Learn Video Editing in Premiere - Grow from Beginner to EXPERT as Quickly as Possible.

1. Learn Video Editing in Premiere: So you think you can just fly to some private island of the beach all to yourself. Make money from your laptop. And I'm going to teach you how. Even if you know nothing about Premier or video editing, within ten minutes of starting this course, you're going to know how to edit the little commercial that you just watched. Now, it was edited terribly. And if you're already a pro editor, you're probably thinking this is a beginner course. No, no, no. It's much more than that. The first two lectures of this course, our phase one, they're designed to take you from knowing nothing about editing or Premier to being an editor that knows everything you need to know about Premiere. Now, here's the only problem with that. You could know everything there is to know about Premier, but that doesn't mean you know how to edit. Let's say I know everything there is to know about this sewing machine and doing those editing the sleeves from your favorite sweater onto your favorite up. Actually it works great because I know how to use this thing. Knowing how to cut or how to cut doesn't make you a good editor. You need to know where to cut and what pieces to put together. That's where phase 2 comes in. Phase 2 is designed to take you from beginner to expert as quickly as possible. Right now my background music is either too loud or too quiet. The answer is it's too loud. But can you tell me exactly how much I need to turn it down? I know many incredible editors that have been editing professionally for years. That would have no idea exactly how many decimals I need to turn it down right now. So let's just go ahead and drag this line down and we'll turn it down by 20 decibels. But imagine that we send it off to our client and they respond with an angry email saying the background music is still the wrong volume. Oh no, Now it's serious, like us messing it up again and getting a third e-mail saying that it's still the wrong volume for the third time. That's not acceptable. But was it too loud or too quiet to begin with? We didn't really know and now that we changed it, Is it too loud or too quiet? And how much do we change it by those Pro editors that have spent years developing an ear for mixing audio, still wouldn't be able to tell me how much to change it by like not the exact amount. Answer that I heard when I was trying to learn editing. Was sorry Michael, it's just an art. You're going to have to spend more years developing an ear for it. And I don't believe in that I don't believe in the whole 10 thousand hour rule or any of that stuff to become an expert when I hear things like that. The way I reinterpret that is that those just aren't good people to be teaching me Phase 2 level stuff. Phase 2 is all about going from beginner to expert in a matter of minutes. And so there's very frequently little tricks or skills or rules that you can learn help you make that jump from beginner to expert is quickly as possible. And phase two, you should be seeking out, what are those tricks? What are those rules and how do I go from point a to B as fast as possible? The Bayes to answer for this is your background music shouldn't ever be louder than minus 12 db while someone's speaking, we can just make sure it's minus 12 dB or below. And it's now correct. There are so many areas where you can learn this. Like right now is my skin overexposed or underexposed? And right now should I be turning the saturation up, returning the saturation down. I know really good editors that had been editing professionally for years that still think saturation. Some art that takes years to develop an eye for something like that. And they have no idea that you could just glance at your scopes and within two seconds, know whether or not your saturation is within broadcast standards. So in phase two of this course, I'm going to teach you all of the things that I would expect an expert editor to know how to do, including how to make animated titles. How to stabilize shaky video for that year was the before and the after again. Color correction and color grading. And by qualifying just the background, I can now change the color of it to be any color that I want it to be. Just like that. I can click Play now. And you can see before and after how to sync, edit multi-camera videos. And then whichever video I click on, it's going to record those settings for me live. So I'm going to hit play. And then guitar, drums, overhead view. And we'll go ahead and pause it there. Slow motion and speed ramping, and now it's ramping back up to normal speed. Go ahead and grab the interrupter and any color that you want to delete, go ahead and just click that color green screen and so much more. So whether you know nothing about editing or you're already a pro, this is the course that I so badly wish I could have taken. Let's get started. 2. P1: Learn Video Editing in 12 minutes: So you think you can just fly to some private island. Have the beach all to yourself. Make money from your laptop. And I'm going to teach you a little commercial that you just watched doesn't exist yet. We're about to create it together right now. Which means in the next ten minutes, you're gonna go from knowing nothing about video editing in Premiere to being able to create your own commercials similar to the one that you just watched. The first step is opening up Premiere. And once you do, you're going to get this popup. You probably won't see these. These are recent projects. For this example, we're just going to click on New Project. At the top of this window is where we can name our project. I'm going to name it 22nd ad. And then here's where we can save it and you can just skip the rest of these settings for now and hit Okay, there's going to be so much stuff that you don't need to know in order to edit. So we're only going to cover the stuff that you have to be able to know in order to start editing. It's now going to take you to the main layout of premiere. However, it's kind of hard to understand what's, what when there is no media and here yet. So I'm gonna go ahead and just grab my video files. And I'm dragging them into this bottom middle window. And premier automatically put the clips down on my timeline over in my project tab. And now I can see my video, the program monitor. Let's go ahead and talk about what these things are, what they do, and give you a basic overview of how to edit and Premier. We're going to start out with the timeline. The timeline is this section down here. And what it is is a place for you to lay out your video clips and your audio clips. So if I was filming this on a DSLR or a camera that had audio attached to it, you would see the audio clip appear right under my video. However, this was all filmed on a drone, so there's no audio attached to it. And you can see here there's Video 1, v2, v3. These are multiple video tracks and I can stack my video track here. And I can actually have an infinite amount of video tracks by just dragging higher and it'll create a new track for me. And a similar way, if I had multiple audio clips, I could stack them on A1, a2, A3, and you would hear all the audio playing at the same time. Now, you can't hear video playing at the same time because it's different. You can only see one video clip at a time. So if you have it stacked, you're going to see whichever video is on top, and then you would have to come down to see the other videos. So this blue line here, it's called your play head. And whatever part that this blue line is, is going to play on the program monitor up here above. The way that you play is you just hit play. And you're gonna see this blue line come now through the video. And as it's going through the video, you're gonna see that part of the video up above here. You can zoom in and out of this by either hitting plus and minus on your keyboard. The other way that you can do it is this bar down here. You can squeeze that together to zoom in. And then you can move this left and right to move left and right up or down your timeline. So you now know that your timeline is for laying out your video and audio clips. Your program monitor is for watching those clips. And then over here let's talk about this section. So this is called your project tab in the project window. And you can move any of these windows to be bigger or smaller if you want. This allows you to organize your footage and you can drag your clips from your project tab. Over onto your timeline. I can also select clips and hit Delete on my keyboard, or I could right-click and delete them from the options there. That Your Project tab is just a way of organizing all of the clips that you might be using within your project. And those three windows are the main ones that you need to know to begin editing. So let's go ahead and get started with that. The first thing that I'm going to do is zoom out and take a look at what my clips are. I'm also going to put them back where they're all just on the same track, so it's easy to look through them. Also, I don't need a three versions of a song, so I'm going to select those and just hit Delete on my keyboard. And these videos are quite large. I'm looking at the fall of original. I might chop off kinda the beginning and ends so that you can have a shorter version just to make it easier if you're following along this blue line here is called your playhead. So wherever part of the video that is on is going to be the part of the video that you're watching up here above. So I'm going to go ahead and just scroll through these videos to see what's here, what are we working with and how should we edit them together? So I can see there's a drone shot of an ocean. There's a girl on the beach. There's a girl in the water or on the beach, quote, it's all basically the same thing. We're now going to try and turn that into a story, editing it. So I'm not sure exactly what I'm going to do here, but let's just say we want this glimpse starting here. The way that we edit is by cutting up different pieces of video and moving them together. And the olden days you would actually have strips of film that you would cut and then TPP those pieces of film together. So this layout here is really similar to that. You can just think of each of these as a strip of film. And we're going to just cut them up and move them into the order that we want. So the way that we cut them is with eraser. And so this right here is your razor tool. By clicking on it, it's going to make it so that anywhere you click on the video, it's now going to cut up that video on that spot. So I'm going to hit Control Z on my keyboard to undo all of those. But I'm going to leave this cut right here. And then I'm going to hit play and we will watch it play forward. And that's probably long enough. So I'm going to stop that and then cut right here. And without even watching the beginning or end, I'm going to go ahead and just delete those. But if I click on this clip right now, it would just cut it. And so what I wanna do is select it. I have to come back to my selection tool, which is this one here. And now we're going to be going back and forth between selection tool and razor pretty frequently that you can see here. There's a little c for my razor tool and it's V for my selection tool. So I'm going to just hit V on my keyboard, and that switches back to my selection tool so that I can select these and then I'm going to hit Delete on my keyboard. I'm going to select this and I could hit Delete on my keyboard or I can come up to ripple delete. And not only will that delete the clip, but it deletes the gap as well. So see this gap here. I can select it and hit Delete on my keyboard, or I can come up to ripple delete. So now I'm going to zoom in and you're gonna see I have this one short little clip and then this really long second clip. Let's go ahead and watch through the second clip and see what part of it we want to keep. Okay. So it's a drone shot out. And then so if I want to fine tune, like going forward and back on here, I can start using some keyboard shortcuts that are gonna make it a lot easier. On my keyboard, I can use the right and left arrow keys to just go one frame at a time. And I'm going to show you what that looks like. So I'm just going one frame at a time and it makes it way easier to fine tune it. So on my keyboard I'm just holding down my right arrow. And let's go ahead and stop the video right here. So I'm going to grab my razor tool or hit C on my keyboard, cut it. And now I'm going to hit left on my keyboard to come to where I want the video to begin. Say we have it began right here. And now I'm going to come back to my selection tool or hit V on my keyboard. And I'm going to delete this part and delete this part. And then I'll go ahead and also delete the gaps. So now I've got that are officially edited and basically taped together. Now let's look at our third clip. So it's a girl walking on the beach. I kind of like that her arms are up right here because it kinda matches the first clip in a way. So as you already know, we could go ahead and select our razor tool, cut off the beginning, cut off the end. But I'm going to show you another way to do this. We're going to use our selection tool or hit V on your keyboard. And I can actually just drag in the beginning of this video. And that's the same as cutting it off. And now I can delete that gap. Come back to my beginning and I'm going to hit play and just watch through. Yeah, we'll go ahead and stop about there. Instead of cutting off the end, I can use my selection tool. And you'll see the icon change when you're at the end of the video. See that icon right there. That makes it so I can just pull in the end of the video as another way of cutting it off. Now I'll delete the gap and our fourth and final part of the video will look like this. So I'm gonna go ahead and hit Play so that you can watch it too. I think we'll go ahead and start it here. So to start it here, I'm going to go like that. And now hit play again. Yeah, I think we'll end it about right here. So I'm going to stop it right here. And to do that, I'm just going to drag in the end of the video using our selection tool. And I can select this gap, it delete and our song. I'm going to drag it over. And now let's go ahead and watch our finished video. Cool. So you have now officially created your first commercial. I personally think it's really terrible, but let's go ahead and export it as our final step. See you do file and then you come down to export, good to media. And in this box you can choose all of your settings. So I'm going to do. And there's a lot of presets for you. On my preset, I'm just going to come down to one of the YouTube ones. I could do HD, I could do full HD or fork. I'll just do this as fork. And then I hit Export. And Premiere is now exporting my finished video. Personally, I think that video was terrible, so let's go ahead and make it better. So I'm going to hit cancel. And what are some things we can do to make this better? I think for starters, it could use some dialogue. So let's go ahead and do that. So you think you can just fly to some private island, have the beach older yourself, make money from your laptop. Yes. I'm going to grab the video that I just filmed and drag that into my timeline. So this is a video of me and you can see down below it's my audio automatically attached to it. So this is what it's going to look like with most of your video clips when you move the video, it's moving my audio as well. So let's go ahead and edit up what I just said. So I'm gonna zoom into it. And then I can see here on my waveform exactly when I'm talking. So I'm going to use my cut too. I hit C or my eraser. And I'm going to just chop up in between all the parts where a spoke and slide this over so you can see further down it. I'm going to delete all the little gaps and I drag the center bit too amount. Well, so now I have dialogue. Let's go ahead and place this over our video. So if I just put it over the video like this, not only will it cut into the video, but it's ruining my audio. So I'm going to hit Control Z, which is undo. And instead of doing it like that, I'm going to bring my video track up one and bring my audio track down one. This makes it so instead of overlapping and ruining my current media, it can play alongside of it. So let's go ahead and listen to what this is going to sound like. Now that's not going to work because it's showing me. So the way that I'm going to solve that problem is I could either move the track I'm wanting to show on the top so that it's showing the island instead of my face. Or I can hit this little eye icon and it's going to make this entire thing and visible this entire video track two. So any videos on track two are now invisible. That other thing I'm going to do is turn up my audio. I can do that a couple of ways. I could drag this line right here up. So you can also make any of these tracks bigger or smaller just by dragging them. So see this little line right here on my icon changed. I can drag that up to change my audio. You can also do it by right-clicking going to Audio Gain. And then you'll get this little pop-up. And I'm going to do set gain to do seven. And the thing you want to make sure is that your audio isn't peaking. And just like I can turn off my video, I could mute my audio by clicking m, so that now when I hit Play, I'm only going to hear this audio track because audio track 1 is muted. And the thing I'm checking for right now see how this turned red. That means it's peaking. So this is turned up too loud. So I'm now going to come back down and change my audio again. So instead of. Raising it by seven. I'm going to have it raised by five dB and then see if it's peaking still. So that's going to be a lot better. Now if I zoom out, I can do that same setting to all of these by selecting all of them at once, coming down to Audio and setting them all to five dB. Now the reason I had to do this is because the microphone that I'm filming on right now is kinda far away from my face that way it's not like blocking me the whole time, but that makes my audio a lot quieter. So after turn it up later on, the audio that you receive from your client, might you need to be remixed and that's something that we'll cover in a later video that you now know the basics of it. So let's continue putting the audio tracks on the rest of the video. I'm going to select all of my video, bring those up and all of my audio, and bring that down. And we'll go ahead and just place it randomly on these other clips. And then watch it and also turn the music back on. Now, why does that still sound terrible? The reason why is because it's not spaced out very well. So what we're gonna do is you see the gaps in the music. I'm gonna go ahead and line up my audio with the music so that when I'm done talking, the audio comes back in. And then over here I can line it up. So when I finished talking, the music comes in loud on the spark. And you don't really need to overdo it. It's just something that's going to help a bit. The other thing I can do is in a similar way that I can cut up the video track. I can also cut the audio track. So let's say I cut up the audio on all the parts where I'm speaking. I could now bring the audio for just these little sections down and it's going to make it quieter for those parts. Since we can cut audio the same way that we can cut video, let's see if we can edit audio in a similar way. So what I'm gonna do is instead of having the song and randomly in the middle at the end of the video, I'm going to take the very end of the song, which is this part. And I'm going to cut it. And now I'm going to hit V to come back to my selection tool. And I'm going to move it so that this part of the song plays at the end of the video. So let's go ahead and zoom in to see what that's gonna look