Learn How to Edit Videos in Adobe Premiere Pro

1. Introduction : Hi, welcome to the Adobe Premiere Pro Ultimate Guide. This course is aimed at beginners and intermediate level creators looking to learn how to use Adobe Premiere Pro. We'll begin with the import process, and I'm going to show you how to import and organize your footage. We'll then move on to creating a new sequence in different aspect ratios, so vertical widescreen square. Talk about the basics of editing, keyboard shortcuts, the different workspaces in Premiere, the Effect Controls tab, key animation transitions, titles, captions, MOGRT or motion graphic files, and the essential graphics panel, masking time, stabilizing footage, keying in green screen, multi-cam editing, sound, dynamic linking, color grading, and finally, export. Now, each one of those categories are broken out into their own subcategories. That makes learning easy, and it means that you can learn at your own pace. If you only want to do a few minutes a day, then that's completely fine. You can just take a few lessons each day and you'll slowly progress and improve at Premiere Pro. If you're new to Adobe Premiere Pro, or if you're just looking to brush up on your skills inside of Adobe Premiere Pro, then what are you waiting for? The Adobe Premiere Pro Ultimate Guide course is here. It's waiting for you, so let's begin. 2. Import - Introduction: In this first episode, I'm going to show you how to create a brand new project inside of Premiere Pro, input your footage and then organize that ready for editing. Let's get into it. 3. Import - Create a New Project: Once you open up Adobe Premiere Pro, this is the window that you're going to see, and basically the navigation is that you've got your projects, so these are your previous projects and then you can go ahead and create a new project, or you can open a project that hasn't recently been opened. As you can see, these are nine days ago, three days ago, three days ago, two days ago, 15 hours ago. But unfortunately anything older than that is just going to go into the open project menu. You can either open a project by going open projects here, and then navigate into that specific Premiere Pro Project, or alternatively, you can open a Premier Rush Project, create a new Team Project, or open a Team Project. But chances are the option that you're going to want to select is New Project. Now this is going to open the New Project window, and here you can go ahead and rename your project. Call this New Project. You can set the location of this. At the moment you can see it's set to my desktop, and then it sets in a sub folder, which is Adobe Premier Projects. Of course, if you press the browse option, that does give you the option to go ahead and place that in its own folder, but mine is in the premier projects folder. Moving down into general, we've got the video rendering and playback. You just want to keep that default to how it is set there. We move on to scratch disks, and this is basically just where your computer is going to keep a log of everything that you're creating. All your previews, your video previews, your captured audio, you basically want to set this all to that same folder as your project. As you can see that it set to Adobe Premiere Project on the desktop, and then you ingest settings, you can just leave because that's a bit complicated for now. Then we've got video display format time code, audio samples, capture can be HDV and then everything else here is completely fine. We'll just go ahead and press "Okay" and then it would just take a moment or two for Premiere to create that project for you. Once Premiere has created that project, you would get this blank window here. The next step is to import your footage. 4. Import - Importing Your Footage: From here, we can go ahead and import your footage. Importing your footage into Premiere can be done in one of three different ways. The first way is to just go into your Finder, go into your footage bins, and then just drag your footage in like this. That will work most of the time. Alternatively, we can go into import media to start. We've got a project tab here, and if for some reason you can't see the project tab, then you just want to scroll up to Window and make sure that you can see Project, New Project. Make sure that one has a tick. This New Project setting here, this would be the name of your project. If you call your project 2021, for example, then 2021 will be here. But I call my project New project. Just go to the Project tab, but you can right-click or double-click, press "Import", then go to your hard drive or locate your footage, and you can just import it this way, so import. That would take a second to import. If we double-click that, you can see our footage is now in our project. Now, those two import methods work completely fine if you're dealing with most cameras. If you're working with footage from a DSLR, or an iPhone, or a small video camera, then chances are this import method is going to be completely fine. The problem is though, when you're dealing with cinema cameras like a Red Gemini or a Cannon C500 for example. These more expensive cameras can break down their videos into multiple video chunks. The red camera, for example, splits its videos into four gigabyte chunks. That means if you record a video which is half an hour long per se, that means it will create a folder and create five or six different videos, and each video would be four gigabytes each. If you were to import one of those, unfortunately, it will only import a section of the video. To avoid doing this and to avoid having loads of different alternate copies of the same video, we're going to do this third option, and that is the Media Browser option. As you can see, we've got projects here and next project, we have Media Browser. In Media Browser, you want to locate to your footage, so footage red, and then as you can see, all of our footage pops up here. If I just select everything I want to import, right-click and import, then all of our footage should now be in Premier and it's all been stitched together. Rather than importing loads of different sections of that one video, it's joints everything together and imported it this way. Now generally, the first two options do work, and honestly, I was doing the first two options for the first few years of my career, was editing in Premiere. But the thing is, if you get used to that, then it can be difficult to break a habit once you've set that habit in stone. If I was you, I would always try and do everything through the Media Browser because it means it's going to put you in good practice for when you deal with higher end cameras. Going back to the Media Browser tab, you can see we've got this one folder, which is what I imported the footage from, so that was red. But we've also got these three other folder. I'm going to import the drone footage. We'll import that. Then we can go back to the other folder. We've got Sony F7 footage. This is a different camera, will import that. Then last but not least, we've got our last folder. This is time-lapse footage. We're not going to worry about the time-lapse footage for now because this is going to be covered in a future episode. The import process for time lapse is a little bit different. We'll just go back to our project tab. As you can see, we've got all of our footage imported. But the problem is, at the moment, it just looks really busy and really cluttered. This is where we need to move on to organization. 5. Organisation - Bins (Folders): Organizing your footage may feel like a bit of a waste of time in the beginning because we're all excited to jump into Premiere, just start throwing off footage in and begin with the effects. But if you just spend a moment to organize your footage, it will help you to create a really smooth and seamless editing workflow moving forward. I'm just going to show you a few different tips on how I organize my footage inside of Adobe Premiere. Now what I'm going to do is I'm just going to expand this region just because this area is a little bit too small for my liking. You can either select this, go to Maximize Frame, and that will maximize the frame there, or if we restore that frame size, we can just pull these up and that will increase the size of that workflow. The thing is that I feel like that's still a little bit too small for my liking, so I'm just going to select this area, make sure it has that blue outline. We'll go Window, Maximize Frame. As you can see, we've got this shortcut here, so that is a shift and then this dash here, so if you do that, if you press those two at the same time, it will maximize or restore the frame size, that is the keyboard shortcut. As you can see, we've got loads of different media files here, we've got this footage up here which is red footage. As you can see, the frame size is 5,120 by 3,000. We've got these food clips, these are 1,920 by 1,080. We've got 4K footage, we've got more red footage, then we've got our city footage filmed in 4K, and then we've got DJI footage as well. Then you've got all of these other settings as well but to begin with, I'm just going to talk about bins. Now, bins in Premiere are basically folders and I use these bins to organize the footage in terms of cameras that it was filmed on. Of course though, if you just have one camera then you can do this into scenes, you can do this into sections of the video. If you're doing a music video, for example, then you could do a bin for performances, a bin for story-lines shots, a bin for JVs. You get the idea here, bins are folders and folders are a great way of keeping everything neat and organized. In order to create a bin, you can do this one of two different ways. You can scroll down to the right and as you can see, you've got a new bin button down here. You've got a new item and a new bin just on the left of that. You can select that and that will create a new bin up here. Alternatively, you can just right-click or double-click, go New Bin, just there, and that will also create a bin as well. Let's rename this top one, we'll call this RED, we'll call the second one FS7 because that is our FS7 footage. Then we need to create another bin, so we'll go New Bin, we'll go Drone, and then we can just go through the process of organizing these. All of these AOs, these are the red footage so we'll just drag those into the red folder. These MXF files, these are all Sony F7 so we'll drag those into the FS7 folder. Then DJI, that is your drone footage, so we'll drag that into Drone. As you can see, we can collapse these down and we've got RED, FS7, Drone, and that looks instantly a lot more organized. If we want some drone footage, we just jump into the Drone folder, and then we've got all of our clips there. This is our first drone clip, this is our second drone clip, this is our third drone clip. But of course, organization can go so much further than just putting our footage into folders so we'll expand this area again and I'll show you what I mean. 6. Organisation - Colour Labels: Let's go into the FSM folder for example. You can see we've got three different tags here. We've got four clips of food, two clips of Hollywood, and nine clips of city. A great way of differentiating our clips very quickly and very easily is to add a color to a specific group. Let's go for food. Let's say our food wants to be one color, Hollywood wants to be another color, and city wants to be a different color. We select all four of those food clips, we'll right-click, go into a label that should be at the bottom. Then we can pick one of these color groups. Let's go for mango, and that will make that an orange color. The problem is though the folders are default set to mango, so that might get confusing, so we'll re-label that to tan, and that's slightly different. Now we go to Hollywood, we'll right-click, go to label, I'm going to go forest. This is a green. Then we'll go to our city shots, right-click, label, and then we can go for blue. You can see we've got three different colors. Everything is blue is city, everything green is Hollywood, everything tan is food. 7. Organisation - Marking 'Good' & 'Bad' Takes: Of course though, again, we can take that much further. If we scroll over to the right, you can see we've got good and we've got hide. I can just work through all of these clips. Let's go to Food 1. We'll play through this take and if we like the look of this take, then we can just mark it as good. If we wanted to get rid of a take, let's say Food 2 isn't any good, we don't want that one, we'd just go hide and that will get rid of that. As you can say, that was a duff take, we didn't want that one. We're not going to use that in the edit so we've hit that. Of course though, if you've hit some footage and you didn't actually want a hide that, then you can just right-click on your projects and we can go View Hidden. That will bring back that hidden clip. Then all you can do is just unmark that as hide. We'll just get rid of that there. There we go, we can see our Food 2 clip is back again. Then from there, you can just work through each individual clip and mark them as good or you can hide them from your projects if you like, and you can do that into each folder as well. We've got our drone, we've got our FS7, and we've got our red. When it comes to my own projects, I would just go through all of these individual clips and just mark the good takes as good. That way, I know I can quickly look back at the clip, see which ones are good, and just throw those straight onto the timeline. I know it feels like a waste of time doing this upfront. But if you know what clips are good and what clips are bad to begin with, it can help you to create an edit later on, and that will help you speed up your editing workflow. 8. Organisation - Search Bins: We've got our video clips organized into their folders and they're all color coordinated according to which type of footage they are. But of course, we can also do a specific search for specific footage. Let's say we only want to target 1920 by 1080 footage, we're not interested in this 4K or this 5K footage, we only want 1920 by 1080, so we'll close down these folders, we'll right-click and we'll go for New Search Bin. Here you can see we've got this Create Search Bin option, so search all metadata so we can target a specific section. We can go for Frame Rate, we can go for Media Type, Offline Properties, Video Codec, Video Info, select Video Info in this example, we've got Video Info and find 1920. Press "Okay," and that should load up all of the clips that are 1920 by 1080. This is our search bin here, video info 1920. You can see the video info is 1920 by 1080. If we go back into our FS740, you can see 1, 2, 3, 4 clips are 1920, and those four clips are now in our search bin. If you wanted to create these search bins for specific frame rates, frame sizes, or different settings, then that is a great way of quickly scouting into that specific footage. I find this is really useful when you're trying to separate JVs and real-time footage. Let's say you filmed an interview, for example, you put all the 25 frames per second footage into one search bin and all of the slow-mo footage into one bin, and then you can just search for all the slow-mo footage and throw them on top your interview later on, it saves you scrolling through the edit to try and find a specific clip that you're looking for. 9. Organisation - Adding Descriptions on Your Footage: Then of course, there's one more thing that I love to do with this footage when I'm organizing this, and that is to add descriptions. Let's go into this FS7 footage for example. Let's click this. We'll double-click this. As you can see, this first clip is somebody squeezing an orange into a glass. If we just scroll over, you can see we've got description, so we can call this Orange Glass. Move down to Food 2, and we've got this plate or this bowl close up, so we go Bowl. Food 3 is this pan, so we can rename this to Pan. Food 4 is this is the food reveal, so we can call this Food Reveal. That way, when we're trying to look for a specific clip, we're trying to look for some food reveal footage, we just go into our folder, we search for food, and there you go. Food reveal is that and we can just drop that into our sequence. 10. Creating a New Sequence - Intro: At this moment in time, we've created a new project, imported our footage into Premiere, and organized that ready to begin editing. That means we need to go ahead and create a new sequence. 11. Creating a New Sequence: When you're creating a brand new sequence, there's two ways of doing this; you can either go into File, New Sequence, and you can sell like that. You can go into the Project window, go New Item, New Sequence, or alternatively, and there is a bonus third option, you can do the keyboard shortcut, which is Command and N, or Control and N if you're on Windows. Command N, and that should load up this option here. Alternatively there we can go File, New, Sequence, and this loads up the New Sequence window. Now by default, your Custom mode here will be empty so I'm going to close that down for now. You've got all of these available presets to you. You've got ARRI presets, you've got AVC- Intra, AVCHD, all of this just sounds really complicated and completely unnecessary. What I'm going to do is I'm going to show you how to create a custom sequence and this is how you're going to be able to tailor this to your specific needs. What I'll do is I'll just start by selecting an ARRI presets so I'll go ARRI 1080 25. Then we'll go over into Settings. This is where we can create our own custom sequence. We'll go into Editing Mode and we'll change this to Custom. Our Timebase is the frame rates of a project. Now if you're in a PAL region, then you're going to want to select 25 frames per second or if you're in an NTSC region, you're going to want to select 23.976 or 30 frames per second. But the difference between PAL and NTSC are basically just geographical so England, for example, is under the PAL and America is under the NTSC region. Just select the specific frame rate that you want. In this example, because I'm based in England, I'm going to select 25 frames per second. Then we can move down to our Frame Size. Our frame size is the quality of the video, so 1080p, 720p, 4K, 5K. This is where you're going to input those numbers. In my example, I wanted 1080p widescreen video. I'm going to set the frame size to 1920 by 1080 and it should be set to that by default. Of course, if you wanted a square video then you could just do 1080 by 1080, and that will change this to one by 1 or if you wanted a vertical video, for example, let's say you're creating a project for Instagram stories or Facebook stories then you can just go Frame Size 1080 by 1920, you've got 9 by 16. But I'm going to go for a wide-screen option so I go 1920 by 1080. That should set the aspect ratio to 16 by 9. The Pixel Aspect Ratio can be set to Square Pixels 1.0. Fields, I generally like to leave as No Fields Progressive Scan but if you were trying to create an interlaced project then you can set this to upper field, a lower field. But generally, if you're creating a video for YouTube or social media, you want to keep this as progressive scan. Display Format will be set to 25 frames per second timecode. Working Space can be Rec. 709. This is basically just your colors, Rec. 709 is the default though air. Your Audio and moving down, we've got sample rates, keep this as 48,000 Hertz. This is the best quality, I'd say. Display Formats can be audio samples. Then we've got our Video Previews. I'll keep this as I-Frame Only MPEG. Of course you can display this in GoPro CineForm, QuickTime, any one of these settings here, but this is basically just your video preview. When you render this in Premier, this is the quality that it's going to play it back in. It'll playback in the format of MPEG with a width of 1920 by 1080. Now you can select a maximum bit depth and maximum render quality if you want it to play this back in real high quality but this will slow your machine down. I like to keep this as a blank. Then you can go ahead and select Tracks and you can increase the video track. If you've got a music video for example, and you need 20 tracks to sync performances in, then change the video tracks to 20, like so. But generally, if you're editing a montage video, an interview, a corporate video, or a YouTube video, you're probably not going to need any more than five, so just set that to five. Then the same thing with the Audio, you can create new tracks or you can get rid of tracks by deleting them. It's completely up to you. You can also select at this point whether you want your audio mix to be Stereo, 5.1 Multichannel, or Mono. Stereo is left and right. Your 5.1 is your Dolby surround sound, multi-channel and then you've got mono, which is a mono mix. I generally like to keep this as Stereo though. This is just the basic setting. Then you've got VR Video but unless you're creating a virtual reality project then you can just ignore this. Once you've got all of these settings and you can save this as your own presets. If we go Save Preset, let's go 1080 or if this is the one setting that you're only ever going to use, you can rename this to use this one only or you could go for YOUTUBE SETTING. It's completely up to you here and then you can also add a description here if you want, 1920 by 1080 wide. I know what you rest of you know so and press "Okay". Then that will take us back to the Sequence Presets menu, which is this first menu here. But if you go into the Custom tab, we'll open that up, you'll see at the bottom you've got the YouTube Setting preset, and that is the one that we just created. All you have to do then is just rename the sequence. Let's call this Video, press "Okay" and our sequence is now created. 