop creating good stuff. So I hope the course helped you out. And once again, please leave a review if you have one minute and I will still see you in the final greetings. 122. Conclusion: So here we are, end of the course and I can't say, congratulations enough, really big, big, congratulations. You achieved something huge If you think we're restarted and what we achieved. Applause also really, really big. Thank you for choosing my course. I really enjoy spending time with you and I hope I could share my knowledge in a clear way, and I hope it's going to be helpful for your career and your future. I would appreciate if you have a minute to write a review about the course, about the teaching, if you want to change something, something you really enjoy it or not, any comment would be appreciated. And also was thinking, if you want to export some of your exercise projects and maybe put a link in the Q and a section. I would be happy to go and check them out and maybe give you some feedback on those. I hope to see you soon. God bless you. And Agriba Deci