like. And because we don't need this part anymore, I'm going to go ahead and just delete that. So now the song will end when the video ends. However, I don't want the song to end right here because the video's not going to end right here. So right now I can see that the videos 37 seconds long. I want to cut that down to at least 20 seconds. I think it being faster paced is going to make it a lot more interesting. So I'm going to watch through the video. I might go ahead and time-lapse this part, but I'm just going to shorten up your beginning and end of each of these clips or cutting this video down, you've probably noticed that this video track for right here is a lot longer than the rest of the videos. And if we watch it, the only thing that's happening is it's a drone shot zooming in on the actress. And then she says, yes. But the only part we need is right here. So let's go ahead and have her start at the part where she closes the laptop and then says yes. And all this part we could cut out, but something that would work a lot better is just speeding it up. So there's a couple ways to do that. The first is I can right-click on it, come down to speed duration and then change that instead of 100%. Let's say we meet at 500 percent. That means it's going to play five times faster. And the way that happens is it squeezes the video together to play that whole video track over a shorter period of time. Now in a similar way, I could take this video and instead, let's say instead of 500 percent, we made it 20 percent. That's gonna make it five times longer than it was, which by stretching it out, it makes it lay the frame slower, so it makes it slow motion. So instead we're going to leave it at the 500 percent because that's what we want. And then I can go ahead and drag all of this back over to here. And that shortened up our video a lot. The next thing that's going to make this video look a lot better is cleaning up the transitions. So let me show you what I mean. We start out with this clip. That's a drone shot and the cameras pushing and meaning moving forward and it goes to a drone shot of the girl where the cameras pulling outward, going backwards. What we're going to do is change it so that it goes from moving in to moving in and it's going to make it a lot more seamless, rather than going from one direction to the opposite direction. The wave that we're going to change the direction is we're going to right-click. And remember how you can come to speed and duration to make it go faster or slower, we're not going to change its speed and said We're going to go to reverse speed. And when we hit OK by reversing the speed, what it's really doing is changing it from going forward to going backwards because we're just playing the video in reverse. So let me show you what that looks like now. Pushing and and now this shot is pushing in. Now we go from her with her arms stretched out, cutting to her with her arms stretched out. So this isn't a real match cut, meaning the two clips look similar, but they're close enough to make this kind of a seamless transition. So we're going to go ahead and leave this and then it goes from her on the beach. You know, I could cut this way sooner. So we'll go ahead and just cut this part to here. It's going to go from that clip to all the sudden she's on the beach on a laptop and the cameras far away. It doesn't really make sense to go from her here on the beach, walking on the water, and then all of a sudden we're far away from her and she's on the beach. So how do we make that transition more seamless? One thing we can do is a fade to black transition that works well for showing that there's a change in location or a change in time, or it's a different scene. So the way that we do that is under our Effects, I'm going to, if you don't know where the effects are. So you can come up to Window Workspaces, make sure that you're either under the editing or effects workspace. And then make sure Effects is turned on. If you do those two things, then you're going to see a tab labeled effects somewhere. And within the Effects tab you can do four main things. Those are audio effects, video effects, audio transitions, and video transitions. So right now we're specifically looking under the video transitions. I'm gonna do a dissolve. The fact that there's like 50 different ones in here you could choose from. And I'm going to do dip to black. All I have to do is grab this effect and drag it onto the part of the video that I want it, which is right here. Now what's going to happen? I'm going to zoom in so you can see it better. It's going to go from this clip to black to this clip. And if I want this transition to be quicker, I can push that together. So it's a quick transition where I can make it a slow transition. And while we're here, let's grab that dip to black and we're going to put it on the beginning and then also put it on the end of our film. And then instead of a video transition, the next thing that we can do is under audio transitions, I'm going to close that tab come under audio transitions and this exponential fade. I'm going to go ahead and put that at the beginning of the song. So instead of the song just starting at full volume, it's going to kind of ease into it. And I'm also going to put it at the end of the clip later on, after we've kinda dialed everything in, that was a little bit of a rabbit trail because we did it in so many areas. But the main thing I wanted to focus on was going from this scene here, and we're going to dip to black so that we can come over to here. And it makes that transition work a lot better by dipping to black first. So let's go ahead and skim through and see how all of these go. We fade in from black. You've got a drone shot pushing forward. And then it introduces the character pushing forward. And all of a sudden it's kind of a fake match, cut her in the water. I could probably still cut this a little earlier and then it fades to black. And then it's her over here. And now I'm gonna go ahead and fine tune where my dialogue is like asking the questions and stuff like that. I'm also going to record her doing a response and add that in PE lab. I'm going to have you say something real quick. So you're just going to say yes. And I'm going to teach you out. And I'm going to teach you have. Perfect. So I'm gonna grab that clip and drag it into our timeline at the end. And we can see the dialogue down here just by looking at the waveform. So the only part of that but we need is pretty much here. And that's good. And then I want that pause to be a little longer in between and I can delete the rest of that. I think I want her to say and I'm going to teach you how. And that's going to be the main part of the thing. And then it's going to like the music's going to drive home. And so I'm just going to play around with it a little bit, kind of fine tune it. Okay. So literally all I did was just move these back and forth until I thought they were in a place that sounded descent with the music. So I didn't even watch the video at all. All that I'm doing is editing music. So now I'm going to have to make the video match the music a little bit better. But let's go ahead and just listen to the audio. Do you think you can just fly to some private island at the beach all to yourself. Money from your laptop. And I'm going to teach you anyway, so it's not perfect, but I think that's good enough for this quick little example that we're creating. So now I need to make it so that when she's actually saying yes, that matches up with her voice. But since that's towards the end of the video over here and she's saying it for the audio here. I'm going to have to trim a lot of these parts down. I'm not doing anything special. I'm just watching the video clips and trying to figure out, hey, is there any media here that doesn't need to be there? Like, I don't need this much of this wide shot. I can maybe start a little bit later here or speed that shot up. So I'm just looking for places to trim it so that I can bring the end of the video over here, over to this part of the audio here. So I'm just this purple part cutting down real quick. And now I should make is while I'm cutting this down, like the reason I chose to end it right here. So I'll play it. Do you think you can just fly to some private island? I know that right here, a b is going to come in. And so if I cut it on the beat, it makes it feel a little more seamless yourself. And you actually want to do it a 2.5th or whatever before the beat comes in. And so I'm going to bring it a little bit before the B and it's going to look even better. Just kinda keep watching and fine tune it. Okay, So I move this last track up a little bit just so that I could get the ending where I want it first. And now I can come over here and cut stuff down to make it all fit. But while I'm here, I'm also going to put a very quick fade to black transition at the very end, just like we did earlier. So dip to black. I'm going to teach you. Yeah, we'll call that good. So now I'm going to just quickly cut down this part and this part so that it all fits together. Okay, let's go ahead and see how that looks. So you think you can just fly to some private island, the VHL yourself. Make money from your laptops. And I'm going to teach you closed. So for this black part, I'm going to try putting in like a logo reveal or something like that. So it'll be just like another video clip, but it's going to be an animation of our logo. And I'll have that go right at the end here. Let's see what this looks like. Well, So that's probably good. And I'm going to hit the R and squeeze it down so that it plays faster. So I don't need it to be quite that long. And we'll go ahead and place it over here at the end. I also, since it's a white background and it's going from black to white to black. I might do the black transition on either end of it. I'm going to zoom in a little more so I can fine tune it. And I guess I could stretch it out a little longer. Cool, Let's see how that looks. And I'm going to teach you. We can call that good enough for now. So the last step is coming to File Export and then media. And then in this pop-up, it's the same steps we did before. I'm gonna do H.264. You could either do match betray or I'm going to go ahead and just do one of the presets for YouTube, and then you click export, and that is it. In the next lecture we're going to go more in depth on the rest of the windows and all of the menu items and Premier so that you have a really solid understanding of how premier works and how it's laid out. I highly encourage you go up that lecture before you go into phase two of this course. It's going to make it so that you can learn everything so much more quickly. 3. P1: In-Depth Layout & Menus: In this video, we're taking a deep dive into all of the menus. And I'm going to explain all of the parts that you need to know. Now, I'm going to make sure this is not a ten hour long video taking a deep dive into the menus, it easily could be. So instead, I'm not going to waste your time with the settings that you're never going to use. I'm only going to go over all of the stuff that I actually use while editing. And if it's not something that I've used in the last five years, then I'm not going to go over it because you're probably not going to need it either. So I'm gonna take a deep dive into the menu systems. I'm going to a deeper look into the different layouts within Premiere and how everything's organized. I'm also going to go over the main problems that you might face and how to overcome those problems. The first thing to talk about is probably Creative Cloud. And so I'm gonna go ahead and open that up. It's its own piece of software. And the purpose of this software is to manage the version of Premiere right here and Premier Pro, you just want to make sure this is up to date. If it's out of date, you'll see like the other software that you have available to install and you'll see the versions you would just click up. If you have a safe project you're trying to open on a different computer, but that computer has an older version of Premiere. It won't play it. You need to update your version of Premiere first. So you would come into Creative Cloud and make sure that it's up to date. And then you'll be able to open up that is Creative Cloud. And I'm going to go ahead and start out on the top left here. I'm going to go through each one of these menu items. I'm only going to show you the things that you need to know to be able to edit. So let's get started under File New this, you can bring a bunch of things into your timeline by doing this. However, I've never gone to File New, typically from my project tab, you can just kind of see this little icon here. You do new item and that lets you bring them in. And the reason I do it this way, typically if I'm bringing in an item, it's not just color, matte or black video, but it's going to be like adjustment layers, however, appear in File New. I don't think adjustment layers even in the option, and it just feels quicker to grab it from the bottom here than it does come up here. So anyway, I'm going to skip over a lot of this stuff under Save. I don't save it from here. I save it a different way. And I'm going to show you that in a bit. Export is something I very often use from File export. And that's anytime you're done with your video and you're ready to export it. This is the place that you're going to do that from Export Media under your project settings. When you very first open up Premiere, you get this pop-up when you first open Premiere, and that's where you can name your project. You've got your ingest settings, which is for proxies, but this isn't the best place to do that. Scratch Disks. This can help you speed up your computer if your hard drive is the thing slowing you down. So let's say that you have one hard drive and it only reads a 100 megs a second that you're planning to videos at a time that each play at a 100 makes a second. Your hard drive can't play both videos and run your operating system and run premiere and play the cache files and all of that. So what you could do is add on a second hard-drive, have your first Dr assigned to running your operating system and premier. And then the second drive could be assigned to your videos. And then you could also. A third hard drive to doing like your cached files and stuff like that. So you can see here that I just have all of my assigned to C and that's because my C hard-drive is plenty fast and I don't actually need this feature under general. So this is the only setting that you'll kind of watch when I'm talking about troubleshooting later on, I'm going to mention this because sometimes if your graphics card is having an issue, it's, you can turn it off by this setting right here. And that's you just go to software only and then it will render if for some reason you're having rendering errors, this is the first thing to check. However, using it as cuda is going to speed up your computer. And the only reason you wouldn't see that option there is because you don't have an NVIDIA graphics card or you have an out-of-date driver. And so is that section and that's all that you would really do from that time. Next is file yes, Project Manager. So that opens up this window. And this is really helpful for if I'm working on a project and I know that I'm going to be traveling and needed like finish it on my laptop or if you've got like a work and home computer and you need to go back and forth. You can save your project to an external hard drive really easily. Using this, you just select all the sequences that you want to be included. You do collect files and copy to a new location. So let's say I've done a really bad job with file management and I've got most of my video clips on one hard drive, but then I've downloaded random folly or my song and stuff like that that might be scattered around a desktop or download folder. This will go and find all of the clips that you're going to need. And it's going to put them all into a new folder that can be dragged over onto your external drive or wherever you assign it. So right here is how you assign it to. Let's say this drive was an external hard drive. I could easily take my entire project and make a second copy of it into this location. And then yeah, That's basically all that you would do here. You'd hit Okay. And then I'd go ahead and make a second copy into that folder that you assign. And that's pretty much it for the file path under edit. So I use undo and redo pretty frequently, but I use the keyboard shortcuts for it. So control Z and Control Shift Z. If you did undo too many, redo like steps forward again, I don't really use any of this. And if I did, I'd be using the shortcuts. Okay, yes. So there are two more things under the Edit tab that you will use. So Keyboard Shortcuts is something that you're only going to use one time. And that's if you needed to reassign any of your keyboard shortcuts for any reason. So you've already memorized the shortcut C and D. C is your blade for cutting, v is your selection tool for dragging the clips around. If I wanted for some reason to change my selection tool to be the shortcut like our, I could just tap here to create a new box or I could do Shift plus R. And that's going to create. Now anytime I hit R, it's going to switch over to my selection tool and I could delete the I wanted to assign that letter to something else, but I don't I'm going to just keep it how it was now in here. This is like you can scroll down and just see there's a ridiculous amount of shortcuts that you can reassign in here. So you can play around with that if you want to really speed up your system and make it more efficient, and that's probably enough info on that. And then the very last tab under edit is Preferences. This, there's a lot of settings in here. This is the majority of your settings within Premiere, doesn't really matter which one of these you click. So I'm just gonna do one in the middle. And then from here, this is a menu on the left. And so the reason it didn't matter is because I can just right-click any of these. So I'm going to go from the top down real quick under general, I've never really done any of that. Parents, you won't need audio, you don't need audio hardware. This is something that I'm going to talk about later on in this video when we were talking about problems you might run into and how to fix them. If for some reason like I've been using my headphones and then I want to switch over to the monitors speaker. I would have to manually reassign it here. And so this is where I'm selecting what audio is going to be used for Premiere and then autosave. This is by far the most important setting that you need to know in Premier auto saved makes it so that I have mine set up so every three minutes and then change it to minutes, it will automatically save for me. And that's the reason why under File Save, I don't do that very much. So this is so important because if you've been, if you're 30 minutes into your edit and Premier freezes and you lost less 30 minutes or work. It doesn't sound like a lot, but having to redo all the creative and go back and recreate stuff that you just finished cutting. It can really mess with just like your momentum and flow. And so even losing two minutes sucks, but it's a lot more reasonable than losing 30 minutes of your editing. You can choose all your settings in there for auto save. And then if I ever want to manually save it, the shortcut is Control S. And I just find myself doing that subconsciously pretty frequently. So under capture control, surface collaboration, device control, graphics labels, I'm not doing much of any of that. So one that I might set up one time is like control surface. So if you wanted to be using a tablet or like the wheels for color grading or something like that. You could set that up one time. So media cache, this is