12. Navigating Premiere - Adding Footage into Your Sequence: Once you've created your sequence, this is how your project should look. Over here on the right, this is your workspace. This is where you're going to be importing your footage to, this is where you're going to be cutting the videos, and each video will live on one track. You've got video layer 1, video layer 2, video layer 3, video layer 4, 5, and then also your audio channels as well. Let's drag some footage on and see how this works in Premiere. We'll go into the red folder, for example. We'll go down to one of these clips. We can double-click to preview the clip if you wanted. There you go. You've got all of these different clips. Let's go for this one here, so we've got the ocean. We'll drag that into our project, and you can see we've got this clip mismatch warning option come up. It says, "This clip does not match the sequence's settings. Change sequence to match the clip settings." The reason why this is coming up is because the project is a 1080p HD project, but the video was filmed in 5K. The video which is 5K does not match the sequence which is 1080p. But that's fine because we can scale down the video, so keep existing settings. This video clip didn't have any audio attached to it, so you've only got the video on video layer 1 and no audio. But if we go into our FS7 layer, let's go for Food too we'll drop that onto our timeline. This does have audio attached to it and you can see this is here. If you didn't want the audio file attached though, then you can just unlink, so right-click, Unlink, and you can just delete the audio from the video, so that now has no audio. Of course, if you didn't want to delete the audio, but you just didn't need it for now, then you could just press "Mute", 'Mute", "Mute" on all of the channels and that's just going to mute that layer. Alternatively, if you're recording professional audio into one of those channels and not the others, you could just solo that specific layer, and that means only this audio on layer 1 will play and all of the others will just be muted. But we'll delete that audio for now. Then let me show you how Premiere works with these tracks. We've got 1, 2, 3, 4, 5. If we drag this food clip onto to layer 2, on top of video layer 1, we've got the waves playing here and then it cut over onto this food clip. That's because any video clip sitting on top of another video clip will get priority. So if a video was on video layer 5, and we had a video on video layer 1, the one on 5 will be prioritized over the one on 1. Now, on my YouTube channel, I make tutorial videos quite similar to this. But one of the things that people always message me saying is they have a random video clip playing and they don't know why or where it's come from. In reality, it's actually a really easy fix. Let's say your timeline is much smaller, so you can only see 1 and 2, if I'm playing this, but you can't see the second clip but for some reason this clip comes in, and that's because this video is playing up on video layer 5. If you didn't want this to appear, then just delete that video on video layer 5 and this video on video layer 1 will continue to play. 13. Navigating Premiere - Exploring Essential Buttons & Sections in the Editing Panel: This is the editing workspace and this is where you're going to spend most of your time, so let me talk you through some of the useful settings and useful options that are going to help you create your video. We're going to start on the timeline here, and as you can see, we've got these different buttons here. This here is a track lock. If you press this padlock icon, it's going to lock this. If it's unlocked, I can move this video. But if I lock it, I can't move it and I can't do anything to it. That's really useful. Then you've got this option here. At the moment you've got V1 selected, but if I select it V5, and then I copy and paste this video rather than pasting on one it will paste on five. If I select 3, it will paste onto 3. As you can see, that is pasting wherever this cursor is. Then you've also got the Toggle Track Output option. This is basically just your eyeball. This is your opacity. If you turn this layer off, then everything on this layer will turn off. If we turn that off, even when we export this entire track everything on video layer 1 would be missing. If you wanted to hide a specific layer or hide a specific clip, then that's really useful. This is really useful if you've got multiple video stacked on top of each other and you're trying to play these back, but your computer is struggling to play. If you just turn off a few of these tracks of videos, it means it's only going to actually play one or two of these clips, as opposed to all five of the video clips. Moving up, we've got the Snap in Timeline setting and this one I find really useful. If we turn this off and I try to move this video clip to the cursor, unfortunately, it doesn't matter how much time I try and do this, I always struggle to get this to line up with that cursor. It's extremely difficult and extremely awkward. Let's just move this back and we'll turn that on Snap in Timeline, if we drug this over, it should now snap to that cursor. It's perfectly in time where that cursor is. I always like to keep that activated. Next up we've got Add Marker, and this is exactly what it sounds like. If you wanted to make a mark at some point, just add a marker. That will create these little markers on your timeline. If something happens at a specific time or if you need to address something, just add a marker. Then once you've addressed that, you can just go ahead and get rid of that marker. Now there are other settings here, but again, these are the ones that are going to be most useful to you. You've also got Mute and Solo on your audio, which are very useful. You've got this setting here. If you have this selected or deselected, then it will paste onto any one of the tracks that are selected. Then you've got the Toggle Track Lock as well. Now moving on, you've got this toolbar here and the awesome really useful tools here and every single one of these can give you something really awesome and really unique. But for now I'm just going to talk about the most useful ones that you're going to need to get started. Your Selection Tool it's just your general cursor. Moving down we've got this tool here and this is a Razor Tool. The Razor Tool is basically just going to allow you to make cuts in your video. Then we've got a Pencil, and this is going to enable you to make masks on your video. We'll talk about mask in a future episode, but I find that to be really useful. Then lastly, we've got the Type Tool. If you type somewhere with this selected, you can go ahead and add some text. But we are going to talk about texts in a future episode so I'll get more into that in a future episode. Then down here in the bottom left, you've got all of these tabs here. You've got your Project tab, you've got your Media Browser where you import, you've got your Libraries, you've got project info, you've got your video effects, you've got Markers. This is where all of your markers that you created on your timeline are going to populate. You can see we've got two markers created and you can go ahead and make a caption so you can say, color correct this section, I definitely misspelled that, but never mind. That means when you click on one of these markers, you can see at this specific time, what you need to do. This is a great way of adding amendments or little notes that you need to address. Then you've got the History, and this is just a log of your history in Premiere. The tools that you've used and the things that you've actually done in Premiere. Next up, we've got this top-left side and you've got our source and monitor. If we double-click this footage here, this is what the footage looks like to begin with and then this over here is our program editor. If you've got some effects or some color correction applied to this video, they will be seen in this video, but they won't be played back in this video. This is just the source. This is what the video looks like before you've done anything to it. In this window here is once you've got all of the effects applied. Moving on, we've got the Audio Clip Mixer, and that is how this looks. Then moving on, Effect Controls is one of the most important tabs that you're going to use in Premiere. In Effect Controls, you've got Motion, Opacity and Time Remapping. Motion, you're going to control your position, your scale, your rotation, your anchor points, and your anti-flicker filter. Let me select this part of the video. If we move the position from left to right using this, you can move it up and down using the second option, we can increase or decrease the scale. If you set this to something really bizarre or let's say you've moved over and you can't find it, if you just reset this using the arrows, it will reset those settings. Next up you've got the uniform scale. If you wanted to control the scale width and the scale height independent to one another, you would unlink this and then you can adjust the width and the height of this independently. That is an extremely useful feature and we'll get more about that in a future episode. Then we've got Rotation, and then we've got our anchor points. Now Position, Scale, Rotation are all very easy to understand. We all know what they're going to be and what they're going to do, but the Anchor Point is the first setting in Premiere that makes us scratch our heads and wonder what is an anchor point? In answer to that question, an anchor point is basically just a point where the motion is coming from. If I set the anchor point to the middle of this notepad, if I was to rotate this, it will rotates around the middle. But if I set the anchor points to this corner, if I was to animate the rotation, it would rotate around this corner. That is because the anchor point has changed to that corner. I'll show you what I mean in Premiere. If we move the anchor point over to the right, as you can see, it is on the right side of this video. If I rotate the video around, it is not rotating around this point. That means when animating the rotation at this point, the rotation looks completely different with the anchor point on the right versus in the middle, as you can see. Then you've got your Anti-flicker Filter. This is just going to remove any unwanted flicker, but don't worry about that one for now because that's a little bit more complicated. Then moving on to Opacity, you can see we've got the opacity percentage. If we pull this down to 0, it's going to disappear, if we have this at 50 percent it's going to be slightly transparent, and 100 percent is completely solid and we can see that there. Then under Opacity we've got Blend Mode. Blend Mode has a world of different options. You've got Darken, Multiply, Color Burn, Linear Burn, Darker Color, but you won't see anything on just one individual clip. Let me drag another cut on. Let's go FS7 we go Food 4, we drop this onto video at layer 2, and I'll change the blend mode of the second clip. Let's go to Opacity, Blend Mode, Normal. We change this to Multiply. As you can see, this second video is bleeding through. If we change that to Screen, it changes again, and if we change that to Soft Light, it completely changes. The blend modes are basically just how two clips are going to blend between each other. If you set the blend mode of the top clip to something, it will interact with the bottom clip a little bit differently to the other. Different colors and different luminances and different saturations are affected differently with the blend modes depending which blend mode that you select. That's a little bit complicated for now though. Don't worry too much about blend mode for now. Then moving down, we've got Time Remapping. This is all to do with your speed and your controlling of that speed. But again, we'll talk about that in a future episode. Then lastly, we're just going to go over to the video monitor and you can see we've got this bar here, this bar here, and then you've got these options here. Overhead, this is your time code and as you can see is the time. If we're 58 seconds in and 18 milliseconds that is represented up here. Fit is basically just your zoom, so you can change this to 100 and we can zoom in, 400 we're re-going to zoom in, or you can just fit that to the monitor. When you set it to Fit, it doesn't matter how you move this monitor, it's always going to fit the size of that player. Whereas if this is set to 75, if I was to pull this down, then that's just going to lock there. We'll set that to Fit. Then moving down, we've got this here and this is basically just this cursor here and this is the timeline so we can scrub through a video using this as opposed to this. What's really useful here is if we press plus or minus on the keyboard, we can actually zoom in and go frame by frame, if you zoom all the way in, as opposed to go in seconds. You can literally travel seconds if you zoom all the way out, or if you zoom all the way in, you can travel milliseconds, as you can see here, that's very useful. Then moving on, here, we've got our Add Marker shortcut. We've got Mark In, Mark Out so you can create in-points and out-points for your videos. You've got Go to in, Step Back 1 Frame, Play-Stop Toggle, that's just your play and pause. Step Forward 1 Frame so you can step forward and that's just going to take it frame by frame to the right, or if you go back, that's going to be left. Then you've got Lift and Extract, but we'll come back to that in a future episode. We've got Export Frame, and this is going to export a still of your timeline. Then you've got Comparison View, but we'll come back to that in a future episode. Then you've got Toggle Proxies, but proxies are to do with the importing of complicated video files. Ignore that for now. Then possibly one of the most useful menus that I've saved for last is the Settings menu here. You can see we've got our Composite View, Alpha View, Multi-Camera or Comparison View. This is how we're viewing our video. By default it would be set to Composite, but if we have Multi-Camera, and that's how we can do multi-camera edits, Alpha we can focus on transparent videos. Then if we move down, we've also got a world at different effects and things here so you can do, we can view our Safe Margins or a Transparency Grid. Let's turn Safe Margins on, you can see we've got this guide. Basically anything that falls out of the monitor may not be seen if it's played on specific devices. Then you've got Show Rulers, Show Guides, Overlays, you've got your Overlay Settings, but you can explore through all of these settings in your own time. But the ones that I want to focus on, here are Playback Resolution and Paused Resolution. At the moment, if I zoom in, we'll go to 400 percent. This looks quite blurry, and that's not because it's a blurry video. The reason why that is blurry is because it is currently set to a paused resolution of 1/4. It's only a 1/4 of the quality. If I set this to Full it is all of a sudden really sharp and it looks so much better. Now, the reason why I set this to 1/4r resolution as opposed to full resolution when I'm in the edit is because sometimes when you're playing this back at full quality, unfortunately Premiere can lag and startle and it can be quite painful to edit with. If you set this to quarter quality or if you're in a larger frame size, you have access to an 1/8 or a 1/16 of the equality. This means that you're going to be able to play back high-quality videos in real time and make real-time edits, which is really useful. I'll show you what I mean. I'll set the playback resolution to Full. Then because we've got two video clips on top of each other, we've got this food clip and then we've got this beach clip below. If I was to play this back. Actually it played back quite smooth there unfortunately. Normally it would it startle a little bit. Let's play this back with that footage on top. It's lagging a little bit. You can see there are a few frames being dropped over here on the left. But if I was to pull that down to 1/4 resolution, let's make your playback and paused resolution 1/4. We'll play this back, you see the hand behind is now playing back smooth in real-time as opposed to that startle motion before. That is probably one of my biggest takeaways from this entire lesson, playback and pause resolution. If you're struggling, if everything is freezing and jittering, put your playback and your paused resolution from full to 1/4, or an 1/8 or a 1/16 if you can access those and everything will play back a lot smoother for you. 14. Navigating Premiere - The Effect Controls Window and Applying Effects: In this episode I'm talking about effects and the effect controls tab. I'm going to show you how you can control the effects that you've imported from the effects tab, so let's get into it. We'll begin by just dragging a clip onto our sequence, like so. Now, at the moment you can see in the source this is actually a larger video, but when it's playing back here, you can see we're zoomed in on this one flower. The reason why it's happening is because this is a 4K video clip in a 1080P video. Because 4K is this big and 1080 is this big, we're only actually seeing this one section of this large video. If we go to the effect controls tab and if for any reason you can't see this, you just want to go to window, effect controls and make sure there is a tick there. But once you're inside the effect controls tab, you can see you've got motion, position, scale. I'm going to pull the scale down until it fills up the screen. As you can see, this blue outline around the video represents the full frame size of this clip. If we pull it out to 50, you can see that perfectly fills our 1080P video. Now we can move on and talk about effects. If we go into the effects tab on the bottom of premier, you can see we've got presets, and lumetri presets, audio effects, audio transitions, video effects, and video transitions. Now, I'm not going to go into transitions yet, but we'll go into video effects. In this section you can see we've got adjust and we've got all of these different effects there. We've got blur and sharpen, then you've got channel, you've got all of these different effects. The color correction, we'll get into that in a future episode. Distort, generate, image control, immersive video, keying, noise and grain. Obsolete, these are just the old effects in premiere that are still there. You can still use them, but there's newer versions of them. Then there's time transform, transition utility and video. If you wanted to add an effect to one of your videos, then you just scroll through this list of effects, and you just direct one of those onto your clip. Let's go for a distort one for example and let's go for lens distortion. We'll drop lens distortion onto our video clip. I've also just drag and drop it straight over. Then you should go over into the effect controls tab, you can see underneath motion, I passed the time remapping. We've got lens distortion and you can see we've got our curvature, vertical decentering, horizontal decentering, vertical prism effects and all these other effects. If we change the value of these numbers, you can see it's affecting the video. That's the basics of effects in premier. Once you drop an effects onto your video clip, it populates over into the effect controls tab. Let's go for wave warp for example. Again, that goes over to effect controls and you can change you can change all of these settings in here. Now each setting, each plug in, each thing that you drag on is going to behave differently to one another. There's no setting that marries up between all of the settings. Each plug-in works differently to one another. Let's go to stylize and we can go for mosaic for example. We turn that on, that's going to create this mosaic effect and if we increase or decrease our horizontal blocks, then that's going to change the look of the effect quite drastically. Now as you can see, there are loads of different folders and in each folder there are loads of different effects for video. Of course, if we go into audio effects, we've also got all of these other amazing audio effects here, and that works the same. You just drag and drop them onto the audio track that you want and then it populates up there in effect controls. But as you can see, you've got video on top and audio underneath. But for now, I'm just going to show you some of the most popular effects. If we search for crop that is in transform, drop that onto your clip and this is going to allow you to crop your video like so. By the way, if you're seeing this checkered background, that's because this has a transparent background, because nothing is underneath this video, the city video. This is actually a transparent video, but if we go into settings and turn off the transparency grid, then that would just turn black. As you can see, that is the crop effect, that's a very popular effect. You've got levels and this is a great way of adjusting the brightness of your clips, so drop that on. Then as you can see, you've got black input level that will crush the blacks. White input level will increase the highlights. Then you've got your gamma controls and that's just going to brighten or darken your video. We will get into color though in a future episode, so we'll touch more on that then. There you go, that is the basics of effects in Premier, you search for any effects tab, drop it onto your video or your audio clip of choice and a controller in the effect controls tab. Moving forward in this course, I'm going to talk about the effect controls tab and the effects tab in more detail to create specific effects. 15. Keyboard Shortcuts - Intro: In this lesson, I'm talking about keyboard shortcuts. Keyboard shortcuts in Premier are an absolute must. If you're not using keyboard shortcuts, then it's going to add so much time onto your editing workflow. Navigating through all the different menus, trying to find the specific tools or settings that you need. I'm going to show you a few specific keyboard shortcuts that will help to speed up your editing workflow. I'm also going to show you how you can create your own custom shortcuts. Let's get into it. 16. Keyboard Shortcuts - My Favourite and most used Keyboard Shortcuts: I'm going to begin by demonstrating a few of the keyboard shortcuts that I use every single day on my video projects with my clients. 17. Keyboard Shortcuts - All Keyboard Shortcuts: To access all of the keyboard shortcuts, you want to go up into the Premiere Pro bar up here, and we'll go Keyboard Shortcuts. As you can see, the keyboard shortcut for the keyboard shortcuts window is option, command, and a K. If you hold all of those, that will load up the keyboard shortcuts menu like this. Of course, if you're on Windows, that will give you a different series of buttons to press to get to this menu. In the keyboard shortcuts window, we can see we've got all of these different keyboard shortcuts mapped to different buttons. Let's start across this here. You've got Select Camera 1, 2, 3, 4, 5, 6, 7, 8, and 9. This is to do with your multi-cam edit. We're going to talk about multi-cam editing in our future episode, so ignore that for now. Then you've got Zoom Out, Zoom In, plus and minus over here. Then you've got Ripple Trim, Ripple Trim, Extend Selection, Type Tool, Slip Tool, Slide Tool, Mark In, Mark Out, so that's your I and your O. You've got the Pen Tool, Decrease Clip Volume, Increase Clip Volume, Zoom to Sequence, Track Select Forward Tool, Snap in Timeline, Select Clip at Playhead, Match Frame, Audio Gain, Hand Tool, Shutter Left, Shuttle Stops, Shuttle Right. That is J, K, and L, Lift, Extract, Render Effects in Work Area is the return button. Then you've got the Zoom Tool, Mark Clip, Razor Tool, Selection Tool, Ripple Edit Tool, Rolling Edit Tool, Add Marker, Razor Tool, and then the space bar is the Play-Stop Toggle. Then of course, you've got all these buttons over here as well. If you go into this menu, you can see all of the keyboard shortcuts available. Now if you're not happy with the look of this, then you can change this by either changing the preset or you can map out your own keyboard shortcuts. 18. Keyboard Shortcuts - How to Change Keyboard Shortcuts: If you go up to "Custom", you can actually change this to Final Cut Pro, Avid Media Composer, Adobe Premiere CS 6, or Adobe Premiere Pro Default. If you're used to edit on Final Cut Pro, for example, if you change the workspace to Final Cut Pro, it will change all of the keyboard shortcuts to match the keyboard shortcuts from Final Cuts. This means if you're transitioning from Final Cut to Premier, it's going to make editing and getting used to this new software much easier. The same thing applies for Avid Media Composer. But let's say you want to completely change this, let's say for example, you wanted to put the Razor Tool on Z. What I would do is I would first search for the Razor Tool, there you go, Razor Tool. You've got shortcut here, you can actually add in your own custom button here, so let's select Z. At the moment it says Shift plus Z, and that is because Z is mapped to the Zoom Tool. If you search for the Zoom Tool Z, you can actually delete Z there. So delete the keyboard shortcut there. We'll get back to the Razor Tool, and you can change this, get rid of Shift plus Z and add in Z. Now Z is mapped to the Razor Tool. Then you can just keep going through all of this process, adding in all your specific keyboard shortcuts so you can add your cuts. Your Razor Tool and your Selection Tool over here you can add your Shuttle Left, Stop and Right. Up here you can add your in points, your out points, and add in all your specific keyboard shortcuts up here. But once you're happy with the look of that, you just press "OK", and now you can go ahead and continue editing in Premiere Pro using your new keyboard shortcuts. 19. Keyboard Shortcuts - Outro: Like I mentioned before, keyboard shortcuts are going to save you so much time when you're editing in Premiere. My advice to you is to figure out which keyboard shortcuts you like, figure out which ones work for you and your editing workflow. Feel free to remap your keyboard to your specific keyboard shortcut needs and use those keyboard shortcuts in your editing because once again, it is going to save you so much time when you're editing in Premiere. 