something that's going to help speed up premier. What Premier does is things that have to be rendered that CPU-intensive. It will render it out into easy to read files and save that somewhere. The location that it saves it is whatever location you have assigned right here. So you can click Browse and change it if you want. I've got a folder specified format cash. Now, the other thing is you might be using your computer and all the sudden, you've got a two terabyte drive that's completely fold that you thought was empty. And it's because your cache is filling up that Dr down here. You can set it to automatically delete the files. And even if you're in the middle of a project and you accidentally deleted all the files. It's not the end of the world, it's just your cached files. So your computer might have to re-render it, but it's, you don't have to stress out about these settings being wrong. If they're wrong, worst-case scenario, your computer's not going to run as fast as it could. So I have mine set up to automatically delete after eight days because I'm typically not editing a project for more than a straight and I don't need those saved on my computer if I'm no longer editing it. So memory, this is the RAM assigned on your computer. So this is not my main computer, but I've never used, I think more than 30 gigs of RAM and a project. So I'll even edit from a laptop that has like 16 or 32 gigs. And I guess there's a difference there, but I don't think you need more than 30 gigs, at least for any project that I've done. So if your computer is running slow and you want to also be doing the browser and stuff like that in the background, you could leave, let's say two to six gigs available for that. They only have 16 gigs of RAM assigned as much of that as you can to Premier. But if you have over 30 gigs of RAM, especially if you have over 60 gigs of RAM, premiere doesn't need more than 30 of it. And if that setting is wrong, it's not going to mess you up that much. Playback, sync, timeline, and trim. I never really played with any of those. So we're going through this pretty quick. Under clip. I don't think I ever use any of that. Next is sequence. So sequence, render entire work area or render effects and work area. Those are both things that I use pretty often and I'm going to show you how and why real quick. Let's say I put on an effect, video effects to a blur, camera blur and see how as soon as I dropped that on, it, changed it to a season out red. It's red because this is a really CPU-intensive filter and it can't play it like real-time. So if I hit Play, you're going to notice it's kind of choppy or there's dropped frames. And so what I can do is come up to Sequence and render entire work area or render effects and work area. And I don't even hit sequence to do it that much because all that I do is down here, I just hit Enter and it's going to render it out for me now it's doing it on the other screen. So something else to keep in mind is this is only going to render what's in your work part here you can't actually see the bar area after click this, and then up at the top, I can select bar area. Let me do that again so you can see it. Worked bar area needs to be checked. And when I do that, you're gonna see this little gray thing popup right here. This is my work Bar. So this blue line at the beginning marks what is the beginning of the footage that I'm using? This line at the end of the blue line marks what is the end of my footage. So not only will it render whatever is in between the bars, so like let's say I started here and I render my video. It's going to start the video at this blue line. So I wanna make sure this is actually covering everything that I'm wanting it to export, but also everything I'm wanting to render. So I'm gonna go ahead and hit Enter on my keyboard. And it's now rendering these files. And what you're going to see happen is this red is turning the green and then it's going to play on its own. Now I can hit Cancel and it's going to save all the parts that are green. It just didn't finish rendering the red part. So what that means is this is now going to play without dropping any frames. So by rendering it, it did all the CPU processing and saved it to a special type of file that it can read quickly and that's going to make it so anything that's green on your timeline is going to play back very quickly. Anything that's red is probably going to be dropping frames. And anything that's yellow would be dropping frames. But your graphics card is probably handling the processing power four. And so all that to say, if your computer is running slow or your project's going slow, you can come up and do sequence render effects on work area. And that's going to speed things up after it's green. But you could also just hit Enter and you never actually have to come up here. So that's the only setting that I use under sequence markers. I don't really use any of that graphics. I don't use that view. Don't really use that other than maybe playback resolution you could use. But again, this isn't the fastest way to access it. Right here is the fastest way to access it. And so let me show you something. I'm going to play the video on full. And now since it's only playing at 1 eighth of the quality, it's a lot easier for the CPU to play through it. And that doesn't actually affect the quality of your final video that's being exported. It only affects the quality while you're editing. So it speeds up the editing process. And then when you export. It automatically switches to for quality. So I would advise setting this to the lowest number that you can still visibly edit and see it well. And so that's going to speed up your computer under window. The only things that I really adjust them here is if I'm using someone else's computer in the workspace is all off. Like here's my wife's favorite editing workspace. So she must have this over on a second monitor. And let's say I open up Premiere and I can't find where that is because it's missing. It would be helpful to just come to Workspace and choose one that I'm comfortable with. And then I'll like the layout way better. So let me just show you a preview of that again. So under workspaces, here's her ideal setup. And then this part would be on a separate monitor. And then for me I just use the default because I feel like they set it up well and it's easy. So that's the only time I would do it. And the other thing is like, let's say there's a tab down here missing like the effects window. I'll just come and make sure that that's checked. So that will show up down here. And then under Help, I never really used that. And so we just flew through all of the items on the top-left menu. Let's look at the menu items right under that gray bar. So we're going to do metadata, audio clip mixer, and effect controls. This is really easy because I don't ever use metadata or audio clip mixer. The only one I use out of these top 3 is Effect Controls. And so let me explain how that works real quick. Let's say I come down here in Eclipse that I select on my timeline is going to be the clip that I'm changing the Effect Controls for. So let's say that scale, which is the size of this video, I could bring scaled down to, let's say 50 percent. I can also click on it and type it in. So that made the video here smaller. And now I can see the video behind it at full size. But let's say I wanted that to be smaller as well. So I hit 50 and out perfectly matches it and it's right behind it. However, I had to actually select the item that I'm wanting to change the effect controls for. So now let's just go from top to bottom and explain what each of these things do. Scale is obviously the size of it. I can make it bigger or smaller. Position is the position of the video. So I can move it left or right. I can move it up or down. Rotation is, let's say the horizon was off. I could fix it or I could do like we're transitions with it spinning, but it probably wouldn't ever do that. Anchor point, anti Flickr and opacity, I never really use. Occasionally, I will use opacity. And that just means that you're making it more see-through. The only times I can think of that I've ever really use this though, is if I'm doing a dust effect over the top of my video or if I'm doing a fake smoke over the top of the video, I might put the fake smoke over the top and then bring the opacity down just so it doesn't look too strong. And then Time remapping, this isn't where I would do it. So for effecting the speed, I would just click on the clip, hit Control R, and do everything from this menu. Now, there will be a lecture later on that's fully focused on speed ramping and time remapping. I will show you how to do advanced settings up here for that lecture, but it's still not the way I would do it. I'm going to show you several ways of going about it. So all that to say, you can skip that. You'll also notice on just this one clip, it says Camera Blur, but it's not on the other clips. That's because we dragged it over from our Effects tab down here. So this is where you control the effects settings. But if you want new effects, you have to come down to your Effects tab. And this is the database of all the effects and transitions that you can have. And as soon as I drag one of those onto here, you'll see my options for adjusting it hops up under the effect controls. So this is all my possible effects and transitions, and then this is how I adjust them. And so also let me pull up a transition that he had transition Dissolve. I'll just do I dip to black. And so again, I can't affect the control of it and the say select it. And right here I selected the clip, but I didn't actually select the transition. So if I zoom in, now I can select the transition and you'll see the difference. So if I select the clip versus that's the clip, that's the transition. So that's the clip, that's the transition. And you can see up here, I'm able to edit the actual transition. So instead of it starting completely at black and then feeding to know black, I could make it so it starts kind of a gray and then fades to a gray. So here's a start point, here's where it gets endpoint. So anyway, that's not something I would ever actually do have never really fine tuned the effects of a transition. I just kinda use them as default. Other than like an advanced zoom transition, you can reassign the points where it zooms in and out of. But for the most part, that's how that works, but you're probably never going to need to use that. Now let's discuss the rest of the settings under this effect CPAP. We're just gonna go through it real quick because there's a ton of stuff here. So presets, Let's say that I spent a ton of time like fine tuning may transition. Well, let's do, let's say I really liked this. Scale and position and everything like that. I can right-click on this. And instead of having to do it for every single clip that I'm going to do in my project. If I want it to all match this, I can just right-click and do save this preset. Now what that's gonna do is give me a little filter that I can just like drop on. So under here I probably have a bunch of zoom effect. So here's like a pack of trends. 4. P2: 3 Main Editing Workflows: You're about to learn the three best workflows and Adobe Premier. Okay, let's jump right into it. I'm going to create a new project, and I'm going to name this project three workflows that okay, let's go ahead and start with workflow. Number one. This first method is definitely the fastest and it works best on smaller edit. So I'm just going to grab the clips that I want to use, drag them straight onto the timeline and you'll see all of my clips are now on the timeline. I created a sequence that matches them. And it put the clips over in my project tab over here on the left. So we're ready to begin editing. At this point. Let's say I know that I'm not going to use all 10 clips. I could just pull up the specific clips that I know I want to use. And I could use my up and down arrow keys to kinda scrub through it and see which clips I want change the order around. And if I know I'm going to delete all these clips on the bottom, I can just select them. You ripple delete. And not only will it delete the clips, it's going to delete the gaps. At this point, I could just use my up and down arrow keys, do like a Q and W. You can very quickly cut short edits this way. So if you're doing just a small project, hey, this is a quick social edit. I just want to start it and be done in 20 minutes. This is definitely the fastest workflow to do it. Now, it's time for workflow number two, this is the second fastest method and what I'm gonna do first is do control a select all of us, delete it, and then that's going to clear off our whole timeline so that I can pretend like I'm starting again from scratch. So this time instead of dragging everything into my timeline, I'm going to drag it over here into the project tab. And it's just going to bring everything into the project habit. Didn't create a new sequence for us or anything like that. So if I want to create a new sequence and I want everything to match the videos that I'm using. I'm going to have to grab one of the clips and drag it onto this new tab that's going to create a new sequence for me. And you'll see this little blue icon on the bottom right corner that lets me know this is the sequence and the rest of these are all video clips. The nice way about doing it here first is you can organize things a lot better and you've got multiple different views for seeing it. So this view, I can just kinda see everything in a list that helps me sort things by name or length of the clip, stuff like that. You've got this view where this works best if you can actually see it. But this allows you to kind of like place things and physical if that kinda helps you stay organized that way. So I could tell these are a group and being by himself as a group. And then these two, let's say, or a group, I personally prefer editing it with this. And now I can blow up these thumbnails so I can see it better. And let me show you why this workflow is the second fastest and another great one that I use. I mainly use this on bigger projects that have a lot more data has to be more organized. And instead of taking everything onto my timeline and cutting it down, you can stay a lot more organized and get less overwhelmed by using the second method. Here's why I'm gonna go ahead and delete this first clip and all of the media that we're going to be bringing over. I'm going to be setting in and out points. So instead of dragging this entire clip. And having the whole length, here's what we're gonna do. I can hover over it to see my preview. And let's say I know that I'm going to use, let's say them right here. I want it where the bags already up. I'm going to hit I on my keyboard that just set an endpoint. So see how the blue starts right here. And I'm going to owe that sets my outpoint. And I'm going to hit comma and watch what happens. It puts it in. And then on the very next one, like let's say I'm going to do this afterwards. Here's my end point, Here's my outpoint comma, and it goes right after it. So the next one's going to go right on this blue line. Now, what if I want to do the same thing, but I want it to fall in on video track two. All I have to do is highlight that and then I'm going to set my endpoint, Sorry, set my endpoint, set my out point, and then comma. And now you can see it's up here on video track two. So this is a quick way to edit where instead of me bringing over the entire video, so this would be the full length of it and then I'd have to cut it down and the timeline. And instead, it's only going to be using the parts that you know you want to use. And then you could fine tune it on your timeline from there, let's say I decided okay, this last couple of seconds, I don't want I could hit Q and then chop it off a ripple, delete that way. Now it's time for a method number 3. This third method works best for longer documentaries or a feature film or projects where you just have a ton of media that you have to sort through and you, you don't want to do much of the fine tuning on your timeline. Let's go ahead and take a look at that. First, I'm going to delete everything and then we'll drag the media into our project then just like we did for method 2, this is very similar to method 2, that it's going to be slightly more organized and we could start off even before we do anything with Eclipse, we could create bins. Let's say shopping could be a bin and all these clips where they have their shopping bags, I could drag that into this bin here. And that's going to help me stay organized. I could create a new band called phone, and both him and her are separately on their phones. And so you can sort everything into bins first. And that's going to help you stay organized. Instead of setting are in and out points on here, you can actually double-click on the video and it's going to pop up in something called your source monitor. The reason this source monitor is great because it lets you fine tune your in and out points instead of just kinda guessing and having to clean it up later. So you can see I can get really specific. I can even use like my right arrow key and get to the exact frame. Then I can hit I on my keyboard to set my endpoint. Or I can hit this little marker for endpoint, and then I can set my out point by hitting O on my keyboard or doing the little marker for out. And then again, I have to create my sequence first, but let's say drag this clip onto my timeline to create a new sequence with that exact setting. Now I can just hit comma, so I'm going to double-click on my next clip. Let's say I want my endpoint here, my outpoint here, I hit comma and I can just go through clip after clip like that. And it's going to give me very precision editing. And my timeline won't have a bunch of extra junk that needs to be cleaned up. It's only going to have the parts of the videos that I'm actually going to be using in the edit. So this works really well for documentaries or full feature films, basically, any project where you have a lot more media. And my opinion, this workflow slower, but it's more organized and helps you not get overwhelmed by all the clips. So you now know the three main workflows for editing in Premiere, however, I can't talk about workflows without also mentioning something. A lot of times if I'm doing like a social edit or highlight film, something that's very driven by the audio is far as workflow goes, I'm going to do all of my music and sound design and dialogue first before even lay any of the video tracks on top. And so the workflow isn't just about importing media and cutting it down. It's also deciding, do you want to start mainly focused on video or mainly focused on audio. And you'd be surprised how much it helps to focus only on audio and the beginning, depending on what your project is, you now know the three main ways to import an edit media and premier and the next video, you're going to learn how to edit. We more quickly. 5. P2: Learn to Edit FASTER: You're about to learn the three ways to drastically speed up your editing in Premiere. So the three ways to speed up your editing in Premiere is one, get a faster computer. Now, that's obvious, but what might not be August is there's really easy and cheap ways to upgrade the computer you already have. So I'm going to do a quick overview on how a computer works, how to upgrade your computer easily for a reasonable price, and how to know what parts of your computer even need to be upgraded. The second thing we're going to cover is their settings within Premiere that before you upgrade your computer, there's a couple of quick settings that you can change and it's going to make your computer runs so much faster without even needing to upgrade it. And the third thing is, even though you have a fast computer at the third, you still need to know how to edit quickly. And so I'm going to show you my workflow and shortcuts that are going to help you edit so much more quickly. So let's go ahead and get started. I'm on a website called Newegg. This isn't a sponsor or anything like that. You could buy parts from Amazon or many other distributors. So on their site, I came to components, motherboards. And my goal is to give you a quick overview on how a computer works. Let's go ahead and open up this image. You can see this silver part right here. This is where your CPU plugs in. So I guess before I jump into it, I should explain there's computer hardware and then there's computers software. That computer hardware is your physical computer. The software is the stuff you install onto that physical computer. Something that's important to note is Apple and windows. Those are both just pieces of software. The majority of all Apple and Windows computers are all built on Intel hardware. And so this here happens to be an Intel motherboard that's gonna take an Intel CPU. And whether you're running Apple or Windows, you probably have really similar hardware. So this isn't going to be like an in-depth workshop on building your own computer. It's just meant to give you an overview so that you have a solid understanding on how a computer works, so that you know how to upgrade your computer if you need to do that, let's jump back into it. This silver part here is your CPU socket. That's where you would plug in a CPU. The CPU is the brain of your computer. It's doing all the main processing and all the main thinking. Essentially, the next part we're going to talk about is these little tabs here. That's where your hard drives are going to plug in. The hard drives do all of the storage. So they're kind of memorizing all the data and storing all the data for you. Now, there's several different types of hard drives you can have like the old fashioned spinning disk, those run at two different speeds, typically like 5400 or 7200. And however, all of them, for the most part are considered slow. It might run it like a 100 megs a second, up to maybe 200 megs a second. But if you're editing a file or even for k video from like a decent camera, it's going to need to play it three or 400 megs a second. And if your hard drive can only read at 200 megs a second, then you're gonna get a lot of skipping and it's going to create a choppy affect. The solution to this is you can buy what's called a solid state hard drive. Like you could even see him and Costco sometimes or Walmart or whatever. But this is just an external hard drive that you plug into the USB port of your computer, whether it's a laptop or desktop. And it's going to give you. Like 550 makes a second. This is typically a really easy, quick way to speed up your computer for around a $100. You just take all the media that you're editing, transfer it over to a faster hard drive. If the hard drive was the part that was slowing you down than that one little trick is going to speed up your computers so much. The next thing to look at is these slots here is where you plug in RAM. So you've probably heard of upgrading your RAM. Think of RAM as a extremely fast hard drive. However, it can't store it overnight. As soon as you turn off the computer, forgets everything that was memorizing or all the data it was holding. And so the whole purpose of it is whatever data the CPU is currently processing, It's going to take that data from the hard drive, save it onto the RAM, which is way faster and it can process it more quickly without having that skipping effect. So a lot of times when video editing, it's not actually reading off my hard drive. It is when I initially pull it into my project, but from that point forward, it takes all that data, puts it onto the RAM for me. And then as I'm editing, I'm just editing off of the RAM instead of editing off of the hard drive. Don't worry if you're overwhelmed at this point, like it's all gonna make sense and I'm going to simplify it. I just want to explain. So there's one more part. The fourth part is called your GPU graphics processing unit. Some people call it a graphics card or a video card. So that in the same way that RAM is like backup for the hard drive or like a helping hand for it. In the same way that GPU is kind of a Second Brain for the CPU. And what it does is specifically with tasks that require processing video, the graphics card is going to help you a lot, but there's specific effects within Premiere that if you have a GPU, it's going to speed things up so much. And I'm going to show you that more in depth a little bit later on, on my keyboard, I'm going to hit Control Alt Delete, and then click Task Manager. So I'm filming this on a Windows computer. I'm not sure what the equivalent is on an apple that I can see right now, my CPU is at 25 percent memory. It says 22%, 20% full. And then this isn't showing my hard drive for some reason on my other computer, I can usually see what percent my hard drives running out and then my GPU retina is running at 60 percent. So that's because I'm recording video onto this computer live. This video I'm recording right now is all being recorded by my GPU. So that's why that's so full. It's trying to free up processing power for my CPU. The reason I'm showing you this is because when you're in Premiere, if premiers running slow and you're dropping frames, you can just glance at this, your task manager or the Apple equivalent. And you're going to see, well, if my CPU is not at a 100 percent, then it's probably not the CPU slowing me down. And if my memory or my RAM isn't a 100 percent, then you probably don't need to upgrade the RAM. And if you're GPUs not at a 100 percent, you probably don't need to upgrade the GPU. So you're probably getting the picture here more than likely, the culprit is going to be either your hard drive or the CPU. And so if it's the CPU, It's not easy to upgrade unless you have a desktop computer, but it's still a semi advanced upgrades. So I'm going to show you some tricks. We're going to switch over to phase two of this video where I show you software tricks that are going to drastically speed up your computer. So let's pretend that your CPU is always running at a 100 percent and you're thinking about getting a new computer. Before you do that, let me show you a couple tricks that are going to drastically speed up your computer and make it so that you hopefully don't have to buy a new one. So I just drag some clips onto my timeline and I'm going to go ahead and stack them all to kind of replicate maxing out my CPU. You can right-click on the clip, go to Properties, and then click on properties when you get to it. And you can see right here, this is a four K file, 3840 by 2160. So I'm going to try playing What is this seven, all seven of these videos at the same time with the purpose of slowing down my computer, if I hit play, you can see right here that it's kind of choppy. Can't see the stack of them. So you can see right here it's dropping frames. That's because something's happening. Even either my CPU is maxed out or my hard drive is maxed out. So I'm gonna hit play and then open my task manager. And I can see my CPU is stuck at a 100 percent. Okay, so it dropped down to 70. It's kind of in-between 70 and a 100. I'm just going to play it again. So I'm going to pay attention when these videos finished down at the bottom. Yes. So it's playing fine at 75 percent. So I was kinda hoping that it would make it be a 100 percent because that would give me a better example. But anyway, let's pretend that 70 is a 100 percent and it's really hard for me to edit because just dropping so many frames that I can't even see what I'm playing. I'm going to show you a trick that's going to fix your computer in 1 second. You just click this and come down to 18. And what that does is it makes it equivalent to, instead of playing eight videos at a time, It's like you're only playing one video at a time because it's playing at 1 eighth of the quality. Now let's go ahead and hit play and see what that does to my task manager. So now instead of a 100 percent dropping down to 70, now it was playing it 60 percent dropping down to a goddess of like 25 or 33. Yeah, drops down to 24. They're just that one little trick, completely saved me from having to buy a new computer. So that's cool, it on the video at there. However, I'm gonna show you another trick that let's say you're having trouble with your hard drive, just can't read all seven clips fast enough. The quickest solution to that would be buying a solid state hard drive because it's going to run five times faster than a spinning drive and make sure it's plugged into a USB 3 port. It's probably a blue USB plug on your computer. And that's going to make it so your computer hard drive will run so much faster. However, probably costs a 100 bucks or so for that, if you don't have the funds to upgrade to that yet, there is another trick you can do where basically I'm going to minimize size of each of my video clips right here. Let's pretend like each of these, like realistically they're playing at a 100 makes a second, but let's say they're coming straight off a cinema camera and it's playing it like 300 to 600 megs a second. I can select all of the clips in here by hitting Control a or adjusted shift click to select them all. And now what I'm gonna do is right-click and go to proxy create proxies. Click on that. And then this pop-up, pretty much any setting that I do within here is going to give me a way smaller file size. So let's say that these seven videos, let's just say it's 700 gigabytes of storage for all of my videos by making proxies of them. Instead of it being 700 gigs, I could probably get it down to, I don't know, like 20 gigs or so. That makes a huge difference. It's way easier for a hard drive to read 20 gigs of data over a period of time than it is to read set and a 100 gigs of data. So here's how this works. You select your format first. That's the codec that you're saving the video as I could do it as DMNX QuickTime H.264. And then once you choose that, you choose quality, you wanted that you can do a really low quality if your computer's really struggling or you can do higher-quality. A difference is if I do really low quality when I'm editing, this might look too pixelated to be able to watch carefully. And so basically you can't go wrong with what you pick in here at anything's going to be fine. Anything that you pick out of any of these settings where it's going to do when you hit okay? It's going to create a second version of your video clips. So you have your main videos which is really high-quality. And then you have a second set That's like extremely low quality. And you can easily switch back and forth. Obviously, editing on the really tiny videos is going to be way easier for your computer then editing the really high-quality videos. But before you export the video, you're going to switch back to the high-quality and then export at the highest quality. That might sound confusing, but it's really simple. Let me show you. I'm just gonna go through the process one more time. You select your clips. Right-click new proxy create proxies. Pretty much any of these settings are fine. And then you just hit, okay, now what's going to happen is in a new window, it's going to open something called Adobe Media Encoder. It's going to take all of these clips, put them into there, and basically export really small versions of each one. It's then on its own going to link things up so that all that you have to do to make this work is click this little button right here. And when that's all, it means you're editing the really small versions and your computer's going to run really fast. When it's not blue, you're editing the high-quality versions and your computer is going to run slower, but you're able to see the full quality of it. And if you're not seeing that button right now, you can just click this and make sure you drag it onto your toolbar. And then you hit Okay, let me see if I can pull up Media Encoder for you. So you can see it already pulled all the clips up into here and started exporting them as a really small versions of themselves. It also sends premiers, the one handling all of this. It knows where the small videos are saved and it's going to make it all linked automatically. So all you have to do is click this to switch back and forth. And that's drastically going to speed up your editing. Now, for me personally in this example, you're not going to notice a big difference because this codec is already a really good codec and my hard-drive wasn't struggling with it. So it's not going to make that big of a difference. The best, quickest thing for me, if I needed to speed things up, would be just dropping this resolution. The main time that I use proxies is if I'm sub-contracting out some of the editing and let's say I've got like 700 gigs of footage that I have to upload to someone else. And then they're going to download it from the Internet to edit it. If I create proxies for them instead and set it at like two megabytes a second instead of the original 300 megabytes a second, it makes a massive difference. And then I might be able to. Just ten gigabytes of proxies. Let them edit it as proxies. And then when they send me the project file, I can just relink it to the originals. I know that kind of sounds complex. That's not necessary for speeding up your computer. That knowing how proxies work and kind of having an understanding of what they are. There might be situations where they really help you out. Another thing to be aware of is a lot of decent cinema cameras nowadays are going to record a proxy while they're recording the main file. So you might get proxies and the high-quality files from your client at the same time. And that allows you to edit everything on the proxies so your computer will run fast. And then right before you export, you can just switching over to the high-quality versions. If that's the case, you need to know how to manually switch everything. And so what I would do is highlight all your clips. You can highlight it on the timeline or over here and you click make offline. And that's going to have premier forget where everything's located. But then the next step, as you select everything, do Link media. And instead of linking back to the original proxy, now, you're going to link over to the high-quality version. For me, I only have one version here. Here's the pop-up you're gonna get, and you select one of the videos you hit locate and you choose where your high-quality version is going to be. So here I've got a proxy folder, and then in here I've got my quality videos. So now I can just select the high-quality version. It's automatically going to relink the rest. And now I'm good to edit again. That's how proxies were. You now know the two biggest factors and speeding up your computer with the software side of things. Number one is clicking this little thing and dropping the resolution. Number 2 is using proxies. And now you know how proxies work. There's a couple of other tricks I'm going to show you real quick that are going to help speed up your computer in other areas. For example, I just drug Guassian blur onto this clip here. You can see it right here. And I'm gonna go ahead and crank up the blurriness. And what you might notice is this part is now red, where this is all yellow. If I come down to file project Settings General. And then instead of suffer only if I come down to cuda, that means it's turning on my graphics card, the second brain for my CPU. So by turning that on and hitting Okay, Now that red part just turn to yellow. So I'm actually going to go back and undo it real quick. So general software only hit, Okay, I'm going to try playing this and just to warn you, it might be so CPU-intensive that this recording actually fails. So just kinda get ready for that. I'm going to hit Play, bring up my task manager. And you can see it's at a 100 percent and it's really choppy, and it just stays stuck at a 100 percent old time. Meanwhile, my GPU is like 4050%. I'm going to stop that, reset it, and then I'm going to turn the GPU back on and see what happens. Turned it yellow. So now I'm going to hit play again, bring up my task manager again. And it went from a 100 percent all the way down to 32 percent. You can see that the choppiness all stopped. My GPU, almost went down to the GPU is so good at processing this type of stuff that isn't very intensive on it. But it dropped my CPU from a 100 all the way down to 30. Like that's a drastic change that saved me from having to go out and buy a new GPU. Now the reason all of that happened and that I even had that problem in the first place is because I put on a very CPU intensive affect. The easiest workaround on this as just don't put the effects on until you're done with the edit. That workflow is going to make things so much easier. The second workaround that's kinda similar is, let's say my effect is on here. I have it all dialed in, but I want to go back and fine tune things, but make computers running way too slow and I don't have money for a graphics card. The solution then is hit this little plus, there is an effects that you can drag onto the toolbar. It okay. And that affects is turning off all of the effects down here. So you can see the difference. The effects are on. Now the effects are off. Clicking the effects button is not the solution. The solution is don't be putting effects on your clips or color grading them until you're done cutting them down and editing, I'm dragging on effects and color grading should be the last steps in your workflow. So I'm gonna show you one final thing that's really going to help speed things up. And that is clicking on sequence render effects and work area. So typically I just hit Enter on my keyboard. That's the shortcut for it. So if I do that, you're going to see this pop-up. And what that's doing is kind of like creating a proxy of anything that's in your work area, which is this gray bar here. So you wanna make sure that's selecting your clip. I'm going to go ahead and just do like a small piece of this. And I'll hit Enter to go ahead and render it. And you'll see this red turn to green. And so now that that's green, that's going to play even faster than all of this yellow stuff. It's going to play even faster than me having a nice graphics card. The downside to this though is, let's say stretch this video out. Now I've got all this red. So making slight changes to it, you can actually lose the rendered out portion and you just have to re-render it often. Now if you're fine with taking a lot of like lunch breaks in the middle of your workflow, that might work fine. I think for me, it's better to just understand how a computer works and upgrade the parts that are slowing you down. And also using stuff like this setting here and using proxies that's gonna make your computer runs so much faster. So we've finally finished Section 1 and 2 of you understanding a computer, knowing how to make your computer faster by upgrading it. You understanding the software side of things to make your computer run faster. The third section is now that you have a fast running computer, you still need to know how to edit quickly. And so we're going to go over that real quick right now. The main thing with editing quickly is shortcuts. I'm going to come to my Project tab, delete all this, and I'm just going to show you my workflow real quick. Basically, I don't even drag my clips into the project tab. I typically just drag them straight onto the timeline. Make sure that I have the blue selected here so that I can use my up and down arrow keys. And when I do my down arrow, it's going to go down my timeline quickly. If I use my up arrow, it's going to come up the timeline and it's cutting between each clip. So if I want to go from here to my next clip, I just hit down to my next clip