20. Keyframes - Introduction: In this episode, I'm talking about the basics of keyframes and keyframe animation, and how you can combine keyframes and effects to create really interesting and unique effects on your video. So let's get into it. 21. Keyframes - Getting Started & Motion: With some footage imported on your timeline, you can see we've got this food clip on our timeline. In order to do keyframe animation, we first want to go to the Effect Controls tab that we were in in the previous episode. Here, you can see we've got motion, opacity, and time remapping set to default. Let's begin with the position, the scale, and the rotation. We'll go to the very beginning of the video. We'll go to the Position, and press this stopwatch icon, and then you see Toggle Animation button. Then we'll get on to Scale, we'll press the option, and we go down to Rotation. Now you'll notice that this stopwatch icon on position, scale, and rotation, the icon has turned blue and that is because we have now activated keyframe animation, which means if we move forward in time, so let's go to five seconds. If we change the values of the position scale and the rotation, then it will animate between the first point and the second point. If we zoom in on the scale, we zoom into here. We'll adjust the position so that this is in the center and then we'll add a little bit of rotation onto this as well. It basically means that at this point in time where the first keyframes are, this is the value, so it's 960 by 540, 100, and zero. Then we go to the second keyframes. All of those numbers have changed and it's going to animate between the first points and the second points. This is going to create a zoom in with a little bit of a rotation as you can see. But let me change the opacity. Let's say if I wanted to change the opacity over time at this point, it's 100. If I was to move over and pull that down to zero, unfortunately, it's zero throughout the entire duration. The reason why is because we didn't activate this keyframe animation. If we pull the opacity back up to 100 percent, create a brand new keyframe and move over, and then pull it down to zero. It will animate between those two points to create this fade-out effect, as you can see. But if you didn't actually want that keyframe animation on that effect, then you just press that Toggle Animation button. It will bring up a warning menu to say, "This action will delete existing keyframe. Do you want to continue?" Press "OK" and then pull that back up to where you want that to be set to. That's how you remove those keyframes. Of course, you can also just highlight specific keyframes and delete those like that. 22. Keyframes - Keyframes & Effects: But the great news is, with keyframe animation is it's not just applicable to the motion tab. It's not just the position scale and rotation that you can animate with these keyframes. You can actually animate your video effects. We're going to go back into our Effects tab and grab an effect of our choice. We'll go into Effects and we're going to go into Video Effects, and we'll do Color Correction, then we'll go for Tint. We drop tint onto our video, and as you can see, it's immediately turned black. Let's say we want to start in full color. We'll pull out opacity down to zero, so amount of tint is zero. Grab a brand new keyframe on the Toggle animation there. Then we'll move over in time and pull that up to 100 percent. Basically, it means at this moment in time, we're full-color, but by the time we got over here, we're black and white. Let's check that out. There you go. So that has applied to that. Of course, you can also animate these different settings here. We can start with the map black to black. But if we move over to the second keyframe and we change this black to red, for example, this is now turn red. It's going to change from map black to black to map black to red using those keyframes as that reference. Now the great thing is with keyframe animation is once you've created that point, you don't just have to keep it in that one point. If this zoom in, for example, is too slow, then you can just move these keyframes closer together, decrease that gap. As you can see, there's a really small gap there. That means we're going to get the sharp, fast moving. Of course, on the contrary, we can also slow that down by increasing the gap. That's going to create this really nice, subtle zoom in using keyframe animation. 23. Keyframes - Convert Linear to Ease In Keyframes: Now I've showed you how to do that with an effect, so I will just delete the tint effect for now and I'll go back to this motion. I'm just going to move these keyframes closer together like this. When we play this back, you can see, when that keyframe comes in, we immediately start moving and then immediately stop moving after as well. That can look a bit abrupt, especially if it's in the middle of the clip like it is in this example. Instead we're going to select all of those keyframes, we'll right-click on one of them, go to Temporal Interpolation, and at the moment it should be set to linear. But if you select Ease In, it basically means that when you have a keyframe, rather than suddenly starting the movement when the keyframe starts, it will slowly accelerate into that movement and it just makes everything look a little bit more fluid and therefore more professional. Let me show you how that looks in video. There you go, you can see that slowly zooms in. You can really see it on the outpoint as well, rather than suddenly stopping, it gradually slows down to that point. That just makes the animation look a lot more professional. 24. Keyframes - Keyframes & Effects Continued: Now keyframe animation can literally be applied to everything in Premiere so if you wanted to add a flash effect, let's search for Levels, drop levels onto our video clip. We can create a brand new keyframe on the white input level at 255. We'll go one frame over to the right, pull this down so that it increases the brightness and then we go a few frames over to the right and pull this up to 255 again. Now when we play this back, it's animating between these values, 255, 122, 255. That's how this looks. We get this flash effect. If you've got into video effects as well and we go into, let's go Transform, would crop or drop crop onto our video. We can also animate the crop so roughly halfway through we're going to set the top crop and the bottom crop to zero. Then we'll go towards the end somewhere. Somewhere around here, we'll set the top to 50 percent and we'll set the bottom to 50 percent. Now, as you can see, that is cropping in a weird angle and that's because we have animated the rotation. If you wanted to get rid of the rotation, we'll go Toggle animation off, press "Okay" and set this back to zero and that should go back to how it should look. Let's play that back. You can see we've got the animating in but again, this isn't quite looking right, and that's because we've animated the position and the scale. We'll delete this second point on position and scale. As you can see, we've got this really nice effect. It's slowly animating in and it's fading out using this crop, this Toggle animation, as its motivator. Again, if that feels a little bit too jarring going into that, you can just highlight all of those keyframes, we'll right-click and select "Ease In" and that will ease into the action, which is great. 25. Keyframes - Outro: Keyframes and keyframe animation in particular are the backbone of animation inside of Premiere. If you want to adjust your brightness over time, keyframe animation. If you want to add an effect over time, keyframe animation. If you wanted to increase the scale or create fake camera movements, you've guessed it, it's keyframe animation. My advice to you would be to direct some of your clips into Premiere, drop some effects on, and see how keyframe animation works with different effects, different plugins, different movements, and get really comfortable with how keyframe animation works, because I'm going to be using it quite heavily throughout the rest of this course. In the next episode of this course, we're talking about transitions. I'm going to use keyframe animation as a motivator for those transitions. 26. Transitions - Intro: In this lesson, we're taking what we learned from the previous two lessons, and we're taking that into creating transitions for video. Let's get into it. 27. Transitions - Preparing Your Clips: So before we jump into the effects and start animating our keyframe animation, we need to make sure that we've got two video clips sat next to each other in Premiere. We'll go into Premiere and we'll just select a random clip, and we'll just drag that into our sequence. Now there's one of two different ways that you can do this. You can either double-click that, select which part you want by using the endpoints and the outpoint and then drag that in. Alternatively, you can just drag a random clip into your project, into your sequence like this. Proceed on the keyboard to load up the eraser tool, and then just make a cut. Press V, delete the first and the third parts of that, and then just drag these two clips together. So now you've got two clips in your project. The problem is that the second clip is a full K clip in a 1080P composition. So we need to go into Effect Controls. Select that video clip, go scale, and pull the scale down to around 50 percent, there you go. So you've got the full-size video now in our composition. So we're going to transition from this video clip into this video clip. Let's begin with the first transition. 28. Transitions - Using Premiere's Transition Presets: Once you've got your two videos on the timeline, the easiest and the quickest way of doing a transition is to go into effects. In here you can see you've got video transitions. When we click that, that opens up this list of folders. We've got 3D motion, dissolve, immersive video, iris, page peel, slide, wipe, and zoom. All of these are preset transitions. If we go into dissolve, for example, you can see we've got additive dissolve, cross dissolve, dip to black, dip to white film dissolve, morph cut, and non-additive dissolve. All you have to do to add these transitions into your clips is to just select one of those, drag that in-between the two clips, and that transition is now applied. We'll play this back. That's our first transition now added in. If you wanted to speed this up, then all you have to do is just zoom into the transition, we'll close this here and that has shorten that and therefore sped up the transition. You can pull this down and make this a really short amount of time, and that will create a really fast transition but of course, you can always do the opposite. You can elongate that. If we click that transition and we pull this apart, make this nice and wide. This is going to be a nice long transition. That's going to take a few seconds to transition from the first clip to the second clip but we'll just delete that and we'll move on to the other transition. Moving down you can see we've got a cross dissolve, dip to black, we'll drop dip to black on there. This, as it says, it's just going to dip the video to black and come back up. I've got a dip to white. We'll drag that on as well play this back and there you go. That's a nice dip to white transition. Now we'll look at these other folders as well, and these are some more creative video transitions. Let's go for slide, because here we've got center split, push, slide, split, and whip. Let's go for the split, we'll drag that again at the point where the two clips are meeting. When we play this back, you can see we've got this really nice transition. Again, pull this apart and that will slow that down. When you pull these closer together, that will speed that up. Now it's worth noting that the clips have to be sat next to each other like this. If there's a gap between the clips and you try to drag the transition on, unfortunately, you can't add that on between the clips. You can drop it on the end of a clip or you can drop it on the start of a clip like this but the problem is if there's nothing underneath that clip or next to that clip, then it's just going to transition out to black. That is actually a really cool way of adding a dip to black at the end. We can add this to the end of our footage. As you can see, we've got the end of this clip here. It's going to fade out to black and that creates a nice fade out but we're not transitioning into another clip, we're transitioning into the black video layer which is this. If you're looking for an easy way to add transitions onto your video clips, then using the video transitions presets folder is a great way of doing so. If you wanted to do something more creative though, then we're going to have to jump into our video effects and search for specific effects. 29. Transitions - The White Flash Transition: Transition number one is the white flash transition, and this is basically just using levels and keyframe animation to brighten the screen at the transition points and then transition back out of that. Let me show you how. Select both of those video clips, go into effects and search for levels, so L-E-V-E-L-S, and drop that onto both video clips. Now select your first video clip, we'll scroll through to the very end, and we'll pull a white input level up to, let's go to 100. At this point, you want to create a brand new keyframe on the "Toggle Animation" button. We're going to toggle that animation, creating this new keyframe at the end, and then we'll go four keyframes to the left. As you can see, because we've increased the exposure on this clip, the exposure is completely overexposed, but that's completely fine. At this point, we'll pull the white input level down to around 150, and then we'll go roughly 10 frames over to the left, so somewhere around here, and we'll pull this back up to 255. Now when we play this back, you'll notice we've got this bright white flash transition in. Now we need to create the out for that transition, so we'll select the second video clip, go to "Levels", go to the very beginning, pull the white input level down to around 100, so it should be really overexposed. Toggle the animation, so you created that new keyframe, we'll go four keyframes to the right, pull the white input level up to around 150, then we'll go another five or six frames to the rights, and pull that down to 255. Now when we play this back, you'll see we've got this transition in and this transition out, and that is your basic white flash transition. All we used was the "Levels" plugin and our keyframe animation on the white input level to create this transition, so that is a really easy way of transitioning from one clip into another. 30. Transitions - The Blur Transition: Transition number two is going to be a blur transition and the technique is identical. We're just using a different plug-in. We're going to select both of those video clips again, go into Effects and search for Blur. That is B-L-U-R. That should load up a range of different blur. You've got Channel Blur, Compound Blur, Directional Blur, Gaussian Blur. All of these are the blurs. In this example, I'm going to select Gaussian Blur, but of course, you can select Directional Blur, Channel Blur. Any one of these is completely fine, but drop that onto your videos. We'll go on to video layer one. Then you just want to pull the blurriness up to around 100 percent, and as you can see, we've got this black border appearing around our video. In order to fix that, we just need to select the "Repeat Edge Pixels" option, and that will get rid of that, making that look instantly much cleaner. We'll scroll to the very end of that clip and create a brand new keyframe on the blurriness by selecting toggle animation. Then we'll go four frames to the left. Pull this down to around 20, and then we'll go 10 frames to the left also and pull this to 0. When we play this back, you can see that's going to slowly get blurrier, and then at that point, it will get really blurry, and then we enter the new clip. Go on to the new clip, go to the very beginning, pull the blurriness up to around 100, you can go even higher if you like you can go 150. Select "Repeat Edge Pixels" again. Then you want to create a keyframe on the blurriness, so toggle that animation and then we'll go roughly four frames to the right. Pull this down to around 40 or 50, then another 10 or so frames to the right, and we're back down to zero. Then when we play this back, you can see we've got this nice blur transition. Of course, though that transition was extremely similar to the Levels transition. Instead of adjusting the exposure or the brightness on the levels, we've just increased the blurriness on the Gaussian Blur plugin. So let me show you something a little bit different. 31. Transitions - Creating Transitions from Color Mattes: For transition number 3, we're going to create a color matte and use that color matte to create a transition. We'll go into our new projects. We want to close down the footage bin because we've got to create a new item here. We'll go over to a new item and then as you can see, we've got all of these different options here, but we want to select Color Matte, press "Okay" on this, and then select a color of choice. I'm going to go for a bright yellow in this example. Press "Okay", and you can rename this to transition. Press "Okay", and we'll drop transition onto video layer 2. You want to scroll to the point where the two video clips connect. Scroll all the away and use your plus and minus buttons to zoom in on the timeline. At this moment in time, you want to create a brand new key frame on the position. We'll go six or seven key frames over to the left and we'll pull the position on the vertical axis up. Push that all the way up so that it is now off-screen. If we go through this frame by frame, you'll see that it slowly animating on. But if we play this back, it just animates on and stays there. We need to animate this off. We'll go to that second key-frame up here and then we'll go seven key-frames over to the right, 1, 2, 3, 4, 5, 6, 7. We'll pull the position on the vertical axis down like so. When we play this back, you'll notice we've got this really nice transition happening. On this clip of this person making this food, and then it transition is down, [inaudible] in the Hollywood Hills. Clip A, transition clip B. Of course it doesn't just have to go up to down. You can reverse this, go down to up, or you can go left to right, right to left or alternatively, if we delete this, so we'll delete the key-frames. You can animate this scale. I make sure we're in the middle of these two clips. Click back the key-frame on the scale at 100. Then we'll go three or four key frames to the left. We'll pull this down to zero. As you can see, it's going to animate up. Then we'll get into the full key-frames to the rights and pull this back down to zero. If we go frame by frame, you can see it's animating in and back down. That's how that looks. The problem is that that was extremely quick for my liking so I'm just going to increase the gap between these key frames like so. That's better, but the problem is it doesn't hold that long enough so to extend this key-frame, what we're going to do is copy this. The command C or Control-C, if you're on Windows, that is, we'll move three key-frames over. I'll go Command V or Control-V. When we play this back, you can see it goes in, holds that for three frames and then disappears. 32. Transitions - Movement Based Transition (Slide): Then last but not least, I'm going to show you a movement inspired transition. We're going to create a digital whip pan. Essentially, what this is is the clip is going to move off-screen and the other clip is going to come on-screen at the same time. In order to do this, we first just want to get rid of the audio. There's no audio on these videos, so we're just going to unlink that and delete the audio. Then we're going to move this first layer up onto video layer 2. Go to the very end of that clip. At this point, and then we'll go 10 frames over to the left. We'll go 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Pull the second clip over to the cursor. At this moment in time, we're going to create a brand new key on the position on both layers. Then we'll scroll to the very end of the first clip and we'll create another keyframe by selecting this Add Keyframe button. We'll do that on both layers. Now at this moment in time, what we want to do is turn off video layer 2. We can only see video layer one at this moment in time. We turn off using the eyeball icon or the Toggle Track Output as it is called. Go to the very beginning of that clip where you see this keyframe here. We're just going to pull this off-screen to the left. Have that just off-screen there. That's going to animate and that's going to slide in like this. Then we'll go to video 2 to turn that on. We'll go to the very end where these keyframe is, as you can see. But we're just going to pull that keyframe over to the left by one frame. Then we'll move the position of the horizontal axis over to the right on this second clip, like this. But as you can see, if we play this back because we've shifted this one keyframe to the left, we've got this black bar appearing. We're going to move that keyframe back to the very end. The reason why I moved it over one frame animated and pushed it back is because if we did at the very end points, then unfortunately, unless we extended the video, we wouldn't see that. If I was to animate the position, as you can see, it's not there, it's not appearing, and that's because it's disappeared. The video has cut at this point, so that is technically no video to appear. But if we play this back, you'll notice we've got this really awesome transition now taking place. That is just a simple pushing over to the right. You've got two video clips overlapping each other and the position is animated overtime to push them from left to right. You'll notice throughout this course that everything that I do might look specific, but you can take what I'm showing you for this transition and apply it to a different transition. Even though we've gone left to right during this episode, you can also take this to go down, you can go up, you can adjust the scale rotation. It's completely up to you. The freedom and the flexibility is with you and your editing. 33. Transitions - Outro: There you go. That is how you create a white flash transition, a blur transition, a shape layer transition, and a motion inspired transition inside of Adobe Premiere. 34. Masking - Intro: In this lesson, I'm talking all about masking. But before we get into the process of how to actually do masking in premiere, the first question that we need to answer is, what is masking? Essentially, masking is just a way of cutting out specific sections of your video. It can be used for specific color grading, it can be used for effects, it can be used for split screen effects, or cropping effects. There's a whole list of techniques and effects and things that masking can do to enhance your edit, and take that to the next level. Let's jump into premiere and I'll show you a few of those different examples. 35. Masking - How to Mask in Premiere: We're inside of Adobe Premiere Pro. As you can see, I've got this clip of some traffic. In order to mask this clip, we first just want to go up into the Effect Controls window. Then we'll go down to Opacity. As you can see, we've got the Create ellipse mask, Create four-point polygon mask, or Create a free draw bezier. Let's go for the ellipse mask first. We'll select that. That is going to create a circle in the middle of our footage and this is our mask. This blue outline here, this is our mask. If we go over to Opacity, you can see we've got mask bracket one. Under that we've got mask path. Now the mask path is basically just representing the values of this blue line here. If we move these points and we expand the size of this, we're changing the values of the mask path. Now if we combine key frame animation with our mask path value, you can see we can actually change the shape of that mask over time. I'm going to go to the very beginning of this clip. We'll create a brand new key frame on the mask path by selecting the Toggle animation button. Then we'll go five seconds to the right. If we select that mask path, if we move these points over, you can see the shape of the mask has changed. Now when we play this back, you can see that that mask is animating over time. Of course though it's not just these four points on this mask that you are limited to. If you hover over that, you can see the cursor changes from the selection tool to this Add Point tool. You can just go ahead and create points. Then you can just change the values of those as well. If we play this back from the very beginning, you can see we're going to animate from the circle to this wider ellipse. Two new points on the mask that we created are going to animate up to here. As you can see, we've made this custom shape. If we zoom into this, let's zoom into 150, you can see the edge looks a little bit soft. The reason why the edge is slightly soft on this mask is because of the mask feathering. Now, a mask feather is basically just the softness of the edge of the mask. If we pull this all the way down to zero, you can see we get this hard edge. But if we increase the mask feather, then of course we're softening off the edge. As you can see, if we use this technique, that's a great way of creating a vignette. Let's delete these points. Go into the mask, will delete this mask. Delete mask one will create a new mask on that. If we increase the feather, we'll increase the feathering all the way up to around 500 and expand the size of this mask up and to the side. You can see because you've increased the mask feather that's given us this nice soft edge and therefore is allowing us to create a vignette on this footage. Now mask opacity is just the opacity of the mask. You've got mask expansion as well. You can see the mask expansion if I turn the feathering off. If we pull the mask expansion up, then it's just increasing be the mask. This is the mask here but if we increase the mask expansion, you can see that the mask is expanding outside the original points of this mask. If we change the values of the mask, you can see we're still getting this border around the actual mask itself. The same thing goes the opposite direction. If we decrease the mask expansion to a negative number, then the mask falls with inside this mask here. Then moving on , you've got inverted. If we invert that, then it means that everything outside that mask will be seen and everything inside that mask will be removed. Now essentially, what we've done here is we've just created a hole in the middle of our video. If we direct this footage up until video layer two and we drop an alternative clip onto video layer one, you can see we've got the second clip falling in this gap here. We can reframe this, move this to where we need this to go. Let's go here. You can see here we're creating a video in video effect using our masking on this second footage. Of course, that if we turn inverted off, you can see we've created a circle and we can move this over. We've got that same video in video effect, but it just looks a little bit different because we've inverted that mask back to how it was before. Let's get rid of everything that we've done so far and let's move on to the next point in the mask. In Opacity next to the Ellipse mask, you can see we've got a Create four-point polygon mask. It's basically just a fancy way of calling a rectangle. You're going create this rectangle in the middle of your video. This is our mask here. Same thing applies. You can change the mask path, you can create new points. You can increase the mask feathering to soften this up. You can pull that down. You can increase the mass expansion. But you'll notice with this, if you increase the mass expansion on a rectangle. You can see if we zoom in, we've got a perfect 90 degree angle and all of these corners in the rectangle mask. But if we increase the mask expansion, then the corners get rounded. Now if that's the effect that you're looking for then this is how you would go through the process of creating that effect. But if you wanted to increase the size of that rectangle mask without rounding off the corners then you want to go into the mask path and change the values of these four points. Now, it can be quite difficult to line that up completely, perfectly. What I would recommend doing is going into Settings, go into Safe Margins then you can basically just line this up with the corners of the Safe Margins. There it go. We've created our perfect rectangle. If we turn off the safe margin, you can see that looks great. But we'll delete that mask and we'll move on to the Free draw bezier tool. This is this here. If you've come from aftereffects or Photoshop, then this is similar to a pencil. This is just a free drawing tool. We'll select that. We can basically make our own custom shape here. You can just select anywhere on the composition, anywhere in the video to create your first points. Just draw out a shape of your choice, like so. The really interesting thing when you're creating these new points is if you hold down and then drag, you can actually see we can make a curve to this mask. If you just select and move on, then it's just going to create this hard edge and this hard line. If you hold down, and then when you're holding down, just drag this over. You can see we get this curved edge. You can control how curved this edge is by pulling on these two handles here. That means you can create a rounded edge and therefore more of a rounded shape. You can adjust this by pulling these handles again. I think that's really interesting, but the reason why I would use the Free draw bezier tool is to combine masking with specific effects. 