down. Now, my left and right arrow keys are going to go one frame at a time. And so so that's how I use my up, down, left and right arrow keys. The next shortcut, that's good to memorize as J, K, and L. L plays forward. And if I hit it multiple times, it's going to go forward significantly faster. K pauses it, and then J goes backwards. And I can hit J multiple times to go significantly faster. So by using those to go up and down your timeline, for me, I find it a lot faster than trying to click to a spot. And I find it a lot more accurate because using the left and right arrow key, you can go to the exact frame that you want. Now, the final trick that's going to make editing so much faster is never use the Blade tool. So clicking over to the blade more than likely it's just slowing down your whole thing. And I feel like it's very rare that you'll ever need to use that tool. So what I do instead is, let's say I wanted just this section of this video. So instead of using my blade tool to cut out that section, I'm going to hit Control Z. Control Z. I can come to here and I can just take Q and it's going to chop off the beginning. Now it can come to where I wanted it to stop and I can hit W and that's going to chop off the tail. Now, not only did it chop off the beginning and the end of it, but it deleted the gaps and pulled all my other clips into it. So I'm gonna hit control Z, control Z. And let's say I did it with my blade tool. Then I hit V for my selection tool and deleted these. I would then need to click on the gaps and delete those two. That's way more clicks and way more steps than me just coming to the part that I want to cut off and hit W. It's so much faster like me using the J, K, and L to get to different parts. And if I want to get way down here, I just hit down once. And let's say I wanted to trim it here, w, It just becomes so much faster. And then I'm having trouble thinking of a scenario where I would have to manually grab the blade tool. But let's pretend like I did even still instead of doing it, like let's say I needed a cut right where my play head is right on this blue line. What you can do, I think the default is like Control K. Yeah, So Control K will cut it on wherever your play head is. However, Control K is too hard, depressed, so we're going to come down to edit keyboard shortcuts. And in this panel, you can change where all of your shortcuts are. So let's say q and w, you like those shortcuts and you like that tool. But let's say you don't like the position of it. You can easily change those same shortcuts to be assigned to any key. Eclipse, say I wanted to reassign q and w to IN0, that would mean J goes backwards. I'll goes forward. A pauses. I cuts off the beginning, oh, cuts off the end. And then I can even set up like peer to be my Control K. And so it's really easy to look up any of the shortcuts and reassign which key that they're assigned to. Control K is too hard to click. I'm going to go ahead and click on k. Right here I see Control K equals add edit. So you can see it right here. So what I'm gonna do now is type add, edit into the search bar. And I can see sure enough, ADH is assigned to control K. Let's say instead, since Q cuts off the beginning, W cuts off the end. I could have like my third finger just right there since my two fingers are here anyway. So I can just drag onto here. And so now I could press E to have it cut wherever the playhead is or Control K will cut wherever the playhead is. I'm going to go ahead and delete the control K so that now anytime I press E, it's going to cut wherever the playhead is. I could also click here and let's say I wanted to type the letter, i just to show you how to do it. That's another way of adding it in. By memorizing these shortcuts, you're going to be able to edit so much faster. I encourage you make yourself just as a way of practicing doing edit, where the only thing you're allowed to do is these shortcuts that we just went over. If you just get used to it and make yourself do it at once, you're going to be able to edit so much faster for all your projects in the future. Also, you now have a basic understanding of how a computer works and how to upgrade one, and how to optimize Premier to work with your computer. So now you're faster editor and you have a faster computer. And the next video we're going to go in-depth on learning keyframes. 6. P2: Master Keyframes: You're about to learn everything you need to know about keyframes and Premier. We're going to start out with the basics and then jump into advanced tricks that are going to make your videos look so much better. So to start out, you're going to have the video that you want to set keyframes on, hadn't select it. And then you're going to look for the Effect Controls tab. So let's say by default I'm on my audio mixer or something. I can click these little arrows and then click Effect and trolls to come over to that top. Now if you're not seeing this, look right here, it's because you need to come down and actually select the track that you want to edit. Once that's selected, you're going to see it pop up. So here's it not selected, here is it with my video selected? Now, any settings I changed on here are going to change for this one video that's highlighted. So if I have a bunch of other videos also in my time, I'm none of these are going to be affected by it, so it's only the video you have selected. Now, if I want to change the position of my video, Let's say drag this to the left. My video just went to the left by drag it to the right. My video goes to the right. So if I set it, let's say at this point and I let go, I could play my video and the video just plays with it. Over at that point, there is no motion, there's no keyframes yet. The way that I create a keyframe is by clicking this little stopwatch or clock icon. You can see it right here. As soon as I click that, all the sudden I set my first keyframe. And now I've got this keyframe window. So you can imagine this kind of being the same as your timeline down here. It's a second timeline up here that matches. So if I scrub forward in time, you can see it's also scrubbing forward in time on my main timeline. So let's say I want to set a second right here. All that I have to do, I can set this second keyframe by clicking here, but that's not even needed. So I'm going to hit Control Z. I'm just going to move the video and see how it set a new keyframe automatically. So what's going to happen is at this point in time, it knows to be set at this location. At this point in time, it knows to be set at this location. Now if I want to jump back and forth between my keyframes, I can hit my left arrow to go to the left keyframe, right arrow to go to the right key frame. And I could have hundreds of keyframes in here. You can just use the arrows to jump between them. And as I'm doing that, you'll see down here on my actual timeline, it's jumping to different points in time, which might look random, that they all have a keyframe assigned. Let's go back to having just my two keyframes. You can highlight keyframes and delete them by hitting delete on your keyboard or you could right-click and delete. So I've got my first keyframe at this 0.2 keyframe, at this point, premiere will automatically move the video from 1 to the other with a smooth transition and between. So if I hit play, my video now moves from 1 to the other. Now, the reason it's not perfectly smooth is because it's red right here. I can drop my quality down to 1 eighth resolution and it should play it a lot more smoothly. Now, you understand the basics of keyframes. Now, it's just setting two different markers are points in time where it's memorizing what's the position of 1 and then what's the position of another point? And Premiere will move between those two points somewhat seamlessly. Now that we have that, let's go ahead and we notice there's a stopwatch on skill, on rotation on almost every single effect. So let's say scale by turning on that stopwatch, I just turned on keyframes for scale, and I set my first keyframe at a 100 percent. I can come forward in time. And now I could set it at a 170 percent and it's going to, on its own, go from 1 to the other while zooming in now, so you can stack these keyframes. And I could also under rotation, I have it set to rotating 0 here. And over here I could have it rotate by, let's say 31 percent. And now this is what happens. So let's go ahead and delete all of those. And I'm going to show you an easier way to set keyframes. So instead of me moving it to the left or right like this, like let's say I also want to move it up and down. It's kinda hard to get it to the exact point just by typing in the exact number that you want it to be. So an easier way to do this is if age motion right here, you'll see this box appears. Now wherever I move this box, C are automatically move the arrows for me and I can scale it up and CR automatically changes scale for me. I could also rotate it and it would automatically change the rotation for me if I can get my icon rate. So by highlighting motion first, it lets me move this box around. So at this point in time, where my play head is both here and here, the box is going to be in this exact place. Now if I come forward in time, I can move the box to, let's say here and scale it up. And just like that I said a bunch of keyframes without having to touch any of the settings over here. I'm just moving the box around. So if I hit Play, you'll see the key-frames start here and it transitions my second set of keyframes. So let's get a little more advanced with it now, you can see that was a very linear motion. Let's set a keyframe in the middle. And what we're going to notice is if I click on motion, I can grab this line in the middle and bend it out. So now if we hit Play, you'll notice it moves in space along this line. Now let's get into some more advanced settings with it. Right now the movement looks almost robotic. There's no Bezier. It just moves at the same exact line. Instead, I would like it to move and kind of speed up and slow down so we can adjust the curve that it's going to be moving up. The way that we do that is we just select the keyframes that we want to adjust. You right-click on it. And under temporal interpolation, you can come down to Bezier or you could do ease in or ease out as just like a quick setting for it and just show you under Bezier where it's going to do. So if I click this arrow, I can actually see the line and I can adjust it to be. So it's going to be really quick and then slow down towards the end. So let's go ahead and watch that. So it's fast then it slows down and kinda eases into position. I could also just select those and do ease in or ease out. So you can see how that changes the line and then ease out. So just that one simple change can make your edits look way more professional simply just by right-clicking on all your keyframes and doing like ease in or ease out to make the curve look a lot more smooth of a transition. Probably noticed when we right-clicked, we went to temporal interpolation, but there's also spatial interpolation. So temporal has to do with the curve on time. Spatial has to do with the curve and space. So what does that mean? And what's the difference? Let's go ahead and look at it real quick. So I'm going to set a new key frame and adjust the height. And what you're going to notice is if I hit Play. Down and then curves up. Now it looks like a smooth curve to me coming down and around. So chances are that's already on a Bezier. And I can also tell them that icon. Now if I come to spatial and change it to linear, we're going to notice a big difference there. So now when it comes down, well, it's going to take a second to get to there. So not started comes down. It's just straight over, straight up. But moving on, there's two more advanced things that I want to show you real quick. So the first is how to actually add motion blur to your movement. What we're gonna do is under Video Effects, we're going to look for Stuart and then transform. So a faster way to get to it as you can just type in transform. And if I drag this on to my same video, go ahead and do that actually first, I'm going to show you how to delete your keyframes. I'm going to delete all of these. I could select them all and then delete him that way or I can just click on the stopwatch. It's going to ask me, do I want to delete all of my keyframes? And the answer is yes. So I'll go ahead and click on the stopwatch for each one and then I know all of those are turned off and I'll go ahead and turn it off for speed to even though I didn't do that yet. Now what you'll notice is this new transform menu came in here. And that's because we just dragged the transform effect onto our clip. So under transform, I have a lot of the same settings that I can do. The reason that I like this effect is because it also adds on this thing called shutter angle. So you can go from 0 to 360. 360 will cause the greatest amount of blur when it's moving and 0 causes nobler. So I'm gonna go ahead and set it to 180. Okay, a quick thing. Let's say I want to move this back to its original position so I don't have all this block up here. If I didn't have the position memorized, I could try looking for it, but it takes me a long time to get everything back to its default setting. Instead, I can just click these little arrows and it makes it significantly faster. So that's a quick little to now. So I'm going to set keyframes. It's going to be really similar to how we did it before, but it's under this transformed setting. So I'm going to click on position that turned on the stopwatch and set my first keyframe at this setting, I'm going to turn on scale and again, turn on the stopwatch, set my first keyframe at the size of scale. Now I'm going to move forward in time and set a new, like let's say I'm going to have it zoom in a bit and come to the side of it. And we might as well move height 2. Now what you're going to notice is when I hit Play, there should be motion blur while it's moving. But we're not going to notice much because it's spread out over so much time. So I hit play. It's so slow and smooth that there's not very much motion blur. So what can we do to change that? I can select these keyframes and move them closer in time. And now when I hit play, you're going to notice a lot more blur. And if we want more blur than that, we can just turn it up. It's hard to notice when I have my equality set to 18, I could render that out and you would notice a lot more. But I like using this transform effect if I want there to be motion blur when it's moving. So now you know how to create keyframes. You know how to use this motion trick to move the box to make things faster. You know how to select your keyframes and Adam the Bezier or adjust the curb of it, you know how to create motion blur. And knowing all of this is going to help you a lot with making your video at it, look more professional. In the next video, you're going to learn the secrets of eye tracking. 7. P2: 6 Main Cuts & Transitions: These are the six cuts and transitions every editor needs to know. Number one is the simple cut. And that's exactly what it is. You're just cutting from one video clip to the next. Looks like this. That's a simple cat which leads us to cut. Number two is the jump cut. It's basically the simple cut. But instead of cutting from one video to a different video, you're cutting from one video to itself. So let's say I wanted to show all of this progress of the wave coming in, that I don't have time on my timeline to show at all. What I can do is cut up the clip and then delete the gaps. And now I have the beginning and the end, but over a shorter period of time. Another main reason you would want to use this is in the YouTube world, people don't have the attention span four pauses. So I should cut out that pause that I just did right there to hold attention span. That's the jump cut. That's how you cut it. Now that leads us to cut number three, which is actually two variations. It's the Jacob and the alcohol. So see how this looks like. It's in the letter J, this is how it gets its name, Jacob, what you're doing is easing in the audio before you actually see the picture. So here's what it's going to look like. So you could hear the car horns before you could actually see the cars. So that is the Jacob. The L cut is really similar, except it's in the shape of the letter L. And what's going to happen is the audio is going to flow into the next scene. The main reason that you would use these two cuts isn't for ocean to traffic scenes necessarily. The meantime, you'll see this is in dialogue. So if someone's still talking, but you want to show the response of the other person. The J and L cat comes really in handy for that. And let me show you a quick way to actually do it. As you might imagine, you'd have to like the clip and a bunch of weird ways if you were to do it just using the blade tool. Instead, you can hold down Alt and that allows you to change V for my selection tool. And then if I hold down Alt, I can change just the audio track or just the video track. And that makes editing your J and L cuts a lot quicker, which leads us to our first transition. The first transition is going to be dip to black. So let's go ahead and watch what that looks like. So this is used all the time if you're changing scenes or changing acts. If instead of doing a hard cut from one room to a completely different room and people just jumped to the other place. If you dip to black, the audience is going to know, okay, it's probably a scene change. It's probably going to open up in a completely different area and can explain that well enough. Then next transition, transition number 5 is the cross dissolve. So cross dissolve is almost opposite of fade to black. This is if you're staying in the same scene, but instead of having a hard cut, you kinda want to blur them together a little bit better. This is what it looks like. Now to do the cross dissolve and to do the dip to black, all that you're going to do is just grab your effect and drag it right onto the clips. So I'm going to show you what that looks like. I'm going to delete that transition. So here's my dip to black. Drag it on. And now I've got my dip to black transition. I can click on it and delete it. And I can do cross dissolve, drag that on, and now I have my cross dissolve transition. So you may have noticed on the dip to black, I also did a transition on the audio. It's called exponential fade. So you can find that under audio transitions, cross fades, exponential fade, that's going to dip the audio all the way to 0. And then from 0, backup to the four audio of whatever my track is. Now this leaves us with only one more essential cut or a transition. And that is doing a transition on any kind of movement. But there's going to be several examples. What I did here, I'll just show it to you first. So what I did, you notice this whole clip is moving to the left and the second clip is also moving to the left. Now, if I was to invert this and it's going from the left and then goes to the right. It would kind of jolt someone out of the story and distract them from being able to keep on watching. So you wanna make sure your movement is always in the same direction. Now these clips weren't originally moving, so I had to do was I used keyframes to zoom in and move them to the left and right. Using keyframes, I can change my position right here and set a keyframe. And then I can go further in time, like clicking right here and change it to a different position. And it's going to memorize the two positions if the subtle clock is turned on. And if you don't understand all this, go watch my full video on keyframes. It goes way more in depth on keyframes. And this will all be simple if you're not understanding it, but let's take it to the next level. So we'll watch the preview of it first. Okay, So