36. Masking - Using Masking with Effects: Let's say we wanted to change the color of the sky. The way that I would do this is I would duplicate the footage. We use our keyboard shortcut "Command C" or "Control C", and "Control V" or "Command V". Then on this top layer we'll zoom out, so we'll zoom to 50. We'll select the free draw Bezier tool on this top layer and I'm just going to draw a mask around the sky on our footage. It doesn't have to be perfect. The shot is static, so that makes life much easier for us. Of course, if it is a little bit off light you can see here, then you can create new points and then move that up to where that needs to go to. But once you're happy with that mask, you can go into "Effects" and search for a specific color effect. We can either search for something or we can go into "Video Effects", go "Color Correction", and select one of these. I'm going to search for "Curves" though. We draw RGB curves onto this second layer and then you can see we've got our RGB curves here. This is the master channel, this is going to affect the red, green, and blue channels all at once. Then we've got our red channels, our green channels, and blue. If you wanted to affect the color, then adjust one of these channels or just all of them, it's up to you. The way curves basically work, we'll get more into this in the color correction episode, but the way curves work is the highlights are in the top right, the shadows are in the bottom left. If you want to make an area darker, you push it towards the bottom right corner. If you want to make it brighter, then you push up to the top left corner. If we increase the highlights on the master and then we decrease the reds, increase the blues, decrease the greens a little bit, we can then go up into mask 1, increase the feather. As you can see, we've used our masking to create this really awesome color correction effect on our sky only. 37. Masking - Create Split-screen Effects with Masking: As you can see, masking is really useful when it comes to cutting clips or cropping them or changing the shape of them. It's also really useful for when you want to do specific effects. If you wanted to edit the color of the sky, then you would use masking to cut out the sky. That's only selecting that one area. But masking is also really awesome if you wanted to create a split-screen effect. Let's just drag some footage into our composition. We've got our first clip already there. But let's drag two more clips in. We'll go into our FSM folder. We'll drag a food clip in, we'll go Food 4. Then we'll drag another random clip in, City 1, we'll drag that in as well. As you can see, we've got three clips on our timeline. We've got this first clip, we've got the second clip, and we've got this third clip. I'm going to start by creating a mask on this top layer. I'm just going to zoom out or select fit, zoom out to 50 percent, go up to the opacity, select the free draw bezier. I'm just going to draw a mask around the right side of this frame. Then we'll go to the video on video layer 2. I'm just going to do the same thing again. So opacity, free draw bezier. We'll draw a mask around the plate. We'll just move this over to the left of touch. We can also move the video on video layer 3 just over a touch as well. Then we can go ahead and select the bottom layer. You can either leave it like this or you can create a mask again. Select the free draw bezier tool, and we'll just finish that off by creating that third mask. As you can see, we have created this really awesome split-screen effects. Now of course you don't have to have this slightly diagonal effects. Of course, you can create your own shapes and your own split-screen effect, it's completely up to you. But that is a really awesome split-screen effect using masking. But we can also take that one step further by adding motion to this, by combining our masking and our keyframe animation. We'll go to the very beginning, we'll create brand new keyframe on the mask path on all three layers. Go through all of those layers, mask one, mask path, new keyframe. Then we'll go five seconds to the right, roughly. Keep the cursor there. Then we'll go on to each individual layer and we'll change the value of the mask path. We'll zoom back out, and we'll move the position of this mask path over. This one moves over to the left. We'll go to the bottom layer, select the mask, will move that mask to follow. Then we can also move this over as well. Then we'll go to video layer 2, we'll update that mask. I'll move this over. As you can see at this moment in time at zero, the mask positions and the mask values are looking like this, and then at five seconds, they change to this. By using our key frame animation, you can see it's going to take five seconds to animate from the first position to the second position, therefore creating this split-screen animation. Now that is struggling to playback, and that is because our playback quality is in full so we'll pull this down to quarter. When we play this back, that should be a lot smoother. It's still glitching, but you get the effect. You can see there's movement going on in the masking. That is because we've added these keyframes onto our masks. 38. Masking - Summary/Outro: To sum up, masking is basically just selecting a specific area of your footage. Now masking is really useful for many different reasons, you can color grade specific parts of your clips. You can crop videos, you can add a split screen effect, and there are so many more purposes for masking that you would want to explore moving forward in Premiere. 39. Titles - Intro: In this lesson, I'm talking all about titles. I'm going to show you how to create simple titles. I'm going to show you how to make basic text animation, and then I'm going to show you a few more complicated text animations that you can do, inside of Adobe Premiere Pro. Let's get into it. 40. Titles - Creating Titles with the Legacy Title Window: The first way that you would create titles inside of Adobe Premiere Pro is to go into file, new legacy title and then you just press ''OK'' on this window and then this loads up the legacy title window. Now, if you're editing on Adobe Premiere CS345 CC, then this is probably the option that you're going to take. But if you're on one of the newer versions of Premiere then there is an updated title window. You can just skip this section and go on to the title type tool. But if you're creating texts in the legacy title window then let me show you how to do that. To begin with, you just go to the type tool, create a new title here, and then just type out a word of your choice. Then from that you can go up to here, you can change the font. You can change the weight of this font. You can make this bold, italic, or underlined, then you can increase the size of the font, add some kerning. Kerning is basically just the spaces in between each letter. If you increase this up to 100 you'll have a massive space between each letter but if you pull this down to a smaller number then that will be compressed. Then you've got the leading which is just the spaces between the lines and then you can do your left alignment, center alignment or right aligning of your text. Once you're happy with the look of that you can just go into the center option down here and center this on the vertical and the horizontal axis. Now, of course down here we've got the legacy title styles and if we click one of these you can see we've got different presets here. You can go ahead and select a preset of your choice if you wanted the presets. But if not then you can just go through all of the settings and just adjust that. But moving on on the right we've got our transform, we've got our properties, we've got the fill color. We can change the fill color if we wanted to here. You can change your fill type from solid to a linear gradient, to a radial gradient, a full-color gradient, a bevel, eliminate, or ghost. Select one of these. If you're choosing one of these gradients, so let's go for a linear gradient. Just select two colors in the gradient and you're going to get a really nice gradient effect applied to your text, like so. Then moving on we've got a stroke and you can add an inner stroke or an outer stroke. A stroke is basically just the outline around the text. You can add an outer stroke, change the color, and then increase the size of this and that will appear like this. Then you've got a drop shadow and you can add a background onto this. Then once you've finished modifying your text you can actually go over to the left and you can add some shape layers onto this. You can add a rectangle tool, a rounded corner rectangle tool, triangles, ellipses, lines. You can basically add a nice underline here and that will follow the same pattern as over here. But that is everything in the legacy title window. Once you're happy with that, you just exit out of this and drop your title into your composition and it will be there. Then when you want to add animation onto this you can just go into the effects tab, go into emotion and add your key-frames to your scale position, rotation, and animate that over time. 41. Titles - Creating Titles with the Type Tool: Of course that is a new and improved version and a much faster way of creating titles in Premiere. It is quite simply to just press the "T" button or alternatively, you can just go down to here and press the "Type Tool". We'll delete the original Title 1. Then with that type tool selected, if you hover over, you'll see there is this new icon appearing. This is how it looked before, but with the type tool selected this is how this now looks. Select anywhere where you want the text to appear, and then just type out a word of your choice. Now from here we'll go into the Effect Controls and underneath Vector Motion you can see we have Text. We've now got this new graphics tab up here. This graphics option is specifically applied to this title. Of course we still got the motion, but now we've got the graphics and the Vector Motion. But we're going to go into Text to change the look of this text. Now moving on, you can see we've got Source Text. We're going to change the font of this source text to a font of our choice. I'm going to go for Avenir in this example. Of course, you might notice that it hasn't changed. If it doesn't, then just go Command or Ctrl+ A, that will highlight all or alternatively just highlight all. Then we'll go ahead and change the font again. You can change the weights of this, you can change the size of this, you can center left or right align this using these options here. You've got your kerning, but in this example is called tracking. Then you've got your line spacing, and then you've got these other settings here and then moving down we've got our appearance with the color so you've got your fill color. You can activate a fill color or if you didn't want a fill color and you just wanted a stroke outline, turn the Fill off, turn the Stroke on, and you get this really cool stroke effect. Of course, you can change the color of that by changing the color. Then of course you can add a background or add a drop shadow, and you can also create a mask with text. But that is how you create a basic title in Premiere. Once you've done that, you can just go ahead and move the position of the Vector Motion. Going to Vector Motion, change the position down, and just put that somewhere in the middle. Of course if you wanted to put the anchor points in the middle, then you would just adjust the anchor point to do so like this. Then just move the position of this back to wherever this needs to go, somewhere around there. 42. Titles - Comparing the Legacy Title and Type Tool when Making Multiple Titles: Now the one advantage to the title as opposed to the legacy title is the ability to adjust the title. So let me bring the legacy title back onto the timeline. If I wanted to make a copy of the legacy title, let go title one will go "Command C" or "Control C". Make a copy of that, paste that in. If we go into Title 1, and we changed this, we go. Let's go T, we'll change this to hello, and then we'll just go for one of these presets down here and remove the line. Unfortunately, you can see that the actual with the look of this word, everything has changed on both the first layer and the second layer. That means if you wanted multiple different texts layers on your projects, you would have to go into a legacy title for every single word or title that you wanted to create. But with the type tool, the new version, if we make a copy of this layer, and go over and paste that in. If we change this second layer, so we'll change this to hello, and I'll change the color to make this more obvious as well, so we change default to yellow. You can see, even though we've just copied this, the wording and the character has changed on the one but not the other. So this means if you wanted loads of different texts layers, then all you have to do is just create the one and then just paste in a bunch of these into your project. So we'll go "Paste" and you just go through each one of these and change them as opposed to having to create a brand-new title every single time. So it's much less time-consuming doing it this way, as opposed to the legacy title. 43. Titles - Underline Text Reveal Animation: Now that we've created our title, I'm going to show you a few different animation examples that you can do with your title inside of Adobe Premiere Pro, and the first one is a basic text reveal. What we're going to do is we're going to create a brand new color matte to create an underline. We'll go New Item, Color Matte, press "Okay", and go ahead, and select the color of your text. If you want, you can use the Eyedropper tool to physically select that color and then press "Okay", and rename this to the color of your choice. Then we'll drag that onto Video Layer 2, and as you can see, that has filled the screen. We're going to go into Effect Controls, Motion Scale, we'll unlink uniform scale, and we'll put the scale height down to one, or we can make that too if you wanted to make that a little bit taller. Then we'll put the scale width down to around 47, that's the same width of that title, and we'll move the position of this down off just under the title. If we click off that you can see we're just a little bit off, so I'm just going to expand the scale width a little bit and just move the position over to the right, there you go. Somewhere around there is perfect. Now from here, we'll go into Effects and search for Crop. Drag Crop onto that white layer, the underline. Then if you go down into Crop, you can see we've got Crop Right. If we increase the Crop Right to 100 percent, it's going to animate that off. We'll start with the off at zero seconds, grab a branded keyframe on Right, then we go roughly one second over to the right and we'll pull this down to 0. We've cropped to the right from 100 percent down to 0. When we play this back, you'll see we've got this really nice animation coming on on the underline. Then we'll hold for a second, go to the Text Layer, and we'll just create a branded keyframe on the position. We'll go down into Transform, Position, and grab branded keyframe by selecting Toggle animation. Now we'll go roughly 10 frames over to the left and we'll move the vertical position down underneath the underline. When we play these back, that is how that looks. But that looks a little bit too boring for my liking. What I'm going to do instead is, I'm just going to copy this second keyframe, so we'll move over, add a new keyframe. We'll go to the second keyframe and we'll move the position just up a little bit. It's going to create this nice bounce effect, as you can see. But the problem is, if we play this back from the beginning, you can see we've got the underline, and then the text is just waiting to come up. We're going to use some masking to basically get rid of that text and then introduce that from that line. Now I will talk about masking in a future episode in more detail but I'm going to touch on masking a little bit here with this effect. What we're going to do is select that title layer, we'll go to that first keyframe, we're going to go down to Opacity, and select the Free draw bezier. Now that should load up this Pen tool here for the Free draw bezier, and then we're just going to draw a rectangle using this underline as the bottom of the rectangle. We'll draw this rectangle here, like so, and that should get rid of the text. Now we'll create a branded keyframe on Mask Path, move over to the second key on the position and just make sure that everything is sitting the way it should do. As you can see, that is appearing from that underline. But if for some reason it's not though, then just go to that second position, select Mask 1, and make sure that mask is revealing the text. If it's down here, then just move that up to make sure that we can see the text, and the same thing again with that loft points, just make sure that mask is sitting where it needs to sit to reveal the text. When we play this back, you'll notice we've got this really nice underline animation, and this text reveal effect now playing in premier. In order to do that, we created a color matte for the underline and animated that using the Crop plugin, then we used keyframe animation on the position and created a basic mask on the text there to reveal that from that line. 44. Titles - Basic Glitch Text: Now moving on I'm going to show you how to create a basic glitching text effect. In order to create these glitching text effects we need three different text layers. Go ahead and make a copy of the text there. So Command C or Ctrl+ C. Move over Control or Command V and V again. Direct those up onto two and three, then we're going to search for tint in effects, so T-I-N-T. Select all of those text layers and drop tint on all three. Now we'll go into the top layer and we'll select "Map White To" and select "Red". Then we'll get on to the second layer, select "Map White To" select the "White" and change this to green. Then we'll go to video Layer 1, select "Map White To", and select Blue press "Okay". The moment that looks red, but if we go to the top layer, go into Opacity, Blend Mode and change this to screen. We'll do that again on the second layer so Blend Mode, normal screen. Our text has now turned white again. Essentially what we're doing is we are recreating the red, green, and blue channels, so the RGB, each layer has its own color, and then by blending these using the screen blending mode is turning this back white. But the second that we unanimate the position, the scale, the rotation, it reveals the color below, and therefore creating this glitch effect. In order to create this glitch effects you can animate the position scale rotation. Let's go for all three. Grab a keyframe on position, scale, and rotation. On the top layer, we'll go five keyframes over to the right and create a new keyframe on all of those again at the same value. Then we go in between those, two frames after that first one. We increase the scale, we move the position over and we'll add a bit of rotation, like so. Now when we play this back, you notice we get these really subtle glitching effect happening. Of course sir we can also go ahead and add some distortion. If we go into video effects, go into distort, let's use lens distortion on the middle layer. You can see if we adjust the curvature that changes the look of this and adds this really cool glitching effect. Just after this one, roughly around two seconds in, we'll correct brand and keyframe on curvature, we'll go five keyframes to the right. Add a keyframe and a zero again. Then we'll go two keyframes after this first one and we'll pull the curvature down to around negative 40 and when we play this back, you see we've got its really nice subtle glitch effects. In this example, I've used lens distortion and position scale, and rotation to change the properties of these individual text layers. By using that theory, you can actually use any plug-in in Premiere that will change the look of these text layers to create an interesting glitch effect. For example if I put wave warp on here, this is another completely different plugin. Because this change is the look of the plugins, I could create this glitching effect. Which looks really cool or I could add another plugin and just do the same thing. Use that technique and pick a plugin that works for you. Pretty much any one of these are going to work for you to create this really interesting and unique glitching effect. 