this instead of sliding to the left, it's just zooming in. So to do that, It's really simple. You just change the scale and you set a keyframe with scale. And so I make this video zoom in. And then I make this video zoom in. And since they're both going the same direction, it's going to be a really easy transition. And this all falls under category and number 6, which is movement and transitions. But we can take it a little bit more advanced. And this is doing my original movement transition of both of them are going to the left, except this time. You'll notice you could see this video overlaying the first one. So on the tracks you can see instead of them just being next to each other, this is actually overlaying it. And then over in my effects panel, I turned on an opacity mask and I key framed the position of that mask. So if I click on the Mask, I'll zoom out so that you can see this mask right here. I'm able to just move it back and forth using keyframes. So here's my keyframes. And I can move my keyframes around that by moving this mask back and forth. Back kind of creates another type of motion transition. Now we have one final transition in this category, and that's using a speed ramp. So this is still my original one of going to the left and to the left, except I did a quick little speed ramp here at the end just to make it feel more like a whip transition. So if you notice that and I have to do for that, is zoom in to delete both of these and pretend like it's just how I was starting out with my non speed ramp transition. I'm going to make some cuts right here and right here. Then if I hit R, it comes over to this tool. And that lets me squeeze in this video to make it go faster. And squeezing this video to make it go faster. I'm just going to ripple, delete the gap. And now I have, It's similar to a fake whip transition. Those are the top six cuts and transitions that every editor needs to know and a basic overview on how to do them. If I went too fast for you or you don't understand keyframes yet, please go watch my video on keyframes and it makes it very simple and quick to learn. These six cuts and transitions are just the beginning, but there are the fundamentals. So you have to know and understand these first before you can learn all the others. Like there's at least another 50 more that you could learn whether it's cutting to the music match cuts, cutting to action. So in the next lecture and the next video, we're going to talk about when and where to cut. 8. P2: Secrets of EYE TRACKING: You're about to learn the secrets of eye movement. I'm going to show you an 8 second video edit that uses five different clips that it's edited two different ways. So go ahead and let me know which way you like more. Here's version one and version two. Now, I'm hoping that you said you'd like Version 2 better, but I'm not sure. But let me show you what's going on right here. So on Version 1, all of these tracks on video track to the position that you're likely looking at is over on the right side where everything on Video 1 is over on the left side. So with the first track, you end this frame looking right about here where my arrow is. And then I'm going to come just one key frame over and your eye jumps all the way to like right in here is the focus. And then I'm going to hit down arrow. And all of a sudden over here as my focus down arrow, here is my focus, down arrow here is my focus. Now, something really important to understand. If you go up to someone and hold their head with your hands and go like this, they're probably going to ask you to stop or they're going to leave. Now, when your video editing, your directing the person's attention, and a lot of times you want to direct it on really specific things. But if you go like that with their head, they're probably going to stop the video or leave. So it's really important to not have them look one direction and then whip it back the other direction. This isn't just about eye movement, It's also about video movement in general. So if a video is slowly panning to the left, don't cut to a clip that's painting to the right. You have to introduce something that's going to be moving in a different direction. So I'm going to show you three different ways to solve this problem. The first way to solve it is with clip order. So you can see these five clips are the same as these five clips. It's just this one. Your focus is from the right to the left, to the right, to the left, to the right. So this is setup about as bad as it could be. Now on my next video, it's the same clips, but my focus goes to the right, to the right, to the right. But then in this video, it starts on the right, moves to the left. To the left. To the left sounds like a dance song or something, but it's not just for video editing. So the first way to do it is if you have an edit where you're really moving their head back and forth or their eye movement from the right to the left. Way too often, better to just change your clip order. However, you can't always change the clip order because it changes the story. So there's two other methods we can use to try and fix this as well. Let's jump into method number 2. So method one is changing the clip order. Method two is changing the video itself. So I'll show you what I mean. I'm gonna do something called horizontal flip. So you can just type in flip. It's a video effect, drag horizontal flip. And I'm going to put it on these two tracks where your eye focus is on the left side. Now let's see what happens. It's on the right, on the right, on the right, on the right, on the right. So I'm gonna go ahead. I might render this first for you and I'll just drop this down to 18. And now I'm going to play this and we'll see what it looks like. I felt like that was pretty good. So I'm going to hit Control Z twice to undo it and we'll watch the bad version again. And now Control Shift C and watched a good version. So doing that horizontal flip, and my opinion saved this video. However, you can't always do a horizontal flip. So I'm going to undo it again, control Z, control Z. Now we're back to our bad version and we're going to use method three. Method three is using Zoom and position. So let's go ahead and check that out and see if we can save this using Zoom and position. So she starts out bringing our focus over to the right. And let's say it has to be in this order, which is terrible, comes over to the left. But what we need to do is find a way to either bring this further to the left or bring this further to the right. Let's go ahead and try doing both. So we'll start out, let's start the video with position and scale keyframes. So I'm just clicking these little clocks. If you don't know this, then go watch my keyframe video. Now I'm going to go further on the clip. So I'm gonna jump to about here, which honestly I could have just clicked right here. It does the same thing of this is the second timeline. And we're going to click motion and drag it to over here. And I'm going to play with scale to try and fill the frame a little bit. So in my opinion, this is a heavy stretch. We're just gonna see if that works or not. Also, I made the mistake of my keyframe right here isn't at the end of the clip. So I can just select these keyframes, drag them closer to the end, and it's going to make the movement look a little more real. So we're going to turn on position and scale for the second clip that we have selected. And likewise, we're going to go further in time. And for this, I'm going to set another keyframe here. And okay, if you can't click it, you might have to move the window over. I have those keyframes set. I'm going to hit my left arrow to come back to my first keyframe. And we're going to try moving this over to the right more so I could change it with my position by dragging this to the right. And I can try scaling it up a bit to help fix it. Again, this is a heavy stretch, but we're going to see what's going to happen. So I'm going to use my left and right arrow key from here to here. Now, you're still jumping from this point to this point. But it's a lot less of a jump because it used to be from ikx over here to over here. Now it's from around here, ish to Harish. The video might look really cheesy because we're doing such extreme Zoom and position effects. So I'm gonna hit play and watch it. I'm gonna go ahead and time-lapse this and add those same effects to the rest of the clips and we'll see what it looks like. Now that my keyframes are set, I'm going to go ahead and play this. Okay. And my opinion, that was me trying to recover such a like I intentionally created the worst, looking at it as far as eye movement goes and it was me trying to save it with Zoom and position. It looked a little cheesy in my opinion, but it did save it or at least help it a bit. So you now know the three methods for correcting eye position and y position is so important because it's not good to do that with someone's had. Now that you're aware of eye tracking, you're going to be able to add that extra 10 percent of excellence onto your films. That's gonna make you that much better of an editor. You're also going to notice people making this mistake with a lot of commercials and feature films. And it might drive you a little bit crazy, but that just makes you better as an editor. In the next video, we're going to learn all the main cuts and transitions. 9. P2: Where, When, Why to Cut: In this video, you're going to learn where, when, and why to cut. Let's say I know everything there is to know about this sewing Michelle way in doing those editing the sleeves from your favorite sweater onto your favorite pop, that doesn't work. Actually, it works great because I know how to use this thing. Knowing how to cut or how to cut doesn't make you a good editor. You need to know where to cut and what pieces to put together. Now you can give the same exact video clips to 50 different editors. And they're all going to create a different version of the same story. That's totally okay. So the purpose of this video isn't to say exactly where to cut on exactly every single project that you're ever going to work on, like that's totally up to your creativity. The purpose of this video is to explain some of the mindsets behind the motivation for when and why to cut. The first mindset to think about is that you're directing the viewer's attention. If you pretend like the viewers almost have a handicap where they can't turn their head or choose what they're looking at. They need to rely on you to direct their attention for them. And they expect you to move their attention to exactly what they want to look at, exactly when they want to look at it. Now, this being up to you means you're going to have to be really aware of when does someone naturally want to look away from something and when do they naturally want to look toward something? And in what situations? Like in different situations, what are they wanting to look at? In that moment, I'm going to go over a couple of different rules that are all under that same general mindset. The very first one is typically as soon as someone has something figured out, they're no longer interested in. The big mistake I see with new editors is they often hold a shop for too long. So if I kept that up for another minute, you'd have to scroll forward and the video or just end the video and skip to it. That's an extreme example that shows people don't want to keep watching unless they're receiving new information. When we're doing jump cuts it Solomon in the YouTube community to cut out almost every gap between words. That's an example of the other side of the extreme where you're not even leaving like microseconds in-between words to keep it as fast-paced as you possibly can. So what's an example of holding a clip too long? That's a good question. And the answer is as soon as the viewer has it figured out, you went too long. So you need to do it long enough where they can see like, Okay, what's in the scene, what am I supposed to look at? But then you cut it off before they know everything that's in that picture. And like an extreme version of this would be. So think about like a movie or TV show that you're wanting to see. And if I told you the ending right now, I would ruin the film. I didn't ruin the film because I change to the actors are I changed the sound design are changed to editing. And I didn't change the story at all. The reason that I ruin the film is because I gave away the ending. As soon as you have the ending figured out, it's not even worth watching. And in the same way, as soon as you have a clip or a scene figured out, it's not worth continuing to watch. So let's say you're using a wide shot as an opening scene just to give the viewer an idea of, okay, we're changing scenes now this is our new location. It's typical that you wouldn't hold that shop for longer than this. Now if I use that same shot and I hold it this long. Then I obviously held it way too long in-between. That's totally up to you. There's not a set rule on it that you need to understand the mindset behind it. So the first part of directing the viewer's attention is timing, not holding a shot too long, but also not too short. The second part is what you're cutting too. So oh my gosh. So the next part is what are you directing their attention to? Typically, if you have someone in your shot that's like looking off screen or you're bringing in a new element to the scene. It would be silly to just hold on the response or the reaction shot. Yeah. You have to cut over to what the person's looking at right away. Otherwise, the viewer is going to lose interests. So on this note, if something crazy happens, the timing, you might actually want to show a person's reaction shot first, like them freaking out to the scene, that you only need like this much of it. And then you immediately cut over to what it is that they're looking at. Now that shows them first how they should respond to it. And then it shows them the thing that the actors responding to. So the third rule or guide is imaginary, is a group of people all talking to each other and you're in the group talking with them. Let's say there's five people and you're all standing close enough that you can only look at one person at a time. Who is everyone looking at in the group? Everyone's likely looking at the person that's speaking at that moment. And then when the next person speaks, everyone's going to look at that next person. But when do they look at them? So if I'm person a and person B, person a is talking. So when do you cut over to person B? Well, I would think you cut over to person B right before they start talking. Not cut was really bad. So what you need to do is cut over to person B. After Person B starts taco, you cut over to person B after they start talking. So you wait till they say, Oh, and cut in like a few frames into them speaking, correct? You wait till they start talking first, then you cut over to them. Interesting. So is it okay to film my response to what you're saying? No, it's fine to film the response if that's what the viewers probably wanting to look at in the moment. So if I was questioning you on something and people want to see like, oh, what's his response while this person's talking about him? Like would they naturally look over at that person during the conversation? Then you can look over at them. But if the viewer isn't interested in looking at that person yet, then there's no reason to cut over to it. So the main takeaway from this is when you have dialogue and multiple people talking, don't cut over to the next person right before they speak. Wait till they start saying the first word. And that's when everyone in your group of five people would naturally look to the next person. They don't know who to look to until after they start speaking, knowing that's what naturally happens in a conversation, we need to emulate that same response with our editing. If someone naturally looks over right after someone starts speaking, we're going to cut over right after they start speaking, because that's where the viewer's attention would want to go. E, fourth and final rule or a guide for this section is don't do anything jarring or that wouldn't naturally happen in real life, because otherwise that would also pull the viewer out of the story. So one of the things that could be jarring as if you have movement in one direction and you cut to the opposite direction. It's like moving their head like this and then cutting it back. You can't do that to someone for a very long before they ask you to stop. Like that's not comfortable and they probably wouldn't want that. So you don't do that to them while they're editing. The next thing that might be jarring is doing a jump cut or cutting to the next camera was something that doesn't line up or match up. So if I'm in the middle of standing, I can't cut to a shot of me in the middle of sitting if my arms up, I can't cut to a shot where my arm is down. Stuff like that would be jarring and would pull the viewer away from the story. So don't break any of these obvious rules that would be jarring to the person watching. And something to help you make it as seamless as possible is cutting on action. These are all different clips from different scenes, but your eyes follow it because it's a similar action, is long as you remember, the main mindset of you're the person directing the viewer's attention. Like remembering this, you're going to naturally be able to edit really well and know what the viewer wants to see and when they want to see it. And as long as you take your time with that, you're naturally going to edit very well. So you now have a very solid understanding of where and why to cut. In the next video, you're going to learn how to do green screen editing. 