45. MOGRT & The Essential Graphics Panel - Intro: In this lesson, I'm talking about the essential graphics panel and I'm also going to get into importing MOGRT or motion graphic files into Adobe Premiere using the essential graphics panel. Let's get into it. 46. Exploring the Essential Graphics Panel: By default, inside of Adobe Premiere Pro, we should be in the editing tab. This is where we're doing all of our editing. But if we change the workspace into graphics, then that means we're going to access the essential graphics panel. The essential graphics panel is basically Adobe's home of text presets. Any text animation, text presets, this is where that is going to live. As you can see, if we scroll through this list of templates in the Browse feature, you can see we've got some really awesome presets. We've got some Basic Lower Thirds, and there's a whole heap of different animations and text presets here available for you. These are just automatically there with Premiere. We've got soccer results, we've got the soccer lower third, we've got the sports looping background, Adobe sports. But let's begin by importing one of these presets. You can see we've got modern title here. To input this, we can either double-click it or we can just drag it in. I'm just going to go for the second option, drag that in, and I'm going to get this warning coming up here. This is saying, "Resolve Fonts", "Warning: This project uses fonts that are not currently available on this computer. Fonts substitution will occur until the original becomes available." That is basically saying that this font is only on Adobe Fonts and I need to be connected to the Internet to get that. Now the reason why I'm getting this message popping up is because I'm offline, I'm not connected to the Internet and this font is on Adobe Fonts. Alternatively though, you could also be getting this because your font might not be installed. That's okay though, we can just press "OK" and another font will be added in, but we can always change this later on. Let's play this back. This is the preset. There we go. There's Your Title here and EPISODE popping in., so this is our text presets. Now in order to edit this, we want to go into the Edit tab up here, so you've got Browse and next Browse is Edit. As you can see, all of this is split into different categories. You've got your title here. If we select that, you can see we've got these key popping up here on the left, and then we've got all of these other settings that have now populated over here. We can just begin by changing this, so let's go for Premiere. Then moving on, you can see we've got Align and Transform, we've got all of these settings, we've got styles, and we can go ahead and add in one of our styles if we've created one. We haven't though, so ignore that for now. Then we can change the text font, we can change the weights, we can center align, left align or right align this, increase the size. However, though, this current preset is actually locked, so you can't actually change the size of that. You can also change the size, then you can make this bold, italic, all caps, small caps, you can adjust any one of these, and then you can also change the appearance of this. You can change the fill color, you can add a stroke, a background, a shadow, and then you can also reduce the opacity, and all of these other settings. Now moving on, we've got clip. This clip, if we turn this off and on, this is the right brackets. There we've got clip on the left, which is the left bracket, then we've got our EPISODE. Select "EPISODE". We can change the fonts again, so we've got Avenir again, then if we click that, we can actually change that, so PREMIERE, Course. Then moving down, you can see we've got our font weight again. We'll change this to black, we'll increase the size of this just a little bit. As you can see, that box is moving at the same time as well. We can make this a little bit more bold, we'll change the fill color to black, and if we play this back, you can see we successfully changed the look of this. We've changed the title, we've changed the colors of this, and we've made it a bit more unique to what we want. 47. Importing and Editing MOGRT Files: Now, if we go back to the Browse Tab, you can see we've got these really awesome text effects and there's some really cool presets here available to you. But, if you wanted something a little bit extra, something bigger, something better, then you can go ahead and download an MOGRT file. Now, MOGRT basically stands for Motion Graphics File and this is a fancy name for a preset. Now, people saw MOGRT files you see lower thirds MOGRT, title part MOGRT all over the Internet. If you download one of these packs, and you want to install it into Premiere, then you'll use the Essential Graphics Panel to do so. Let me show you how. You just go into this bottom-right corner, and as you can see, you've got install Motion Graphics Templates. We'll select that, and that should load up your finder. Now you just want to scroll through and search for the MOGRT file of choice. I'm going to select a lower third one in this example and I'll press "Open". Now, I've already got imported, so it's going to say this file already exists, confirm overwrite. I'm just going to say no on this for now. Then, I'm just going to scroll through, and I'm going to find lower third one, that is this one here. To import that again, you can either double-click or you can drag this and it's completely up to you. But once you've got that on your timeline, you'll notice you've got this really awesome animation. Now, this specific MOGRT file I actually handmade myself in Adobe After Effects. I'll make this available for you to download so you can follow along with this process. But once you've got that MOGRT file on your project, on your timeline, all you have to do is go into edit in the Essential Graphics, select which one you want to edit so you can either go top or bottom. I'll select the top to begin with. Then you have access to scale, position, roundness and these different gradients, you can change the gradients and if you go into Top Text, then you can also change the text as well. We can change the source text to Premiere. You can also change the font, it's completely up to you. You can change the size of this, you can change the scale, the color, everything here. If you go into top box, you can change the gradient color of the box as well. As you can see that's how that's going to look. You can also go into the bottom and adjust the bottom settings as well but that is an MOGRT file imported into Premiere, edited in the Essential Graphics panel. Of course the great news is once you've edited it in the Essential Graphics Panel, this MOGRT file is treated like a normal video file moving forward. If you wanted to change the scale position, rotation, opacity or add effects onto this then you can do so like normal. I'd pull the scale of this down, move this into the corner so that this is a lower third. Then that will just play and do what it needs to do in its new home in the corner. MOGRT files or motion graphic files are really awesome and really easy ways of getting a great animation into Premiere without the hassle of having to learn how to do this in after effects. There are lots of different free MOGRT file packs online that you can go ahead and download. There are premium versions, but like I said, I will leave this one available for you to download so you can go ahead and play with this in your editor. But there you go, that is the Essential Graphics Panel, the presets available in the Essential Graphics Panel, and how you can import your own MOGRT files into the Essential Graphics Panel to create really awesome and interesting animations inside of Premiere. 48. Captions - Intro: In this lesson, I'm talking all about captions and subtitles. I'm going to show you how you can transcribe your videos to create captions, and then I'm also going to show you how to change the look of those using the essential graphics panel in Premiere. Let's get into it. 49. Captions - Generating Captions Manually & Automatically: We're inside of Adobe Premiere Pro. As you can see, I have this seven-second video on my timeline with some audio attached. Let's just play this back. "In this video I'm going to show you how to create a transition from a shape layer inside of Adobe Premiere Pro. Let's get in to it" This is just from one of my YouTube videos and it's just the introduction talking about how I'm going to create a basic shape layer transition. In order to create the captions or the subtitles on this layer, we want to change the workspace from editing to captions. That would change the look of the workflow in Premiere. As you can see over here on the left, we have these texts window that has popped up. If you can't see this for any reason, then just make sure you go into Window and make sure text is there. Now in the captions Window, we can either begin by transcribing the sequence. We can create a new caption trick or we can import captions from File. If you have an SRT file or Captions already made then you can just import these from the file. Alternatively, we can create our captions ourselves by creating new caption lock. If you got Format, Subtitle, Style, Nonpress, Okay, that's should create a new subtitle track up here. Then we can go ahead and create our own subtitles or so. In this video, we can press the plus button, Add New Captions Segment in this video. We can cut that there. Then we can create a new subtitle. I'm going to show you how. We can drag that back in time. As you can see, you can just keep working through this process, keep creating your subtitles or your captions and adding that into your video. The problem is though, that can take quite a while to do so. Instead, we'll just get rid of all of that. We'll go back to this menu here. We've got our captions Window, and then you've got the transcribed sequence, and this is a new update to Premiere. Make sure you're on the newest version of Adobe Premiere. If you do have access to this transcribed sequence button then you just want to select that. Then that should load up the transcription details Window. You just want to go down go Audio analysis. Then you've got the option of selecting all clips tagged as dialogue or audio on track. I'm just going to go audio on track. You can either create a mix of everything on the timeline. If you've got multiple layers of audio, then just do mix or you can target specific layers. I'm just going to leave this unmixed, even though I've only got one audio. Then you can select your language. I'm going to do English, UK. You can transcribe the input to the output. The I and the O. You can transcribe only a specific section, but I'm just going to do everything here. Then transcription data. When you use this feature, your audio files will be processed and transcribed ultimately in the Cloud. This process cannot be canceled once sent for transcription. This is basically saying that Adobe is using the Cloud service to transcribe your video and the transcripts will be stored in the Cloud. If you're fine with that, then just press Transcribe and Premiere will take either a few seconds or a few minutes, or if you've got a really long video, then potentially hours to transcribe your video. Now as you can see, Premiere has finished the transcription and if we go to the very beginning, we can actually playback the video and just have a look at the scripts to make sure that it's got this correct. As you can see, that's actually done a perfect job. Everything that is exactly how it should be at all in time. There's no spelling mistakes. I might just put a comma down here, but I can go ahead and just create those captions. We can go Format Subtitle. Of course, you can change to one of these settings, but I'm going to go for subtitle. Style, I'm going to select as None. Then you've got Create from sequence transcript or Create blank track. If you want to select Create from sequence transcript. Press, "Okay". Then Premiere has generated all of those captions or subtitles for us. As you can see, all of those captions have been created and feel free to go into each one of these and modify them if you need to start. As I said, I'm just going to add a comma here. After so, I'll add a comma. Let's get into it. 50. Captions - Exporting SRT Caption Files (for YouTube, Facebook, etc: From here you can go ahead and export these subtitles as an SRT or a text file. SRT is the preferred captions file for YouTube. If you wanted to create captions for your videos and upload them to YouTube so that you can have captions on your YouTube videos rather than actually baked into the video in Premiere, then you can just export this as an SRT file, place that somewhere on your desktop, and then just upload that to YouTube. That will mean that your YouTube video now has these auto-generated captions. What's really great about this is because these are specifically time-coded. Because these captions are linked to this time code, it means they'll be perfectly in time when you upload them to YouTube, which is really handy. Alternatively, though you can just export to text file and you'll just get this perfect transcript of your YouTube video in a text file. 51. Captions - Customising the Look of Your Subtitles & Captions: Now, that we've auto transcribed our video and we've created our captions from that transcript. We should now be at the same point as the people that were doing this the manual way. If you decided to do your captions manually or you decided to use the auto transcript option, we should now be both at the same point and we can carry on moving forward together. From here, you can see on the timeline down here we've got our subtitle layer so we can either lock this or we can turn this off, but we'll keep this turned on. We'll select this first layer here. This is the first line of the captions. Then that will load up the essential graphics panel on the right of Premiere. The essential graphics panel is where you're going to customize the look of the subtitle. We're going to go into text and we can change our font size. Let's go for Avenir. We've got Avenir Medium. You can change the weights of this by going into this medium options. We'll keep this on medium. Then you can increase or decrease the size of this font. You can select left alignment, center alignment, right alignment, or the justify option. This is just your paragraph alignment. Then of course you can add some tracking here to increase the spaces between the letters. You can make this bold, italic, all caps, small caps, superscript, subscript or underline. Let's add a nice underline here. Then of course, if we get onto align and transform, we've got our zones. At the moment it's set to the bottom center, but you can place this in the center. You place this in the corner, you can place this in the bottom right corner. I'm going to leave this in the center on the bottom, but feel free to adjust your zone and place that where you want that to live. Of course, you can always move the position of this over if you want this to be really specific. The movie now we have appearance so we can change the fill color if we wanted to. We could add a stroke which is just the outline around the text. We could add a background to this caption and I'm going to go for a black background in this example and increase the opacity to 100 percent and increase the size of that. Then we can also add a drop shadow onto this by enabling this layer. But if your background is set to black and your shadow is also set to black, then you're not going to see any drop shadow. If you wanted to see that drop shadow, then just turn the background to a different color. As you can see, if I zoom into 100 percent and we change the quality up to full, you can see we've got that drop shadow on that text on the white background. But I don't want a drop shadow on this so I'm going to turn that off. We'll put the background back to black. I'm just going to remove this underline because I'm not a fan of how that looks with this background. Once you've changed the appearance of that caption, you'll notice if we play back the video, all of the other captions haven't actually changed, only the first one has changed. If you wanted this style of caption on all of your other captions then all you have to do is just select that caption, go into Essential Graphics, select Track Style, and select Create Style. Now, you can rename this to black background, let's call it. Press Okay. Then everything else will update to this new style. If for some reason that hasn't, then you can just select that caption, go Track Style and go Black Background. If it's set to none, then it would just be set to the default, but make sure that it's set to black background. There you go. You can see the Track Style on all of these captions are now matching. That means we have successfully completed generating and customizing the look of our captions inside of Adobe Premiere Pro. 52. Time - Intro: In this lesson, we're talking about time. I'm going to show you how to speed up and slow down your clips. I'll talk about advanced speed ramping and then we'll also get into importing time lapses or hyperlapses into Adobe Premiere Pro. Let's get into it. 53. Time - The Basic Way of Changing Video Speed: Let's begin with a basic speed adjustment. If we select our clip, we can right-click, go into speed/duration, and that should load up the clip speed/duration window. So by default the speed is set to 100 percent, and the duration of this clip is 15 seconds. But if we increase the speed to 200 percent, you can see the duration is now seven seconds. So we've just sped up our clip. Of course, we can also go the opposite way and we can slow it down by going to 50 and the duration will be 30 seconds. You can see here by this icon that this is linked. So anything you do to the speed, the duration will be affected. Now, it's worth noting that when you're trying to slow down clips, if you pull your speed down, you want to make sure that your footage is filmed in the correct frame rate. So if you've got real-time video and you're trying to slow that down into slow motion footage, then you'll probably end up with a jittery video. It doesn't look very professional, and that's because your frame rate has dropped below 25 frames per second, or the base frame rate, 25, 24, or 30. It sounds really complicated, but basically, if you want to slow your footage down and have smooth slow motion, then just make sure that you're slowing down for two studies filmed in a higher frame rate. So anything at 60 frames per second or 100 or 50, a higher frame rate, higher than 25 or 30 will allow you to slow down a clean smooth footage. You can see that if you go into your project and go into your footage bins, you can see you've got the frame rates here. This is 25 frames per second footage, which means if 25 frames per second footage is slowed down, and I'll give you an example of this. Let's take this traffic shot filmed in 25 frames per second if I was to slow this clip down. So we're going to right-click speed/duration, speed will go 40 percent. We'll play that back. Now when we play that back, you can see this jittering applied. That's because this is 25 frames per second. But if I was to do that to 50 frames per second, if we slow it down to 50 percent, then that means it's going to play about smooth. Just make sure that when you're slowing down, you're slowing down footage filmed in a higher frame rate. But going back to this first clip, if we go back into speed/duration, you can see we've also got reverse speed here. If we select that and press "Okay", you can see that's going to play it back in reverse. Now, the speed/duration window is an easy way of speeding or slowing down your clips or putting them into reverse. But there is an option which is slightly easier. 54. Time - The Rate Stretch Tool: Over here on the left in this toolbar, you can see we've got the Ripple Edit Tool. But if you hold that and drag that down, you reveal the Rate Stretch Tool. The keyboard shortcut for that, as you can see is R. Activate that or press R on your keyboard to load the Rate Stretch Tool. Let's go to the beginning. We can drag this over to the right to make the duration now 10 seconds. That means you can see 136 percent. It was 100 percent before and now it's 136, so it has sped up. You can also do that for slow motion. If we pull that back to where it was, and then we pull this over to the right, therefore, extending this clip. You can see that this is now 46.89 percent and therefore, slow motion. But again, because this isn't high frame rate footage, we're getting this motion applied here. You can see we're getting this jittery effect applied. But again, the Rate Stretch Tool isn't exactly the most sophisticated way of slowing or speeding up our footage. I'm going to introduce option 3, and this is why you're going to be able to do really advanced speed ramping. 55. Time - Speed Ramping & Advanced Time Remapping: Now, time remapping or speed ramping is an effect where you can slow your footage down and then speed back up into real time. It makes it nice and smooth and seamless. The clunky way of doing this is to make two cuts in your video and then just speed up this clip in the middle, so we'll speed this up to 800 percent, close that gap, and you get this nice speed ramp effect. But the problem is you just accelerate into this fast motion and then it jitters back into this. This aggressively starts and then aggressively stops again, and it doesn't look very clean. But by doing advanced time remapping, we can smooth that out. Let me show you what I mean. In order to do this, we first just want to expand the size of this clip up. We'll go to this line here and we'll drag this up, and that will reveal this. We've got this line here, but at the moment that line is corresponding to the opacity. If we pull this line down, you can see that the opacity is going to be reduced. Of course, though, we're not looking at opacity in this episode, so we're going to remap that to time. We'll right-click on the "Clip", go, Show Clip KeyFrames, Time Remapping and select Speed. There you go, that will instantly change the look of that. Now, from here you want to go to the pencil, the keyboard shortcut for that is P. Then you want to create a new point on your video. Somewhere around here, we'll create a new point. That is going to create a special time remapping key-frame. If we go back to our normal selection tool, we can actually pull up the second half of this video to increase the speed. We'll pull that up to around 300 percent. As you can see, it means that at this moment in time we are 100 and here we are 300, so we speed up. But again, the problem is that it's just a bit aggressive. Instead we're going to smooth that out. We go into this keyframe, zoom all the way in and then you can just pull these apart from one another. As you can see, that has smooth out that transition. In slow motion and then we go into fast motion here. Now, if we click that keyframe, so we click this keyframe here, you can actually see we've got this blue mark in the middle, and at the moment we get this nice smooth transition. But if we grab that and move it around, you can see we can actually decrease that transition or we can increase that. At the moment it's set to the smoothest action. But if you didn't want that to be as smooth, then you just pull that closer together and that creates a less subtle transition like so. Of course, you can always pull these keyframes closer together like this and that will speed up that transition between slow motion and real-time footage. If you wanted to transition out of that, so let's speed this up, let's make that even more obvious, let's go for 483 percent, so really fast. Then we come back out to slow-mo here. We just go back to the pencil, create another point. Go back to the selection tool. We drag these keyframes apart. Pull the second half down to 100 percent. I get back to 100 percent, and then when we play this back, you can see we transition in and transition back out. We've created this really smooth time remapping effect on our video. We're slow, fast, and back to slow, and that was really smooth. This time remapping effect is really useful when you're doing music videos, montages or high paced edits. It's a really great way of adding character to your video, and it's a great way of linking your music to your video. If you're doing a music video, for example, adding in this nice time remapping effect at a specific beats or time in the music is a great way of making a connection between the video and the audio. Of course, though it does make for a really awesome transition as well. What I'm going to do is I'm going to make a cut just after I've sped up, so here. We'll make a cut there and we'll delete the second part of that video. We're speeding up at the end of that clip. Now, I'm going to drop another clip onto the timeline. Let's go for another food clip. We'll go for food for, we'll unlink the audio. Get rid of that. We don't need that for now. Then I'm just going to scroll through to the point where we see the plate reveal, so around here. Make a cut there and delete the first part of that and drag that up to there. Now, what we want to do is we want to transition into this. We're transitioning in. It's nice and quick. Then we want to start this motion fast and then slow down to about here. Now, in order to do that, we just need to activate the time remapping settings. We'll go Show Clip Keyframes, Time Remapping and select Speed. Now we'll go roughly halfway through that movements, so somewhere around here. We'll select the pencil and make a new keyframe there. Now we'll pull the left side of this up to speed this up, so we go 200 percent. As you can see, that transitions in nice and quick. But the problem is that movement suddenly stops at this point. I'm going to click that keyframe. We'll expand that to make that nice transition from fast to slow movement, a lot more subtle. Then we play this back. You've got this really nice transition. Of course, if you wanted to make that more obvious, then you can always just pull the speed up here. Pull that up to 300 and something percent and that's a lot more vibrant and a lot more dynamic now. Now, creating this transition with the time remapping, again is a great way of adding character to your videos, especially when you're doing anything montage based. 56. Time - How to Import Timelapses: Moving on, I'm going to show you how to import your time-lapses into Adobe Premiere. First of all, you want to begin by creating a new bin, so we'll go a new bin. I'm going to call this Time-lapse. Then we'll go into this bin, we'll right-click, and select "Import", and that should load up your finder. From here you want to navigate to your time-lapse files. You've got time-lapse here and then as you can see, we've got the sequence of images. I've got all of our images here and then what you want to do to import this is select the first image in that sequence. We'll select the "Options" button, so that's image sequence, make sure that it's activated, and press "Import". That will import all of those images as one video as you will see. Now, because this time-lapse was taken on a Canon 5D, the stills are roughly 5K large, which means we need to go into effect controls and pull the scale down. When we play this back, you'll notice that we have this really awesome time-lapse imported into our project. If for some reason that method didn't work for you and it didn't import as a video file. Instead what you can do is import all of the images separately, put them in their own nested sequence, and then speed up that nested sequence. Let me show you how. In this time-lapse bin, we're going to right-click, press "Import", select all of those images. Make sure the image sequence is turned off and then we'll select all of those images and press "Import". Then Premiere will take a second to import all of these stills. From here you want to go up to the very beginning, so scroll up to the top, press the name and you want to make sure that this is descending. You want to start off at 63, 64, 65, so go down. Highlight them all using the keyboard shortcut command A, and then direct them into the time-lapse composition. You want to go into that first image, go into effect controls motion, and pull the scale down. Pull that down to around there. We want to copy the motion, you can either right-click and press "Copy" or you can just go command C or Control C, the keyboard shortcuts. Then we're going to command or Control A, that is all and paste, so command V. But the problem is at the moment in time, all of these clips, all of these stills they are five seconds long each. This is going to be the slowest time lapse ever. Instead what we'll do is we'll go command A or just highlight everything like so. Right-click on all of those and we'll go nest. You can call this time-lapse. Then we'll go into speed/duration. Speed/duration is there and we'll increase the speed all the way up to a high number or alternatively, you can pull the duration down to your target duration. Let's go for five seconds. It doesn't let us do five seconds because the composition is too long. The shortest we can do is 13, so press "Okay". Play this back. It's not quite there, we want this to be a little bit faster, so re nest this, so nest again. Time-lapse again. Then we'll speed this one up, so we'll go speed/duration and we'll speed that up to a target duration of five seconds. That will now do what we need it to do. It's now five seconds long and when we play this back, there we go, our time-lapse is now imported and playing back at the speed that we need it to be playing at. Of course, this second way of importing your time-lapse is really clunky. The best way is to do the first import method. But if that's not working, then this is a great fail-safe. 57. Stabilising Footage - Intro: In this episode, I'm going to show you how you can use the Warp Stabilizer feature inside of Adobe Premiere Pro to stabilize your video footage. Let's get into it. 58. Stabilising Footage - Using Warp Stabilizer: Before we can begin the stabilization process, we first just needs to begin my dropping some footage on. We'll go into the Project tab, we'll go into the Red footage, and we'll go down to this clip at the bottom that is AO36_CEO 74. Drop that in a 2D composition and will keep the existing settings. As you can see, because we are in a 10 ATP HD video and we have 5K footage. Unfortunately, we need to scale this down as you can see. We'll go into Effect Controls, Motion, Scale and we'll pull the scale down so that this now fits. Somewhere around 38 should do the trick. Now when we play this back, you'll notice that this footage is playing back in slow motion, but we want this to be in real time. We're just going to begin by speeding this up to real time. As we learned from the previous episode, we're just going to select a clip. We'll go into speeds slash duration in this window. Then we can speed this up to 200 percent, and we'll press okay on that. As you can see, our footage is now in real time. This is a handheld clip, as you can see. We want to go through the process of stabilizing the footage now. Before we jump into stabilizing the footage, you first, just want to select part of the footage that you want to stabilize because this clip is currently 45 seconds long. If we analyze the entire clip, then it might take quite a while to analyze. I'm just going to take a three or four second chunk of this video from the beginning, so somewhere around here. We'll press " C" on the keyboard to load the razor tool will make a cut there. Then four seconds along roughly, we'll make another cut and we'll delete the rest of the footage that we don't need. As you can see, we've just got this four second section of video up here. This is the footage that we're going to stabilize. In order to stabilize our footage, we need to go into effects, search for, Warp Stabilizer and that should be under Distort. Then you just want to drag that onto your footage. As you can see, we're getting this error banner appearing. It says, Warp Stabilizer and Speed can't be used on same clip. The reason why we're getting this error banner coming up on screen is because we changed the scale, and we also change the speed of this clip. In order for Warp Stabilizer to work its magic here, it has to be applied to footage with the same frame size and frame rates. There's two ways of doing this; one, you can either import footage that matches the sequence settings or alternatively, and this is what I prefer to do, is we'll delete Warp Stabilizer from that clip, right-click, and we'll select "Nest." You can rename this to your footage or anything that you like here. Then now from here you can just search for affects, so go Warp Stabilizer, drop that on your clip and it's now going to start analyzing your footage. Now the reason why pleasing your footage into a nested sequence allows the footage to be warped stabilized is because the nested sequence has a frame size and a frame rates that matches the sequence. Rather than converting the original footage to 25 frames and 1920 by 1080, you'll just placing it in this nested sequence and analyzing the contents within the nested sequence. It sounds a bit complicated, but it's quite simple. If you get this error message just nest your sequence and you'll be able to analyze your footage. As you can see, Warp Stabilizer has finished analyzing the clip and it has applied the basic Warp Stabilizer effect to the footage. Let's see how that looks. Now instantly you can see that is a lot better already. But the problem is I'm getting a little bit of jellowing. You can see just up here on the left, we're starting to get this warping effect. That is because of the settings that are used in Warp Stabilizer. We'll just expand this region over here, and you've got stabilization result. You can either set smooth motion for moving shots or if you have a static shot or you want this to be static, you can go for no motion. But because I'm tracking and following somebody, we want to select smooth motion in this example. Now the smoothness, it can be pulled up or down, the higher up you go. Let's go for 200 percent. The more warp you're going to get applied. As you can see, there's loads of what going on here on the right and the left, and it just doesn't look pleasant at all. Instead of pulling that up, I'm going to pull the smoothness down to around 20 percent. That instantly does look a little bit better. But the problem is there is still a little bit jellowing happening. You can see just on the left and the right, everything is moving in a weird motion and doesn't look quite right. We're going to go down to the method and rather than selecting Subspace Warp, we can select one of these. Now if we select possession, you can see the position is going to be analyzed. But the problem is because the camera was rotating as well. You were getting this rotation wiggle on the left and the right. That brings us down to the next option. Position, Scale, and Rotation. That means the Warp Stabilizer is going to stabilize the position, the scale, and the rotation of the clip. That is how this looks, it looks instantly a lot better. As you can see, because we're not using a warping method here we're using the position scale and rotation there is very limited amounts of this jello effect applied to the clip. This looks a lot better. But of course, we also need to explore perspective, and perspective is just going to analyze your footage like this. I personally can see a little bit of jellowing in my example over here on the left. I, in this example, I'm going to go for Position, Scale, and Rotation. Generally when I'm applying the Warp Stabilizer plugin to my footage, this is the option that I go for, position, scale, rotation. I feel like it looks a lot more realistic and genuine. Now moving now we can go into framing and at the moment is currently set to Stabilize, Crop and Auto-Scale. If I turn off Warp Stabilizer, you can actually see that the top of his head was framed in, but applying Warp Stabilizer that means that he is now cutting off the top of his head. If we go into framing and change Stabilize, Crop, and Auto-Scale to stabilize only, you can see that the video is now going to move the position scale and rotation and therefore adding this black border around the outside, which obviously we don't want. We're going to have to correct that manually. If we go into motion up here, we can pull the position down. As you can see, we're getting the top of that video back. But we are getting this board up here, so we're going to have to correct the scale ourselves. I just increase the scale a little bit and get that to a point where I'm roughly happy with it. Of course, if you wanted to, then you can explore your keyframe animation, and you can adjust the position scale and rotation over time. Every time that black border dips in, you can just move the position to correct that. But the problem is I find, if you've got a longer clip, then this can take quite a serious amount of time doing it this way. Instead of Stabilizing, you can go for Stabilize and Crop. That's going to crop the video like so. Then you can go up into motion and you can adjust your position scale and everything so that it now fits again. Or alternatively, you can go to Stabilize, Crop Auto-Scale. Now alternatively, that is the fourth option which is Stabilize Synthesize Edges and this is just going to generate the video around that. It's going to get rid of that black border, but I find this option doesn't look particularly great. Generally, I like to keep this at Stabilize, Crop, and Auto-Scale because Premiere does a great job most of the time. Then of course, you've also got down here Auto-Scale and Additional Scale, so you can pull the additional scale down to decrease the scale. Or you can pull that up to increase the scale to get rid of those blackboard is again. Now in the Advanced Folder, we have got even more options here. We've got detailed analysis. You can tick this if you want a slower but more detailed analysis of your footage. If you've got some really complicated camera moves or objects passing it in front of the foreground that you might want to select this to try and get that detailed analysis, so you'd select that, and then turn off the Fast Analysis that's going to slow it down. Then moving down we've got Crop Less slash Smoothness. If you push that over to the right, so if we go a 100 percent, the footage is going to be really smooth, but there's going to be more crop. This means instead of having this full image, we're going to crop much tighter in on the subject. But if we go over to the left, then we're going to have next to no crop or completely remove the crop. But again, you're going to reduce that smoothness in the motion. This is a balancing act and generally you want to keep this at around 50 percent. Then moving down you can see we've got Hide Warning Banner. This is just the analyzing in background step 1 of 2. It's just going to turn that off. But once you've analyzed your clip, that will delete itself anyway, so you don't really have to worry about that. From here has used the detailed analysis in the advanced window to analyze the footage. Let's see how that looks. As you can see that it does look a lot better if we turn off the Warp Stabilizer. Turn off the effects and we play this back. This is how shaky the original clip is. As you can see, there's quite a bit of handheld movement there. But if we turn that on and we play that back, you can see it's done a great job of smoothing that aggressive camera movement out. Now I should mention that the Warp Stabilizer, even though is an incredible plug-in and it does a great job of smoothing out your footage, it should always be a last result. Try and focus on capturing smooth camera movement onset because then you won't have to go through the headache of using Warp Stabilizer in the edit. But if you've been handed shaky footage, then dropping Warp Stabilizer onto your footage is a quick and easy way of smoothing out that motion. If you still wanted that handheld look, but you just wanted to get rid of the shape then all you just have to do is just pull the smoothness down to a small number like ten or five. That's just going to dial that down just a little bit. You'll still get that nice handheld aesthetic, but it won't be as aggressive as if it was straight from camera. That's it for this section of the tutorial. In the next episode, I'm talking about keying and green-screen. 59. Keying & Greenscreen - Introduction to Keying: In this lesson, I'm talking about green screen, so I'm going to show you how to keep green screen footage inside of Adobe Premiere Pro. Let's get into it. 60. Keying & Greenscreen - How to Remove Green & Add New Backgrounds: As you can see, I've got some green screen footage imported into my project inside of Adobe Premiere. The first thing that we want to do is just get rid of anything that isn't green. Anything that is not supposed to be there should be removed with some masking. As you can see, we've got the edge of the green screen up here which we need to get rid of. We're just going to zoom out. Select fit, zoom out to 50 percent, make sure that video is selected. Then we'll go to effect controls, opacity and select the free draw bezier tool. Now, we'll just draw a mask around our footage, making sure that this bit is excluded from that mask. Then we can just zoom back in to fit. In order to key, we want to select the footage layer, we'll go into effects and we'll search for key. That should load up the keying folder. Now, there's a few different plug-ins here but we are going to select color key and drag that onto our footage and that is going to allow us to get rid of this green. You want to begin with this color key effects by going into key color, selecting the eyedropper tool, and selecting a green close to the subject. Over here somewhere here is perfect and as you can see, the box here has turned green. Now, you just want to pull the color tolerance up. When you're increasing this you want to pull this as high as you can go without it starting to take chunks of your subject away. You can see when I take this past a certain number the hands, the arms, the hat, it's all starting to be eaten into. We want to keep this nice and low before that starts to happen. That's around 40. I think 40 is the limit for this. Then we'll drop another round of color keying onto our green screen footage, we'll select a different shade of green. We'll go for this bottom left corner. Again, we'll pull up the color tolerance before it starts to eat into the subject so it's going above there. It's around 24, 25. Put your color key on again to get rid of that loss shade of green, we'll select the azure portal, select the green, increase the color tolerance, and that should get rid of all of our green footage. Now, the reason why I'm having to do this in a few different color key plugins is because the green screen was not lit evenly. As you can see, it's quite bright up here and quite dark down here and somewhere in the middle across the middle of the frame. That means we've got three shades of green going on here. In order to get rid of all of those greens, we have to do three different color key effects. Now, in these color key effects, you can go into edge thin and edge feather if you want it to fade that keying out by a person who further look of this hard edge. As you can see, if I pull up edge feather on all of these, you can see if we zoom into the subject, so I'll set the quality to full, will zoom into the subject and you can see there's the soft edge around the subject. You can really see that when I zoom into 400. But if I pull the edge feather down to zero, then we get this nice hard edge. Of course though we can see there are some imperfections in this key, so you might want to add a little bit of feathering just to smooth that out. But again, I'll keep this at zero. Then you've got edge thin as well and this is just going to start to bite into the subject. If you have got a little bit of this green outline, then you can just pull the edge thin up a little bit. With no edge thin we can see we've got this green border. But when we pull this up to one, if we go up, you can see that it's actually starting to eat into the subjects, handle it a bit and giving a jagged edge. I generally like to keep this at zero. We do get this small board but when we zoomed all the way out, you shouldn't really see that. Now, at the moment you can see we're getting this green down here rather than trying to keep that out, what we can do instead is we can just go back into our mask and we can just cut this corner out like so. Because the subject never actually travels over there, we can successfully just mask that out. Now that we've added our color key plug-in onto our footage, the subject is now on a transparent background and you can see that if we go into the transparency grid. You can see that on this transparent background. The transparency grid is a great way of actually seeing if there's any imperfections in the green screens. If we zoom in, you can see there's a little bit on the hat which is missing. You can go through each layer, pull the color tolerance down and figure out which layer is doing that. In my example, it looks like Number 2 was doing that, so we can pull the color tolerance on the second color key plug-in down a little bit and that should get rid of that. Now that you've got your subjects keyed onto their own specific layer, this means you can go ahead and create new backgrounds for them. If we go into new item, color mat, press "OK" on the color mat and create a color of your choice. Let's go for blue. If you drag the subject up onto video layer 2 and the color mat onto video layer 1, you can see that the subject is now on a blue background, but you can see we've actually got some imperfections in the green here. If you're having the same issue then just go back into your color key plug-ins and just increase or decrease the color tolerance to get rid of these imperfections. 61. Keying & Greenscreen - Outro: There you go. That is how you remove the green from green screen footage inside of Adobe Premiere Pro. Now Premiere does an okay job at removing green and editing green screen footage, but if you're serious about doing green screen videos then I would recommend looking at Adobe after effects instead, because their key light plugin is much more advanced than premiere color key plugin. Saying that though Premiere does do a decent enough job with the color key plugin. If you've got only got Premiere, then that's completely fine. Just follow this method and that's how you're going to remove the green from your green screen footage. 62. Multicam Editing - Intro: In this lesson, I'm going to show you how to do multicam editing inside of Premiere Pro. Let's get into it. 63. Multicam Editing - Manual Sync: The first step of multi cam editing is to import your footage into Premier and then drop it onto your sequence. I'm just going to drop my first camera onto the timeline, we'll keep the existing settings. I'm going to drop my second camera onto the timeline and then I'll drop my audio onto the timeline as well. Now that we've got our two cameras and we've got our audio on the timeline we now need to get these syncs up. Now if you're doing anything with multi-camera or if you're recording audio, separate a video, then I would always recommend that filming a sync clap. Turn on all of the cameras, make sure the audio is rolling and then just inferences your face or the subject's face, I sync clap. What this does is it generates a sharp spike on the audio waveform in the edit. As you can see, if I zoom into Premiere, you can see this sharp spike here, if I turn the volume up, that is the sync point. With that captured on my two cameras and my one audio track, all I have to do is just look for that point, make a cut at that point, and then bring everything together to sync it all together. That is what I'm going to do. With this audio, I'm just going to hover over this point here, we'll press C on the keyboard, we'll make a cut at the audio waveform and delete the first part of that. Now with these two cameras, I'm going to highlight everything, right-click, go to unlink, and that will unlink the video to the audio, we'll get to this first camera, go all the way into that sync point, like this, press C on the keyboard to lay the eraser tool, and we'll make a cut there and then delete the first parts of that. Then we'll go to our second camera, again, we'll look for that sync points. Here it is. Hands coming together. You see you've got the audio wave form, now you've got the spike on the audio waveform and you've got the visual marker of a hands coming together. I'll cut there, we'll delete the scratch audio from the camera so highlight all of that audio, delete that, we'll drag everything matched to the beginning, and then we'll drag a video or second camera up onto video layer 2. As you can see, if I go halfway through this video and we play back camera 1, I do have to scale out to this though. Playback camera 1. That's in time and we play back camera 2. I just created a new key frame on all of those. That's also in time. We have now successfully synchronized our videos and our audio. Now that is the first way of syncing everything together, and that is the manual way. Premiere does have a syncing setting for you and you can just select that and it syncs everything for you. But I personally prefer the manual syncing option. But let me show you how to do the automatic syncing as well, just in case you wanted to option. 64. Multicam Editing - Automatic Sync: What I'm going to do is I'm just going to re-import the footage and the audio. Drag this over here. We've got audio, video, and video. We'll drag the audio on these cameras down, like so. From here, what we'll do is we'll unlink these two videos from the audio, so we'll highlight both of those, right-click, press Unlink. Then I'm just going to expand this workflow so we can see what we're doing. We'll expand this workspace. I just want to keep one of these scratch audios on the first camera, delete the rest, and then I'll do the same on the second shot as well. We'll move this audio up onto two, this audio down onto three. Then we'll link the first camera with the first audio, so we'll right-click and select Link. We'll do the same with the second video and the second audio or link. Then what we want to do from here is just drag this up onto here. Highlight all of the audio and the video files. We'll right-click, and then go up to Synchronize. Now this should load up the synchronized clips menu. You can either synchronize the point to the clip start, the clip end, or you can use the audio as the sync point. Now in this example, I'm going to do the audio because I'm trying to sync this up with the professional audio. The professional audio is on track channel 1. This one here. We'll press "Okay" on that. Then Premiere is just going to process that audio, it's going to take the time to analyze the audio, and then it should sync everything together nice and perfectly. Now Premiere does a great job of this 99 percent of the time, but there is that one percent where it slightly messes up and it's slightly out of sync. Just make sure you go in and check that everything is in sync before you carry on. But that is how you use Premiere Pro synchronized setting to synchronize your video, and your audio. That is step 1 of the multi-cam editing feature. 