10. P2: Master GreenScreen Editing: Learn how to edit green-screen and Adobe Premier with just one click. Let's get started. You click on New Project and I'm going to name it. Green screens that. Okay? And then I'm gonna go ahead and drag my media onto my timeline. It's just gonna take like two seconds. All that you do is under your Effects tab had been ultra. You're gonna see the word ultra key, grab that effect and just drag it onto your clip. Now under your Effect Controls tab, you're going to see this little ink dropper under the old tricky panel. Go ahead and grab the ink dropper and any color that you want to delete, go ahead and just click that color. Now we can play the video. Cheesy enough for two thumbs ups. Now if for some reason you think that looks good, you could stop there personally, I think it looks terrible. So you see this white right here? We're gonna go ahead and clean that up. So to do so there's a couple more tabs. You can see under Matte Generation, I can hit the arrow. And now I have all of these options that I can change now, meet changing them back and forth. Like you can kind of notice what's going on, but it's a lot easier to find tune it if instead of composite, you come down the alpha channel. So what's going on here? And alpha is everything that's black is going to leave. Everything that's white is going to stay. So let me show an example of something. If I go like this, you see her teeth, that doesn't look good. This is what we want it to look like. So just all pure white and there's no black showing in here. So I could play with like highlight that affects just the highlights, shadows and just the different tabs. The whole point is to make the inside perfectly white or whatever you're keeping perfectly white, and then whatever you want to get rid of should be black. Now that we're done with alpha channel and that match generation, I'm going to come back to composite. And you might notice that that white line is still there. We didn't actually change anything. So the way that you change that is under matte cleanup. And so choke is going to like, tighten up on what we're deleting. So I'm going to turn that up until I see that white line disappear. And so right about there is good, and then right under it soften. So right now we have a really hard line where it's cutting off, soften is going to soften that up. And so it's kinda hard to see from here, I'm going to go ahead and zoom in all the way to 400%. Why not? And look at her hair right here. And this is kind of the area that we're looking for. That to me looks really clean now. So I'll come back to fit. And we're pretty much done for here. A lot of times when you're filming green screen, you might accidentally get what's called green cast. So it's like a green light spilling over to like their clothes or something like that. So this next tab down here, Spill suppression. You can kind of cut back on some of that. So I could see like I could saturate everything that's not ideal. Under the spill settings. You can kinda clean up and get rid of that green. You now know how to edit green screen. But if you want to be an expert, let's cover some more advanced stuff. In the next video, you're going to notice if I hit play the videos actually moving. That means we need to track the video and make the part that goes underneath match it perfectly. Now, the easiest way to do this as definitely in After Effects. So you would just right-click on the video, do replace with After Effects composition. However, this is not an after-effects course. This is a premier course, so we're gonna do all of it within Premiere. So the first step is grab your old tricky effect and drag it onto the clip, that is your green screen. And then grab your ink dropper and go ahead and select the color green. An important thing to note here is this clip, they did a really bad job on the green screen. So down here there's some dark greens up here, there's some light greens. This makes it much harder and all tricky isn't set up to do that well, so the best way go about this is actually to have multiple of the same ultra key effect drag down. So I could drag ultra key onto my clip a second time. And you're going to notice down here, there's now a different role tricky. So I could grab the eyedropper again and then hit the lighter clip. Now, this isn't really necessary. I was able to make it work with just one that if you have a very poorly filmed green-screen, then adding all tricky on several times, and then using the ink dropper to select different variations of that green might be a way of fixing that problem if you ever run into that. Now let's see what's going on here. So I've got the top video that's now keyed out. And you can see the video underneath, which is just my intro video here. So the top video is moving and my intro video isn't. Now, there's not enough motion in this to really notice, but I'm gonna go ahead and show you how to track this anyway. Also, the other thing is let's say I'm going to bring my example video on the top, and I'm going to click on the motion to make it fast, to move it around. I'm going to click on position and scale and rotation. So now if I click on motion, I have all three of those keyframes set. And I can put this exactly where I want it to come up here and then change rotation, and we'll call that good. So I'm gonna go ahead and move it under and see what that looks like if I hit Play. Now because the top clip is moving and my bottom clip isn't. You can see the corner right here pokes out. So now that I'm at the end of the clip, I could just set a second keyframe with my new position. And that could be one way of solving the problem. So I'm gonna click on motions instead of doing every number individually, change my rotation and even the scale. And the main thing that I care about here is just making it fit within that TV screen. So now I'm going to hit up arrow to come to the beginning and hit play to watch it. So that works, but it shouldn't, because it's really bad. So let's pretend like you needed to do a way more professional version of this. What I'm gonna do is we're just going to delete the green screen for now. And then on here I'm going to undo all of my position and scale settings by deleting all of my keyframes. And then the second step is resetting all those numbers to the original by just clicking this arrow. So actually scaling me to drop to 50 percent because this is for k, but my top videos only 1080. Now how do we get that video to match perfectly, like the actual distortion of it and everything because we're looking up at something, so it's going to be bent. And a specific way, the way that we're gonna do that is an effect called corner pen. And it's under distort, under Video Effects, but I can just type in Corner Pin. And then I can drag this on to the video clip. And as soon as I do, you'll see this little thing pop up down here corner pen. And I have my upper left corner, upper right, lower left, and lower right. So that means I can adjust every corner individually. So I'm going to go ahead and set keyframes on each of these. So I'm going to click the stopwatch and every single one of them. Let's bring our scale way down because I know that we can. So if I want to adjust my upper left corner, I can just move these two numbers, see how the upper left corner adjusts. I'm trying to get this corner to right here away. Faster way to do it is just click on the word upper-left. And now this little circle I can drag to be right on that corner. Now this bottom-left circle, I can drag to be on the bottom left of the TV. Top right to the top right, and bottom right to bottom right. So that actually distorted the video to match the distortion of the screen because this isn't a perfect square right here. And my video was, but now it's not. So those are going to look a lot better together. If I hit play though, you're going to see that not only does it not stay with the screen, but the distortion doesn't match it perfectly. So I'm going to hit down arrow to come to the end of my video and then left once. And since these are all key framed over here, if I just move everything is second time, it's going to move it automatically for me, both the distortion and the position, so that everything will match up really well. Now we'll call that good. So now if I hit up arrow and play, you're going to see that it matched it much better that time. However, if you were paying close attention, you might notice that I didn't actually use green screen at all. So this video track, let me come down. This video track is on top of my green screen video. If I pull up under, you'll see that now I can actually see the frame of the video. And that's going to make it look a lot better than me just playing a video on top of the wall. Like actually having it green screen is going to make it look more professional. Let's do one more example that's even more advanced. In this example, you're going to see that the person is moving around, so we're going to have to track them so that the video can match. The other thing that's important to note here is in here is going to be someone's face, and out here is going to be the background. So it's two separate videos. Let me show you how we have that setup. So if I turn off the green screen track, you're going to see a little face. This is just my intro video and then the background. So the way that I got this face to be smaller is just by putting a opacity circle on it. So if I delete this mask, I can just click on this circle next to opacity and then change the size of it. And it helps if you can actually see the green screen to match it up. And then when you hit play, you've got the head tracking within the mask. And then for the background, I added movement on that as well. So I went to the beginning, zoomed way in and set it so that it's all the way down. And then I went to that and and set it so that the videos all the way up. And what that does is creates this effect that the sky is going up, meaning the person as falling down. And that just makes it look a little more realistic than if you had a still image in the background that wasn't falling. It's not tracked perfectly. I just went through really quick for the example. But now you are a true expert in editing green-screen. And the next lecture you're going to learn how to edit slow motion video and do speed ramping. 11. P2: Slow Motion and Speed Ramping: You're about to learn how to make your videos slow motion. And how did you speed ramping? To start out, I'm just going to drag my cursor straight onto the timeline. And that's going to create a sequence with the correct size. My first clip, if I just hit Play, you can see this is already playing in slow motion. That's the way that this video camera happened to render it out. Typically, even though you filmed at 60 frames a second or a 120 frames a second, your video's not going to play small motion. You're going to have to actually go in and slow it down. So let's learn how to do that first. The fastest way to make a clip slow motion is to use this tool right here and the shortcut for doing it as you can hit R on your keyboard, where V is the selection tool, are we'll grab this real-time tool. So then to make the eclipse slower, I can just stretch it out and it's going to play way slower. And to make the clip faster, I can squeeze it together that up and now it's going to play way faster. So you now know how to re-time clips and Adobe Premier, you just stretch it out longer to be slower, push it closer together to be smaller and it's going to play faster. So let's learn a better way to do this. Same thing. I can hit Control or Command R. And I'm gonna get this little pop-up box right here. It's my clip Speed Duration box. Now this percentage is what percentage of the clip is playing. I'm going to set it to a 100, which is a normal speed. And you can also see there's reverse speed. Maintain audio pitch if I have audio connected to it and then ripple edit shift trailing clips, That's going to move all my other clips on the timeline and then time interpolation. You have three options here. Let's go a little more in depth with this. I could just set this to 20 percent if I wanted it to be slow motion, I could set it to 2000 percent if I wanted to go really fast. For now, I'm going to go down to 10 percent and here's why. So I'm going to do 10 percent hit. Okay, and now let's go ahead and watch this video. See you, it's skipping. Like you can see every single frame like click, click, click, click, click. That's because I didn't film this at a high enough frames per second to slow it down to only 10 percent speed, I would have had to record a 240 frames a second for a 24 FPS timeline at 10 percent. So that's math. However, Premier has a couple ways of trying to solve that problem. So if Control R or Command R to get this box. And instead of doing frame sampling, premiere has these two other options that try to fix that problem. Frame blending is the same as doing a cross dissolve transition on every single frame. And then optical flow premiers going to go in and almost like paint its own frame or create its own frame, guessing what should be there. And it guesses based off the frame before and after it and tries to create what it thinks would go in between. The downside is optical flow can create some weird glitchy transitions. So here's an example of all three. This is framed sampling. Now this one is called frame blending. This is optical flow. Now an important thing to note is for frame blending or optical flow. You're going to have to render it out and order to preview it. So let's say I select my clip, I hit Control or Command R and on my box instead of frame sampling, I come down to frame blending or optical flow. You're going to see it turn red right here. Now that means that your computer's not going to play it back real-time. It might freeze or you might just not see the effect until you come up here to sequence and then go to render effects and work area. Or you can hit Enter, and once it's rendered, this will turn green and it'll play back real time. You're now an expert on making your videos slow motion. Next, we're going to learn speed ramping. For this example, we're going to make the clip normal speed, then go down to slow motion and then back to normal speed. So we're gonna put a cut where we want it to slow down. I'm gonna go a few frames forward. And then another clip where we want it to go back to normal speed. So it's just this little part here in the middle that we're going to slow down. To do that, I'm going to hit Control or Command R. Let's slow it to 20% and then make sure this box is checked so that we don't overlap our clip in the timeline. Yeah, I'm going to try optical flow for this. It okay, now I have to render this out before I can play it. So I'm going to do sequence render effects and work area. Or you can just hit Enter on your keyboard as a shortcut. And now let's watch the video. So this right here is normal speed. And then slow motion. And I slowed it down way too much. So you can see it's kinda glitchy and then back to normal speed. The downside to using this method is when you go from normal to slow to normal, it just jumps between the speeds that's not actually speed ramping to speed ramp. We want it to ramp from one speed to the other. So let's go ahead and do that next. I'm going to hit undo a bunch of times to go back to my normal clip and then going to raise this bar up. I could also hit control command and scroll it with my wheel to change their height. Then you see this little fx icon right here. If I right-click on it, I can come to time remapping and then speed. And it's going to change the layout of this. So let's go ahead and zoom in to see what it looks like. So imagine this kind of being like our Effects window up here, where I can set keyframes. And then on this bar, I can choose where my keyframes are placed and kinda move them around. So in the same way of this bar is kind of like our keyframes window, where the blue playhead is. I can click on this and it's going to set a keyframe right there. I can then come to a second, click on this and it's going to set a keyframe. To other ways of doing that is I can just control click and that will set keyframes that way. I could also use this pen tool and anywhere I click would set a keyframe. So there's a bunch of different ways of setting key-frames. I'm going to set one, say here and then here. Now the thing to know about this is let me zoom in even further. We're now in a really similar state to when we did the first method. So the first method we went from fast to slow to fast by putting cuts in it. These keyframes are kind of like where are cut marks are and all we have to do to slow down this middle part is hover over. So our icon kinda looks like this with the up and down arrow. If I drag this middle part down, it's going to slow it down. And if I drag it up, it's going to speed it up. So this would be 333 percent, this would be all the way down to 1%. So I'm going to set it to about, let's say 20, 18% is fine. And I'm gonna go ahead and at this point, let me zoom out a little bit. At this point, we have our normal speed, slow and normal, but this isn't any more speed ramping than our first method. So what we have to do to actually make it speed ramping is this little icon. We can separate these two tabs and see how it just kinda created this little ramp right here. Let me zoom in even more. I can move this tab further away and it creates a ramp from high to low. I put it together closer, you can see the ramp even better. And then if I click on either of these gray tabs, you'll see this little icon appear with handles. I can drag these to change the curve of my speed ramp. So if I pull it to the left, it's going to create an inverted S curve. And that's going to make it even more smooth. So let's go ahead and render this out and watch how it plays and almost forgot to create a ramp on the exit. So I'm going to have it slowly ramp up to speed and now render it again. So this is playing it at normal speed right now. And then it's going to quickly ramp down to slow motion right here. This is slow motion and now it's ramping back up to normal speed. And you are now an expert on creating a speed ramp. Now let's say I wanted to reverse the speed of a video. All I have to do is right-click on it, come to speed duration. I could also do my shortcut, which is Control or Command if you're on Apple and then r. And that gives us this pop-up box. And if I just click on reverse speed, that's gonna make it. So this same clip plays backwards. So now all the cards are going back into his hand. But you see this weird glitch effect that's happening because of the optical flow is turned on. And I just have this speed turned way too slow. We're now going to try something a lot more advanced. We're gonna go from normal speed. We're going to ramp down to slow motion and completely pause on a single frame. And then in reverse we're going to ramp back up to normal speed, but playing in reverse for the second half. So let's go ahead and try to do that. Here's our clip. Let's find the spot that we want. So I'm going to start it right here and I'll make it so you can see it too. I'm going to right-click on effects. You time remapping and make sure that speed is selected. And that's gonna give us this bar. So right here is where I want to set my first keyframe. And that's going to set a keyframe right on my play head. I then want to play forward until, let's say this point here, right, when that big drop hits the leaf, I'm going to right-click and come down to insert frame hold segment. And what that's gonna do is automatically grab a screen grab of that frame and add it in as a photo on that spot. So let's go ahead and click on it and see what happens. We now have this entire thing That's an image, but that's playing for way too long. So instead I'm just going to use my right arrow to go over, let's say three frames and then hit W. And that's going to cut off the whole tail of it. The next step of this is we need to make this section slow motion. The way we do that is by just dragging this bar down and I'm going to come all the way down to, let's do 7% And now we need to create the ramp that's going to happen by dragging these out. And I can see my ramp right there. So now if I hit play, you can see it slows down and then pauses just for a second. Now, I want it to go backwards playing this whole clip. So what I can do is control copy and I can paste the clip here and then put it in reverse. Another way of copying that clip is I can just hold down Alt on my keyboard and then drag it over and it's automatically going to create a copy for me. The thing is I'm not trying to create a copy of the same exact thing. I want this to be in reverse. So I'm going to hit Control or Command R. Click on reverse, hit. Okay, and now let's watch what this looks like. So we just created a video where its normal speed ramps down to slow motion, pauses on the frame, ramps back up to normal speed. And just a reminder if you're trying to watch it or play it and for some reason it's not working or it looks glitchy or is dropping frames. It's probably going to help to do sequence, render effects and work area. This is going to render it out for you. You could also do File Export and then Export Media and then actually export your entire project. And this will make it so that you can watch it back and see how the final product will look. Let's do one more example of speed ramping. So we're going to drag a clip onto our timeline. Right-click on the effects, remapping speed. And that's going to allow us to create keyframes. I'm going to hit L on my keyboard to play it forward, and then K to pause. Let's say we want to create our first key frame rate here. So I'm going to click this button and then L on my keyboard. And we'll bring it back to normal speed right here. So I'm going to hit Okay, and then click on this button to set my second keyframe. Now to slow this down, I'm just going to drag this black bar down until it says, let's say 14 percent. Now to create a speed ramp between my normal speed and that, I can drag this to the left a little to create my ramp. So now let's look at the end of the video and do the same thing. So we now have ramps on both sides. It starts at normal speed, slows way down and then goes back to normal speed. But I want to make this ramp a little bit longer. And I want to make the ends instead of normal speed, I'm going to make them fast, so I'll come up to 200. And at the beginning I'll do the same thing. Now I'm going to right-click and just to make sure it's doing optical flow, which is the one I want. I'm going to come to time interpolation. And instead of frame sampling, and it come down to optical flow, I now have to render this out to play it. And now it's normal speed went way down to super slow motion. I put this slow-motion way too slow. You can see kind of a computer glitch emus of the optical flow. And now it's about to ramp back up to normal speed. So it's hitting the bottom of the ramp. And now ramping up. You are now an expert on making your video clips slow motion, and on creating speed ramps. In the next video, you're going to learn all about pacing, emotion, and song selection. 