65. Multicam Editing - Multicam: Now that your video tracks and your audio are now synchronized, we can now begin the process of multi-cam editing. But before we can do that, we just need to select all of the cameras and the audio, we'll right-click and go nest. We can call this multi-cam edits and press "Okay". That one nests all of that video into one nested sequence. Now moving up, we need to enable this clip for multi-cam editing. So we'll right-click the nested sequence and then we'll go multi-camera enable. There you go. That should go back to that first video clip. As you can see, that's changed from camera 2 to camera 1. Then we need to go over to the settings icon. We've got to change the composite video to multi-camera. This is just changing this view here. As you can see, you've got camera 1, camera 2, and then this is the mix of the two. This is what we're currently seeing. This yellow border around camera 1 is representing what we currently cut too, and that is this. Then in order to cut between these two cameras, all you have to do is just press 1 or 2. Or if you've got three or four cameras, press 3 or 4 as well. You can just play this back. We'll go one, to select Camera 1, then we'll go over to two. Then we'll go back to one. Then at this point, two, back to one. Now when we stop this, you can see we've got all of these different cuts in this nested sequence, and every time there is a cut, it changes camera angle. Now if for some reason you made a mistake and you didn't want to cut to a specific camera angle, so at this point, we want to stay on two, but it's gone back to one. All you have to do is just hover over that specific cut. So we'll just hover over this cut. Then we'll just press the camera that you want to select. In this example, I'm going to go for two and ask it to cut back to two. When we play this back, you can see, it's going to remain on two even though this cut is there. Then it should cut back to one in a second, there you go. Now from here, all you have to do is just keep working through your video. Make all of the cuts, select which cameras you want at which specific time. Like I said, if you've got multiple cameras, so you've got 1, 2, 3 or even 4 cameras, then you just use the numbers on the keyboard that represent that specific camera. If you've got four cameras, you can do 1, 2, 3, 4 and cut between all four of those different cameras. Now this is really great if you're doing a multi-camera interview, if you're doing a live performance video, or if you're doing a YouTube video with multiple cameras. The multi-camera editing feature inside of Adobe Premiere Pro is a great feature and it's going to save you loads of time when doing these type of edits. But there you go.That is the process of how we create a multi-cam edit inside of Adobe Premiere Pro. 66. Sound - Intro: In this lesson, we're talking all about sound. Now, sound is one of the most important parts of film-making, and it is often overlooked. If you have bad audio than your video it doesn't matter how great it is, it doesn't matter how many flashy transitions you have, unfortunately, it won't seem professional because the audio has been neglected. Before we jump into Premiere it's always really important to make sure that you have clean audio to begin with, and then we can enhance that in Premier. When it comes to capturing your audio, just make sure that your microphone is as close to the person talking as possible. If you're doing an interview, for example, wear a lapel microphone or a shotgun microphone. If you're doing something for YouTube, then just get a microphone off the camera and get it closer to the person talking. You don't have to use an expensive microphone, it doesn't have to be anything really professional. You can even use the voice recorder app on your phone, for example. As long as it's close to the person talking, then the audio is going to be far superior. When you're capturing your audio just make sure that the microphone; whatever it is, just make sure it's close to the person talking and you'll have much better audio instantly. But with your audio captured let's jump into Premiere, and I'll show you how to EQ that to make that sound better and more dynamic. 67. Sound - How to Change The Volume of Your Audio: As you can see inside of Premiere, we have this audio file on our audio Layer 1 one in the sequence, and if we play this back, this is what this sounds like. In this video, I'm going to show you how to create a transition. Playing this back, you can see we've got this monitor up here actually representing what this looks like. So if we play this back again. In this video, I'm going to show you how to create. This here is actually representing how loud the audio is. So at this moment in time. In this video, I'm going to show you how. it's here. If you wanted to increase or decrease the volume of that, we can open up this option here. So pull this down, and that will reveal this line here. You can also see up here in the Effect Controls tab, we've also got the volume up here and the level is what we want to affect. Now, as you can see at the moment, we've got the key frame, the toggle animation button selected. So we're just going to turn that off to begin with. Then there's two ways of decreasing the audio or increasing the audio. We can either decrease the decimal number here. As you can see, the line will drop, or you can increase that. Or alternatively, you can just pull this line down like this. So by default, it should be set to zero. But if you want to make this quieter, then just pull this to a negative number. Or if you want to make this louder, pull this up to a positive number. But we'll begin by making this quieter, and when we play this back at negative 13.6 decibels. You can see the volume over here has reduced. Now as a general rule of thumb, you want your audio to be living somewhere between negative six and negative 12. At the moment it's too quiet because it's living at around negative 24, so we'll increase the volume. Transition from initiate. That's still a bit too quiet, so we'll increase that again. Right here inside the Adobe Premier Pro. As you can see at plus 3.8 decibels, that is now living where it should be living. I'll show you how to create a transition. Sorry, on negative six, negative 12. Initiate layer inside of Adobe. Now, if you want it to animate your audio over time, so you want it to have a quiet bit over here, and then a loud bit over here. Then you would do so by creating a new point on this line. We go to the pencil, and the keyboard shortcut for this is P, as you can see. We'll create a point on this line here. We'll create another point on the left, and we'll pull this left point down. As you can see, at this moment in time, we are at negative 21.4. Then we animate up to plus 3.8. Let's see how that looks on this monitor here. In this video, I'm going to show you how to create a transition. We can also do that going down as well. We can animate that down or we can animate that up as well. But you can also use this method to create a fader. If we pull this all the way down to negative 999, we'll play this back, and as you can see, there's nothing here. There's no audio actually registering here. A transition from. Then we fade in. Again, you can do the same thing on the way out. We've got a key frame here. We'll create another key frame at the end and drag that down, and now we've got no audio fades in, and then fades out to no audio again. Create a transition from a shift. Of course, if you didn't want to deal with the pencil, then you can just go into Audio Transitions, Crossfade, and you can use either constant gain, constant power, or exponential fade. Direct that onto the end of your clips and at the start of your clip, and these weren't like the transition presets that I mentioned in a transition episode. But you just drop these at the start and the end of your audio file, and you can increase or decrease the size of this to increase or decrease the fade amount. I'm going to show how to create a transition. As you can see, that's going to fade in, and it's going to fade out like that. 68. Sound - How to Clean Up Your Audio: Now, if you wanted to improve the quality of your audio and add just a little bit of equing onto this, we can go into effects and search for parametric equalizer. We'll drop that onto our audio file. This sounds really complicated, but it's actually really simple. We'll go into "Edit", and that will load up this window. When we play the audio back, I'm just going to move this up here out of the way. If we play this audio back, you'll see the wave form generated up here. Basically the lower frequencies, the bassier tones are represented on the left, and the higher frequencies at a higher pitch tones are represented on the right over here. Anything in the middle is in the middle here. I'm going to begin by just getting rid of some of that bass noise. In order to do that, I'm just going to go for HP, which stands for high-pass filter. That's just going to roll off some of those lower tones. You can pull this closer towards the middle to get rid of some of those darker tones. That sounds much better. If you wanted to focus on the higher tones, the high frequencies, you can go ahead and create a low-pass filter. That will get rid of some of those higher tones, those higher frequencies. Or alternatively, if we turn that off, and bring this up, you can actually bring up those higher tones, those high frequencies, to create a punchier sound in your dialogue. That's closer to like a radio style voice there. But if that's a bit too much for you, then you can always just pull this down to somewhere in the middle, somewhere around here. From here, what we're going to do is we're going to focus on these mid tones. You can see we've got these points here. We've got 1, 2, 3, 4. I'm going to start with number three. I'm just going to pull number three all the way up to the top to see how it sounds. Let's play this part. As you can see, that doesn't sound particularly great. If we pull this down, let's play this back. That's sounds a lot better, although the problem is coming down this low is starting to make the audio sound more muffled. I'm just going to pull this up. This again is those mid-level frequencies. That sounds much better already. You can go into two and four and you can even focus on five as well if you want, and pull these up or down to make your audio sound better. But generally, I think I'm happy with that. If you wanted to bypass all of this though, if this feels too complicated for you, you can always just go into "Presets" and you can use one of these presets. Generally, the one that I would like to use is the vocal enhancer and that mimics what we've done here. You can see we've got the high-pass filter. Number three has been pulled down a bit. The higher frequencies have been pulled up. If you want to skip all of the hassle of dealing with all of these, just go into presets and select vocal enhancer. When we play this back. That sounds really nice and much better. We'll just come out of that. That is the first part of our audio processing now complete. Moving on, I'm going to focus on the S-tones in the audio. As you can hear, in this, the S-tone is quite sharp, and in show as well, it's a little bit sharp and it's a little bit difficult on the air to listen to. I'm going to search for DeEsser. That should be an amplitude and compression. We'll drop that onto our audio, select "Edit" and this should load up the DeEsser window. Again in the DeEsser window, you've got the preset so you can go ahead and select a preset of your choice. You can select a high voice DeEsser, a high voice DeSher, a low voice DeEsser, or a low voice DeSher. I'm just going to leave this as default for now. From here I'm just going to select "Output sibilance only". This is just going to show us what we're going to get rid of. Turn on, we'll play the audio back. As you can see, all of those S-tones are going to be removed, so the output sibilance only, this is what we're going to get rid of. You can go ahead and you can change some of these settings so the center frequency and the bandwidth. If we turn that off, our audio should now sound great. Of course, if this is too complicated, then again, just go into presets, and select either high voice DeEsser or low voice DeEsser. Generally if the audio is of a female, then go ahead and select high voice and if it's male, then go ahead and select low voice. I am generalizing those so if you've got a high pitched male, then go ahead and select high voice and if you've got a low pitched female, then go ahead and select low voice. But generally, female is going to be high voice and male is going to be low voice. In this example, I'll select low voice DeEsser. We'll play this back. I'll turn it off and turn that on. That's just getting rid of those sharp tones and you can see that over here in the Gain Reduction. It's just rolling off those really harsh tones on the S-noises. When we turn off all of these layers. 69. Dynamic Link - Intro: In this lesson, I'm talking all about dynamic linking. Now, what makes Adobe really powerful is its ability to link all of its programs together, and that's where the dynamic link feature comes in. Premiere is a great video editor and it leans really well into the motion graphic space, the color grading space, all of these other spaces, and Premiere can offer a lot. But there is a limit to what Premiere can offer, and that's where the linking feature is really great because it means you can explore outside of the realm of Premiere and lean into Adobe After Effects for some advanced motion graphics and visual effects, or you can lean into Adobe Audition for some advanced audio editing. Let me show you how to do that with this video. 70. Dynamic Link - Link Video into After Effects: Let's start with creating a black video. We'll go "New Item", "Black Video", press "Okay", and we'll direct this onto our project. So we'll drag this onto the timeline. As you can see, this is a five-second black video. Now, in order to activate the link feature, you want to right-click, select "Replace With After Effects Composition" and that will open up Adobe After Effects, as you can see that now in After Effects. The great news is everything we do here inside of Adobe After Effects will be applied into Adobe Premiere. I'm not going to show you how to create anything in Adobe After Effects that is an entirely different course, that is something completely different. It's a completely different program. But I'll just show you a quick example. If I create some text in After Effects, you can see if we go back to Premiere, instantly that text is there even though we created that in a different program. Of course, it's not just a black video that you can drag in, you can also drag you footage from Premiere into After Effects. Let's go to the Project tab, we'll go "FS7", "Food-4" again. We'll drag Food-4 onto our timeline. Now, we'll unlink the audio and the video, and then we'll edit this inside of Adobe After Effects. We'll right-click, go "Replace With After Effects Composition" and that should open that up inside of Adobe After Effects. Inside of After Effects, let's just go into "Effects and Presets" for example, we'll go to "Color Correction" and let's just add the auto color on. That's incident is going to add that splash of color and when we got back into Premiere, that will update in Premiere. The great news is as well because of the seamless integration between Premiere and After Effects, this will pretty much playback at the same speed as any of the clip with an effect applied to it in Premiere, so that's not a problem at all. Now, the reason why I love this feature so much is because even a Premiere is amazing, it does have its limitations. Green screen is one of those examples. You can edit great green screen footage in Premiere but After Effects does it much better. Text animation is also much easier in After Effects and there's a whole world of different things that are more available and easier to do in After Effects other than Premiere. Of course, you don't have to download link into After Effects, everything is possible in Premiere. But having the ability to open up another program and have it linked straight into your project makes life really interesting, and it opens up a whole world of opportunities. 71. Dynamic Link - Link Audio into Audition: They can also do the same thing with your audio as well. Let's say you've got a video on your timeline. As you can see, this is just a generic video of me talking about a specific effect, but if we right-click the "Audio" and we go "Edit Clip In Adobe Audition", that will open up into Adobe Audition, as you can see. Now, Adobe Audition is a really advanced sound editor and you can do some really interesting and incredible sound editing here. Again, I won't get into the specifics of how to do specific things in here because that's a whole another topic. But once you've added in all of your effects in Audition, all you have to do is just export this out of Audition. We'll drop this on one of our hard drives. Let's drop that there. You can export that and then drop that straight into Adobe Premiere Pro. You got the Export Shape Transition and that will line up perfectly with that, so you can just go ahead and mute the original audio and you have your new awesome improved audio that you edited in Adobe Audition. The Dynamic Link feature here is really great because rather than having to export it from Premiere to Audition to export it back to Premiere, it just links it straightaway into Audition, and you can just export it from there. 72. Dynamic Link - Summary/Outro: Like I've already mentioned, you don't have to Dynamic Link into these other programs, premiere can do really advanced sound editing and it can do a whole wall of video effects. But if you wanted to explore audition or explore after effects, then having the ability to edit in these other alternative programs, and having that updated in Premiere in real-time in your project is absolutely incredible. If you're looking for ways to explore outside of Premiere, but you want everything contained within your timeline in Premiere, then linking out to Premiere is a great option for that. 73. Colour - Intro: In this lesson, I'm talking all about color. Now, color correction and color grading are two terms that are often thrown around by people and they're often thought to be the same thing. Technically, yes, they're both to do with the color process, they're to do with coloring the footage, but color correction is at a correction phase. It's fixing the white balance, the exposure. It's fixing all of the footage and making it all match. The color correction, the white balance, everything is matched. Then grading is the second part of the coloring process. This is where you style your footage and make it look how you want it to look. 74. Colour - How to Colour Correct Your Footage: Let's begin with correction. I'm going to start by droppings of footage into our composition. Go into FS7, and let's go for some city shots. Let's see, we've got City 7, we'll drop this one on. We'll keep the existing settings. Then let's go for City 5. As you can see, we've got two video clips. We've got this first one here, which is just the traffic on a nice sunny day, and then the second one is just this lake again on a nice sunny day, but this one is at sunset. When we're looking at these clips, these are both filmed in the correct white balance, the exposure is correct. Everything here is correct. I wouldn't have to do any color correction here at this point. But let me change the white balance of this clip and then show you how to fix that using color correction. As you can see, I've changed the white balance and I've pulled the exposure down on this first clip and these are now no longer matching. The second clip is perfectly exposed, it's shot in the correct white balance, but this first clip looks a little bit blue and it's a little bit dark. The first step would be to go ahead and fix the exposure. You can do this in one of a few different ways, but I like to go into levels. So L-E- V- L-S, drop that onto your clip, and then we can go through the process of adjusting these settings here. The RGB, this is what we're focusing on. We've got black input level that's going to crush the blacks, we've got the white input level and that's just going to boost the highlights. You can see if we push it too far, then it's going to overexpose. Got the black output level and they're shown to raise the shadows. The whites output level is going to pull everything down and then you've got the Gamma as well which is your sure basic brightness control here. In order to increase the exposure, I'm just going to increase the white input level a little bit. We'll pull this down to around there just before it starts to clip in the clouds just up there. Then we've got the Gamma will pull this up as well. I'll pull this up to around here, and then by pulling the Gamma up, you can see we've increased the shadow, so we're just going to add some contrast back into the shadows like so. Now we can move on to the process of fixing this white balance. You can do this in one of a few different ways, but I'm going to do the false-color corrector methods. Search for fast color corrector, we'll drop that on our footage. As you can see, we've got this big color wheel here. Now this footage is blue so rather than going towards the blue you want to go the opposite direction and push towards the oranges. Pushes up towards the oranges and as you can see that he's starting to look a lot better. I'm going to push us somewhere between the greens and oranges, and that looks great. If we turn levels and false color corrector off, this is where we began. We first started by boosting the exposure and then we change the white balance. Now the footage looks a lot closer to this second clip. Of course at this point you can see we need to add a little bit of contrast to this because this one is a bit more contrasted than this clip here. We'll go into levels, search for levels, drop that onto your second clip. Then you can increase the black input level and you can also increase the white input level as well if you wanted to add a bit more contrast. There you go, those are matching a little bit better now. Now from this point you just want to go through your project and you want to color correct all your footage so that the exposures, the contrast levels, the white balance, make sure all of these are matching. 75. Colour - Colour Grading with Lumetri Colour: Once you've color-created all your footage, you can now move on to the grading process. For grading, I like to use the Lumetri color. Now there are two ways of getting to the Lumetri inside of Premier. You can either go into "Effects" and search for Lumetri Color. Í'm not sure it'll appear any color correction folder. You can just drop this onto your footage. That should appear within the Effect Controls window up here. Or alternatively, you can change the workspace. If we go up here onto the top bar, you can see we're currently in editing. But with this clip selected, if we select "Color", Lumetri color should now appear on the right. By default, the basic correction should be open. You can go ahead and make some basic color correction here or use one of these input LUTs that Premiere has to offer. Now a LUT or a lookup table is just a color preset. It's just a way of adding a little bit of color, contrast, and saturation adjustments onto your clip. It's a quick and easy way of taking your flat log footage and converting it into a Rec 709 look, which is basically just a more pleasant, contrasted saturated version of your footage. I'm going to select, let's go for the Alexa V3 LUT, to begin with. You can see it's just added a touch of contrast and color onto our image. Of course, that you can search another one of this is completely up to you. Now personally, I quite like the look of this D-21 LUT. It's quite a dark look and I think that looks really nice in this example. Of course, that you can go ahead and select one of these. Or alternatively, if you select "Browse", you can go ahead and import one of your own LUTs that you might have downloaded from the Internet. But I'm going to select D-21. Then moving down, we've got the white balance so we can go ahead and make more adjustments to the correction so we can select the white balance selector to select something in the image which should be white. In this example, the sky is quite white here, so we'll select that and that should adjust the white balance. If you're not a fan of that though, then you can always just pull these sliders over to the left and the right to change the look of that. Then you've got tint as well so you can push your colors towards the greens or the purples. Then you've got some basic Exposure Contrast, Highlights, Shadows, Whites, and Blacks corrections here. You've also got saturation here as well, but I'm not a huge fan of how saturation looks. I feel like it looks a bit ugly. You can see it's just boosted these weird colors and I'm not a fan of how that looks. Moving on, we've got creative and this is where you're going to be able to do all your fancy color grading. If we go look, you can see we've got all of these different looks that Premiere has installed for us. We can select CineSpace. That's how that looks. You've got Kodak, you've got Bleach LUTs. You've got all of these different LUTs and these are going to give your footage a different look. You've got a western look, you've got a HDR look, you've got a neutral start. I think this one looks quite great to be honest, but it feels a little bit too intense. I'm just going to pull the intensity slider over to the left. You see if I pull this all the way to the right, you can see how intense that can look. But I like to keep this somewhere around here. Of course, again, if you go into this folder, you can import your own Luts by selecting "Browse". Moving on, we've got the Adjustments tab and we can increase the shadows by increasing the faded film. That's how that looks. You can add some sharpening, you can add some vibrance. I much prefer adding vibrance over saturation. As you can see, the colors pop a little bit more subtly using vibrance as opposed to saturation. I pulled the vibrance up and then you can add some colors in the shadows or the highlights. I've pushed the shadows towards the oranges and the highlights towards the blues. This is how that looks. That is a very ugly example, so don't do that there. Then you've got the Tint Balance slider. If we push the shadows and the highlights towards a different color as well, you can see if we move the tint balance, you can see it's leaning more towards the shadows or the highlights depending which way we go. But I don't like the look of that. I'm going to carry onto Curves. Now, first up, we've got the RGB curves. In RGB curves, you can see we've got the red, green, blue channels represented by white, red, green, and blue. When it comes to curves, the highlights are represented up here in the top right and the shadows are in the bottom left. If you go up towards the left corner, you're increasing the brightness. If you go towards the bottom right corner, you're decreasing. If I wanted to increase the highlights, I'll push this more towards the top left. You can see that starting to overexpose. If I wanted to pull this down, there you can see it's underexposing the closer I get more towards that right corner. Of course, you can create points. In the middle, I'm affecting the mid-tones. I can pull that down to crush the mid-tones or boost the mid-tones. I can also crush these shadows by pulling the shadows towards the dark corner. Then, of course, I can go into each individual channel so I'm on red, I can pull the reds down or I can pull the reds up. Now onto the greens. I can create a point and pull that where I need to go. Then, of course you've got blue as well so we can make adjustments there. But moving on, we've got the Hue Saturation Curves and we've got Hue vs Saturation. This is where we can target specific colors or specific tones. If we want to target these greens, for example, we'll make a point on the left of the green. We'll make a point on the right of the green. Then we'll make a point in the middle of the green and we'll pull this down. As you can see, the colors are slightly being affected in those greens. Alternatively, I can do that to the oranges because that'd be more obvious. We'll put the oranges down and you can see only the oranges are being affected. But moving on, we've got Hue vs Hue. This is your color versus your color. Let's target this green again. Make a point on the left of the green. We'll make a point on the right of the green. Then we'll pull the greens down. You'll notice that changes a little bit, but again, it's quite subtle. We'll change the oranges. You can see that the color is changing on the orange. Next up, we've got Hue vs Luma or luminance. Let's focus on the oranges here. If we pull this up, then our luminance goes up. If we pull this down, the luminance drops a little bit as well. Then, of course, you've got Luma versus Saturation and Saturation vs Saturation. But moving on, we've got Color Wheels and Match. This is a way of targeting the shadows, the mid-tones, and the highlights individually and adding a color into the highlights, mid-tones, or shadows. The shadows are the dark parts of the image, the mid-tones are the middle tones, and the highlights are all the bright parts. I'm going to make the highlights blue, we'll make the shadows orange, and we'll make the mid-tones green. As you can see that's how that now looks. However, though, I'm not a fan of how that looks. I'm going to move down into HSL secondary. I think HSL secondary is one of my favorite parts of the color grading process. This is where you can target specific colors. Let's go for these greens in the back, for example. We can either set the color using this eyedropper tool, so we select that. Then we can just use the eyedropper tool to select that green. If we go down here and we move this over, you can see which parts of the image are being affected. At the moment, everything that is gray is not being affected but everything in color is being affected. Feel free to move this over to find the parts of the image that you want to affect. As you can see, moving these over to the left, more of the person is been affected, and moving this over to the right, the less of the person is being affected and more of that bush. However, because these colors are quite close together, let's target a different color, and let's go for these pinks. We'll start by selecting purple as a reference. Then we'll just drag this over. My aim is to try and get this in color. As you can see, I'm starting to affect this now, but it is affecting quite a lot of the image. I'm going to move down to saturation and we'll move this over and again, everything gray is not being affected. Everything in color is being affected. We're removing those flowers, so we'll go to the left. Then we've got the luminance, which is just your brightness. Pull this over. I think somewhere there should do the trick. Now moving on, we've got the refinement in the HSL secondary so we can denoise that specific color or we can add blur onto that specific color. Like so. As you can see, that looks quite nice on those highlights, but we'll get rid of that for now. Then we'll go down to correction. You've got this color wheel again, and you can boost that towards a specific color. Let's turn all of this green. As you can see, these are being affected, but also these are being affected as well. That's because the colors are quite similar. We've got the temperature, we've got the tint, we've got the contrasts, we've got Sharpen and Saturation as well. But we'll move on anyway, and we'll get on to the last option which is vignette. A vignette is just that black border around your video. If we pull this over to the left, you can see we're getting this black feathering border around the edge. If we go over to the right, it goes white. we'll go towards the blacks though. We can push the midpoints so that we get a closer midpoint on that vignettes. I'm going to keep that quite close to the center. So somewhere around here, we can increase or decrease the roundness. I'm going to increase that. Then you can feather to soften this off. 76. Colour - Export Your Own Colour Presets (LUTS): Now, I'm aware this color looks really ugly, but let's say we wanted to save this as a preset, how would we do that? In order to do that, we would want to go up to the Lumetri tab here. We can right click, and go to Export.cube. That should load up the Finder, and then we can just go onto our desktop or locate to your hard drive, it's completely up to you. I'm going to put this here. Then we can rename this as Ugly Green LUT. We can save that. That's going to export this color information into a file. That means if we go onto this first video clip or if we add a new video clip on. Let's go into our FS7 folder and we'll drag another city show ends. We'll go City 2. Now with Lumetri color selected, we can go into Basic Correction or we can go into Creative. We can go Look, Browse, and then we can navigate to the Ugly Green LUT that we just created. Press "Open," and all of that color information is now there. As you can see, it doesn't actually look too bad on this individual clip, but on this individual clip it doesn't look great. 77. Colour - Colour Grading with Adjustment Layers: Of course, adding a lot onto all your individual clips is fine if you've only got a few clips, but if you've got a really busy edit and you wanted to apply this color grading effect onto all your video clips, then this is where you can use an adjustment layer. Adjustment layer are basically an umbrella and everything that you place onto that adjustment layer will be applied to everything beneath the adjustment layer. What I'm going to do is, I'm just going to delete that LUT. Go to Effect Controls, delete the LUT. We delete the LUT from there, and then we'll also delete it from here if it was there. Now, we'll go into our Project tab. We'll go to this New Item button, or, alternatively, you can just right-click on a vacant space down here. We go New Item and we'll select Adjustment Layer. Press "Okay" on this adjustment layer, and then you can direct this onto a video layer too. Now, select the Adjustment Layer and inside of the Lumetri Color window, you want to make sure that the source is Video Adjustment Layer, then we'll go to Creative, Look. We'll browse, we'll paste that LUT in there. As you can see, the LUT has been applied to the adjustment layer. If we turn off the adjustment layer, the video is not graded, but if we turn it on, then the video is now graded. You can see if we drag some new footage in, so let's go for one of these food clips. Let's go food 4, we direct that in. At the moment, it's not graded, and the reason why that's not graded is because there's no adjustment layer. But if we direct the adjustment layer over to the right, you can see the clip is now graded. Of course, the great news is because the color grading is on this adjustment layer, it means you can go into the clip and you can add your color correction onto the clip with that look already applied, so we can drop our levels onto this, and then we can increase the contrast, we can add some Gamma onto this as well, and we can basically clean this up. We can color correct it with that Live Preview Lookup table on top of the adjustment layer. 78. Colour - Colour Grading Skin Tones: As you can see, I've got this footage of me talking to camera imported onto our timeline. If I only wanted to target the skin tones and nothing else within this scene, I would want to go into Lumetri Color, go to HSL Secondary, and I would use this process to target the skin tones. What I would do is start with a red, because that's closest to my skin tone here, and then move this hue slider over, so that only my face is now targeted, like so. Then when we're done to saturation, and again, we'll find hue in this so that the face is selected, and the same with the illuminance. Now moving down, you can see we've got correction, temperature, tint, contrast, sharpen, and saturation. Now, I want to warm up my skin tone just a little bit. I can do this one of two ways. I can either push this color wheel up to the oranges. As you can see, I'm adding that color there. Or alternatively, if we get rid of that, we can go into temperature and we can warm this up on the temperature slider. Now if we zoom out, you can see, if we turn this off, and turn it on, only the skin tones are affected. Now if for some reason, this color was spilling onto the background and there was a color similar in the background to my face, then all I would have to do to isolate this is to make a copy of this video. We'll direct that video up onto video layer 2. Delete the Lumetri Color from the bottom layer. Go to the top layer, select Create ellipse mask on Opacity. Move this on top of the face, then we can increase the mask feathering. That means that our color correction is now on a separate layer. So we turn this off. The color correction is only applied to this one layer. There's a mask on this layer so that only the face is being corrected. Now if my face was moving, if I was moving around in this video, and I wanted this isolated color correction, then I will create a brand new keyframe on the mask path, and work through the process of moving this over my face. 79. Colour - Outro: There you go. Color correction and color grading are the two last steps that you do before finalizing your video. Next up is the export process. You've finished your video, you've color graded it, you've added all of these amazing effects on, and now we can go ahead and export. 80. Export - Intro: Once you've finished editing your video, you're super happy with it and you're ready to share it with the world, what's now? Well, now you need to go ahead and export that into a video file, because at the moment, it's just a project file. In this lesson, I'm going to show you a few different ways of how you can export your video from Premiere and turn that into a video file. So let's get into it. 81. Export - Quick Export: The first way of exporting your video from Premiere is to quite simply just use the Quick Export feature. Select your video, go up to the "Quick Export" button in the top right of Premier, and instantly, you get this "Quick Export" menu pop up. First of all, you want to set the file name and the location. Select this blue line of text, place this somewhere where you want to export this, so we'll place this on this hard drive, and we'll call this "Exported Video" and press "Save". Then we've got the preset so we can either match the source, so that will match the same frame rates, frame size and all of the other settings here as the sequence, but it will have an adaptive high bitrate, meaning it's going to be high quality. Next, we've got the same match to the source but it's going to be a medium quality. Then we've got a low-quality version of that. Then moving down we have a 4k export, a 1080p HD export, a 720p HD export, or a 480p Standard Definition Wide export. Generally, I like to keep this as high as possible so I select "Match Source - Adaptive High Bitrate". As you can see, we're getting a preview of the settings here. This is a H.264, 1920 by 1080, 25 frames per second, with a target of 15.9 megabits per second. The video duration is eight seconds and 18 milliseconds. The audio is set to stereo, and as you can see, the estimated file size is 17 megabytes. If you're happy with all of that, then all you have to do is just press "Export". Premiere will encode the video, export that, and then all you have to do, once that's exported, is navigate to where you exported that to. There you go, Exported video. There you go, you can see we've got our video exported from Premiere in a good quality. The thing is though, this option does lack control so this brings us on to the full, the main export window. 82. Export - Full Export Settings: There's two ways of accessing this. You can either go Command or Control M, that is M, M for mother, and that should load up the Export Settings window. Or alternatively, you can go File, Export, Media. Now, this is going to load the Export Settings window and as you can see, this looks a lot more complicated, but it's honestly not too difficult, don't worry. We're going to start with Export Settings. Generally, if you're exporting for social media, you going for YouTube, Facebook, Twitter, Instagram, LinkedIn, you want to keep your format at H.264. Alternatively, if you're doing something high-quality, then you can select QuickTime, but you want to keep this generally at H.264 and your pre-set can be Match Source-High bitrates. There you can set the output name to your destination and your name of choice. We'll call this Exported Video again. Then you've got two check boxes here so you can export the video and export the audio. If you turn one of these off, then that's not going to be included in the export. This is a video-only, and this is an audio-only export. Then you've just got a summary of all of those settings there. Now, moving now, we can go into Effects. As you can see here, you've got loads of different effects that are going to be applied to export if you activate them. You can go ahead and you can add a lot on export. If you wanted to add some last minute color correction or color grading. You don't have to do that. Then you've got SDR Conform. You've got an Image Overlay and an Image Overlay is a really great option if you wanted to add a watermark on your video, so you can go ahead and choose a file of your choice. I'm going to go for my logo, which is a PNG file. This is really important by the way. You can position this in one of these positions zone, so I'm going to put this in the bottom right. I'm going to pull the size down, reduce the opacity, and then I'm just going to offset that and put that more into that corner like so. Again, I'll pull the size down, and that will give me this really nice watermark on exports. Of course, there you don't have to, so we'll just turn that off. Then we've got Name Overlay, and we can go ahead and change the format to Prefix and Suffix, Source File Name, Source File Name without extension, output filename, or all of these other settings. I like to keep this off though, but this is a great option if you're exporting rushes for your clients. Then we've got a timecode overlay, and this is just the time code. As you can see the video, we are three seconds and four milliseconds in, and that is matching up with the time code on the video. Then we've got the Time Turner, which is just going to change the speed of our video so we can target duration, so we can make it 10 seconds long. That will slow the clip down. Or we can make that five seconds to speed that up. It's completely up to you. But generally, I like to keep this at zero because you should adjust all of your time values when you're in the edit. Then you've got Video Limiter, Loudness Normalization, and a bunch of other settings here which don't really make too much difference. Moving on, we're going to go into the Video tab, and this is the most important tab. We're going to turn this check off, and then we can go ahead and change the width and the height of the export. If you're doing a 1080 PHD, then you want to select 1920 by 1080. But if you're exporting a larger size, then you can go ahead and add those values in. If you wanted to do a square export, by the way, then you just match the width and the height, so we can go width 1080, height 1080. As you can see, that will give us this square output. But the problem is the video is sitting in the middle. If you go to source, you can actually crop the video so that should now fit in that square proportion. But you can also use the crop proportions as a guide for this. You can do 3 by 4, 4 by 3, 9 by 1. You can use one of these presets. Or alternatively, you can just do it by your eye. You can just move this in like this. Go back to outputs. You can go a little bit more. As you can see, we're getting the pixels coming up here. At the moment, that is 1080 by 1080. Outputs, that is how that is going to look. That is our square video export. Of course, we could also do width 1080, height 1920, and that's going to be vertical. Again, we can crop that even further. There you go like so. That is going to be our vertical exports, but we don't want that. We're going to go for a widescreen exports in our example so we change the width and the height back to where they were. Moving on, now we've got Frame Rate, which is just our frame rates of the composition, so if you're doing a 25 frames per second composition, then keep this at 25. Field Order, generally it should be progressive, unless you're doing an interlaced export. If that doesn't mean anything to you, then just keep that on progressive. Aspect ratio should be square pixels at 1.0, and then if you select Render at Maximum Depth, it's going to increase the quality, but it's going to slow the export down. Then next up we've got Encoding Settings and this performance option is just giving me the option of asking the hardware or the software to encode the video for you. Generally, this selects the right option, so just leave that as it is. Then moving down, we've got Bitrate Settings. This one is really important. Bitrate Encoding, we've got CBR, VBR, 1 pass, VBR, 2 pass. You can set the CBR, which is a constant bitrates and you can pull that all the way up to get a high-quality file. At the moment, it's 50 and the estimated file size is 54. If we pull this down to 0.19, the estimated file size is 558 kilobytes. The file size is reduced but the video is going to look awful. But if we go all the way across, the video is massive, but it's going to be great quality. This is a juggling act. Put this somewhere in the middle where you're happy with the balance of quality versus file size. Generally, I like to keep this at around 30 there. Then moving on, we've got Use Maximum Render Quality and this one is similar to maximum bit depth, is going to give you more quality, but it will slow the export down. Then you've got Use Previews, Import into Project, Use Proxies, Set Start Timecode, Render Alpha Channel Only. Again, if all of this means nothing to you, then don't worry about it for now. Then you've got your time interpolation, and generally, you want to keep this to frame sampling. Now we'll move on and we have the Audio settings. Audio Format Settings generally, I keep this at AAC, but you can select mPEG if you would rather. There you've got your Audio Codec, AAC, Sample Rate, keep that at 48 because that is nice and high-quality. Channels can be at Stereo mix. Audio Quality, high. Bitrate can be at 320 because that is the highest quality, and then your Advanced Settings Precedence should be Bitrate. Multiplexer, don't worry about that. Captions, don't worry about that. Publish, don't worry about that. The publish option is just giving you the option to upload directly to your YouTube channel or your Facebook or your Twitter from Premiere. Premiere will export the video and upload it to your social media channel of choice. But I imagine you'd probably want more control over your description, your tags, and all of that stuff so generally, I ignore the option. Then once you're happy with the look of that, all you have to do is just press Export and again, Premiere will encode the video and put that where you need that to be. 83. Export - Export Specific Parts of Your Video: But what if you needed to export a specific section of your video? You do not want this full eight seconds, you only wanted the two seconds in the middle. Well, when you're in this window, you can go ahead and skip to the point where you want this to begin. We'll start this at three seconds and create an endpoint using this button here. Then we can drag the cursor to the endpoints, so where you want this to end, and create our endpoints. Our Premiere is only going to export this one specific section. Alternatively, if you cancel out of here, you can actually use this bar here to set that for you as well. We can set the range using this or move this over, change the endpoints to hear change your outpoint to here. When we go into the "Export" window, as you can see, those markers are set for this specific export. 84. Export - Batch Export with Encoder: Now generally when you're exporting, you want to go ahead and press "Export" because that's just going to do a single export, but if you've got a group of videos to export, you've got a few videos to queue up from Premier to export, then I would recommend pressing "Queue". That should load up Adobe Media Encoder. Now Adobe Media Encoder is a separate piece of software and it's a great way of handling multiple exports. As you can see, the video that we just exported or queued to export is now sitting in this queue. All you would have to do is just walk through audio videos, queue them all up to exports, and then once you've queued up all your videos, you just press the play button, and encoder will walk through the process of exporting all of these videos to where they need to go to. Like I said, Adobe Media Encoder is a separate piece of software. Media Encoder is included within the Creative Cloud plan with Adobe, so if you do have that thing, go ahead and download Media Encoder because it's going to make batch exporting super easy. But if you don't have Adobe Media Encoder, then unfortunately you'll just get an error message when you press the queue button. It will say, Adobe Media Encoder is not installed or something along those lines. If you don't have Adobe Media Encoder installed, then don't worry, it's just a great way of managing multiple exports. If you only plan on exporting a video every now and then, then that's completely fine. You can just press the Export button from Premier, and that will export that one video. 85. Course Completed!: There you go. Once you've exported your video, you've now successfully completed the Adobe Premiere Pro, the Ultimate Guide Course. Thank you ever so much for purchasing this course and sticking with me through all these individual lessons. I really hope this course benefited you. But if you have more questions, then of course, please feel free to send me an email at chris@brookerfilms. I will try my very best to reply to any queries or questions that you may have regarding Premiere Pro, just quote, Adobe Premiere Pro Course in the email title. I do also have a YouTube channel where hundreds of videos on Premiere Pro, After Effects, and Photoshop exist. If you're looking for something specific, maybe a transition or a text effect, head over there and chances are I've probably would have made a video covering that topic, because there are over 750 videos over there on the YouTube channel. Thank you once again. Thank you for your support, thank you for purchasing this course, thank you for sticking with me on this journey and congratulations for completing.