12. P2: Pacing and Song selection: In this video, you're going to learn about piecing emotion and song selection. Pacing describes how quickly you're making your cuts. So if a video is very slow or sad and you have slower music, it's pretty natural to have slower paced cuts, especially if it's like a casual conversation and you just really want to slow things down. Whereas if you have an action scene or driving or racing scene, It's pretty common to have cuts the only last fraction of a second, and it's just very quick moving, fast-paced cuts. You're piecing really determines the feel scene. The next thing to know with pacing is if you have a very fast-paced scene and then all of a sudden there's a cut that holds for a long time, and then it's fast-paced again, it wouldn't fit. And similarly, if you have a very slow paced scene, and then you do a couple of fast cuts, and then it's slow. It would feel jarring to the viewer because you're switching them over to something that's fast and high action and then back to something slow. And it's better to like ease and an out of those types of pacing or match the pacing to the music. Instead of just going in and out of fastest slow pacing back and forth. So whatever your pacing is, you need to choose the pacing and stick with it for that scene. The final thing to know about pacing is what would happen if you watched it to our feature film, where the entire two hours as a very fast-paced fight scene, likely after 10 minutes, you'd lose interest. So even in these very high action to our fight scene movies, you're going to notice after five or 10 minutes it's going to drop down and they're going to have a casual conversation that's a slower pace, or maybe even a sad scene That's a slower pace before something happens and they're back in the high paced scenes or erasing scenes. It's really important to know that you need to change your pacing up and down throughout the movie. In order to hold attention. You can't just stay at one pace through the entire movie. Being aware of your pacing for different scenes and planning it out with the highs and lows of the story is really important. You now have a good understanding of pacing and when and where to use it. And it has a huge effect on the viewers emotion as something that affects the emotion of the viewer even more strongly is music. Imagine a scene where everything is happy, the reaction shots are great and the pacing would make you think that it's a happy scene, but there's sadden music, no matter what the rest of the stuff that's communicating. If the music's really sad, you're going to assume that something bad is about to happen to the character, or that the character is detached from the scene, or there's something going on below the surface that you don't know about yet, that you do know it's really sad. And in the same way if you have a really sad scene, but like happy or hopeful music, you're going to assume that the character isn't shaken by the sad stuff that's happening. The music is almost the most important piece when it comes to the emotion behind that scene. So here's the same couple of clips with three different music tracks behind it. So they might as well be three different stories. So here's a slow paced, sad song. Here's a very cinematic sum. Here's an upbeat happy song. Here's a tense, stressful song. Now because the music selection is so important for a lot of commercials or feature films you're gonna do what's called scoring. Scoring is when you have a producer actually make songs specific for those scenes. So they're composing the song for your specific video. Now, this can be really expensive, or there's ways of doing it really cheap. Like on freelancers, sites like freelancer or fiber, you can have music producer for crazy cheap. That's actually pretty quality. And it's made custom for your video. Now if you don't have the budget for that, you can do a lot of work with sound design of cutting up songs, moving it around, and adding rises and drones to it, as well as different folly that's going to help evoke that same emotion. You now know what pacing and scoring is and you know how to use pacing and music to affect the emotions of your film. And the next video you're going to learn about color correcting and color grading and the video after that, which also has a huge effect on emotion and storytelling for your videos. 13. P2: Master Color Correction: You're about to learn everything you need to know about color correction. Let's get started. So all of the color correcting that you need to do can be done with opening up to Windows. So the first is called Lumetri color. And if you don't already see this tab up here, you can come to Window Workspaces, color, and then that will help you see the tab. But this Lumetri Color tab has all of the settings in it that we need for all of the color correcting that we're going to do. The next thing that you need to know is where your scopes are. So I have a tab right here called Lumetri Scopes. If you don't see that again, you can come up to Window and make sure your scopes are turned on. So you might have to come down here and then make sure Lumetri Scopes is checked. And if it is, then you'll be able to find a tab somewhere named Lumetri Scopes. And once you find it, you can move it around to wherever you prefer. I like it in this top-left window for me. So I've got my Lumetri Scopes here, the image that I'm working with here, and then all of the adjustments here. And then when I want to move to my next clip, I just on my timeline and go down to the next clip that I'm going to adjust. Something you might notice is this window right here could look different than mine. So you can select which scopes you want to see. So a few of the ones we're going to use as our vector scopes, YUV and parade RGB, as well as the waveform RGB. You can have multiple of these selected at the same time. But for now I'm only going to go over this one. And once you understand this first one, then we can go end up on the others. If you compare this waveform to the image over here on the right, you're going to notice there's no detail right here in this chunk on the left. There's only data down here. But also you're going to notice that there's no detail right here and the picture which corresponds with that part. Yet, there's a lot of bright sun right here, and there's a lot of data right here. So the top of the chart is the highlights and the bottom of the chart is the shadows. And if you look over on the image, you'll see their shadows on the full frame from left to right. But there's only highlights on the right side. So in the same way this shows you on the left side of the image all I have the shadows. On the right side of the image. I've shadows and highlights. I've got shadows in this bar here and then highlights in the Sun. Now the next thing to notice is it tells me how high up my highlights come and how low the shadows go. So this 100 is the very highest that you are able to go. Do not go over a 100 or else your videos will immediately look very low budget. The next thing is you want to make sure you're not crushing any of your shadows, so you can't come under 0. Let's go ahead and explain now how all of that is affected. So the first thing is exposure. If I bring up my exposure, see how all the data on my waveform goes up. They bring down the exposure. See how all the data goes down. Now, what you're seeing at the bottom of my waveform is all the waves are flat on the bottom. When it's flat like that, it means you lost data because you're crushing the shadows. And if you look at the picture, that's not a very good looking picture. And so the goal here is to, I'm just going to put it in the middle. And instead of using exposure to adjust it, we're going to use some of these other tools down here. So let me explain. I'm going to start at the very bottom. Blacks takes just this very, very bottom part of the shadows and moves those. I'm going to take the blacks and I'm going to move them down until it's close to 0, but not crushing. And then whites affects just the very top of the waveform. So I'm gonna take whites and bring it up. Now, shadows and highlights. It's similar to whites and blacks except shadows as everything from about this bar down. But it doesn't affect the blacks, the very end of it. It's just everything in here. Highlights, affects everything on the upper half, but not the whites. So it might sound a little bit confusing, but they give you a lot of control. So you can bring the entire thing up with whites, the entire bottom down with blacks. And then shadow and highlight effects, all the information in the upper half or lower half. So I'm gonna go ahead and move the highlights around. And you can see both in the waveform with the data as well as in the picture. Only the highlights are being affected. And then with the shadows, only the shadows are being affected so I can bring my shadows closer to black. But the very bottom bar doesn't move very much. That's only affected by the black level. That was a ton of information and we went very quick. So don't feel bad if it was a little overwhelming, just kind of go back and replay it. And I promise once it clicks, it's going to be pretty simple. So that's how we adjust exposure. Our goal here is to get it as high up to a 100 without clipping. And right here it's kind of clipping. And to get it as low as we can without crushing the shadows, that means going below 0. So we're going to go ahead and bring my whites down a little bit more just so we're not clipping anything. And then bring my blacks down to about 0 without crushing anything. Now, if you look over at the image, it looks like a very high contrast image. That's actually why I picked this one, because you have a very intense shadow here, but it's shooting straight into the sun. So could be a hard image to grade if you don't understand how a wave form works and what to look for on it. The next thing you might notice in this picture is see how the red and then there's green and then below that there's a blue bar. You want all of those to be even. That's the second part of color correcting. There are three main parts to color correction. It's Exposure, white balance, and saturation. Now, a really important thing to know is there's a massive difference between color correction and color grading. Color correction is fixing the clips and color grading is adding a grade to it to tell more story or add emotion and just add more character to those clips. But you have to do color correction before you do color grading. There's one final setting on this bar which is contrast. If I lower the contrast, you'll see all the data on the waveform squeeze together. I raise the contrast, you'll see all the data spread out. Now this can be a quick way of filling up the wave form before you fine tune it with the white and black sliders. Now, you have a very good understanding of exposure. That's the first step of color correcting. So using exposure contrast highlights, shadows, whites and blacks. You can really fine tune it. And now you have a good understanding of how the wave form works and how to fine tune exposure within it. Now it's time for the second part of color correction, which is white balance. So if you look at the two sliders up here, I've got my temperature so I can cool it down or warm it up. And then I've got my tint so I can add a green cast or magenta cast. The mean reason you would do this is if there's artificial lighting that has like a weird to it. And then again, any setting that you want to reset, you just double-click and it's going to reset it. Now, something to notice here is if this is the main site or I'm going to be doing for my white balance. How do I know what is perfectly white? So I can kind of cheat here and take this ink dropper and effect click on something that's white. It's going to white balance at for me. Now, in my opinion, this didn't work at all because the thing I clicked on wasn't perfectly white. So what's our backup plan? If we don't have something perfectly white to click on, what can we do to fix our white balance? We could try doing it by eye. But where would you say that right setting is, this is a really hard thing to do just based on your IOT, at least until you develop the art of seeing it. But even still if your monitor is slightly off or your eyes just are off based off the lights in the room, stuff like that. It's really hard to develop the art of white balancing just based off the look. So how do you make sure that you have the white balance spot on every single time? For that, we're going to come back to our waveform. So you'll notice here I've got a blue way up here and then red and then green below it. So in easier way to see this is instead of doing the waveform, I can come over to parade RGB. And you'll notice this is the same thing. It's just this right here, stacked three different times with the three colors separated. So I can see the red by itself, the green by itself, and the blue by itself. And if I stack all three of these, all get this waveform over here on the left. Now because you know how to use this one on the left, you automatically know how these work and how to use these. The reason that you would separate it is because seeing the three separately. Now when I drag my temperature left or right, you can see if blue is really far down, then that means there's probably a lot of orange. And in the shot, if blue is really high up and there's probably a lot of blue in the shot. So the goal here is to make all three of those match the same height. And right here by adjusting my temperature, I was only able to do so much. And that's because my tent is off. So I'm going to reset that and now my greens, where it should be as well. Let me just fine tune this. And that right there is looking really good and I can double-check it over here as well. So this is a properly color balanced shot. Now that you understand white balance and exposure, Let's go ahead and color correct. This next clip. So on this clip, I can see right away that my white balance is off. Now. If I adjust my temperature slider, I can get all three of these to match. And that looks a lot better. A faster way of doing this is I can just take this ink dropper and let's say my white balance is way off. I can take the ink dropper and since her shirt is white, I can just click on that. And it's going to auto white balance at for me. Now, this doesn't always work perfect. And I can see here that Blue is still like it's still too warm and the shot so let me try a different part of her shirt. And yeah, that's a lot more accurate. So you can't rely on just this ink dropper tool that can get you close. But you always have to check your waveforms and make sure that these three are all level or equal to make sure that it's truly color corrected. The next thing to look at as exposure, and I can see it's barely clipping here, so I'm going to pull the whites down just a little bit. And if they clipped it in camera, there's not a whole lot you can do typically. And then the blacks, I have a couple little parts that are crushed. However, looking at the picture, I think I can go ahead and bring the blacks down a little bit more to about here. And it's going to look a lot better like in this area. You want to make sure that the black parts of your frame or a true black, it's not like a dark gray and that's going to make your clip look a lot better. I think you now have a really good idea of how to quickly adjust your exposure and white balance to properly color, correct? Now, the final piece was saturation. So on my saturation, if I turn it up, That's high, That's too high, that's too low. But with saturation, how do you know how far to go? Like, what is the proper saturation? So for that, I'm going to bring you to our final scope, which is the vector scope. And I'm gonna go ahead and turn the other two off just so we can see it really clearly. So this right here is what's called a vector scope. And over on the right I'm going to open what's called my color wheel to help show you what's going on here. Now you can see like the letters, so it's four, red, magenta, blue, cyan, green, and yellow. Now that perfectly matches the colors on my color wheel. So just to explain the color wheels real quick. I have three color wheels. This affects just the mid-tones, meaning the middle part of my exposure. This affects just the shadows, this affects just the highlights. So to explain that, I could make the shadows and the highlights orange. And that just kinda shows you that it only affects those parts of the image. Now, that type of a thing isn't something you would really get into until you're doing color grading. First, we're doing the color correction. So coming back to my vector scope, you can see this like weird white ghostly image that shows us where all of our colors are. So if I come to Basic Correction, you'll notice I can turn my saturation all the way down and it shows that I no longer have color in my frame. And sure enough, there's no more color here. And if I turn saturation all the way up, see how it grows really big. So to answer your question, what is too much saturation? You see this, these little bars right here. It's kinda that circle in the middle. That is the broadcast standard for saturation. So you wanna make sure this little white ghost doesn't go outside of those lines. So I'm going to bring this down. This is the very most saturated I would want this image to be in order to pass broadcast standards. Now if I'm color grading for something that doesn't need to meet broadcast standard. Yes, I could go above and beyond it for the sake of adding more life to my film, that if you go past these lines, it's not going to be accepted for Netflix or stuff like that. Now that you have a good understanding on all three parts of color correction, the exposure, white balance, and saturation. You know how to adjust it and you know how to check it on your scopes and waveform. Now it's time to get into something a lot more advanced. So for that, let's pretend like we're happy with the color here. But her skin tone feels a little bit off. I'm gonna show you two parts for fixing that. The first part is what should her skin tone B, and the second part is how do I adjust only the skin tones? So let's jump into the first part. To do that, we need to turn on our vector scopes, which you probably already have on. And the thing we're going to check on this is this line right here is called the flesh line or skin tone line. So you want to come from this middle point up and you want all the colors to be on just that. But it's not on just the white line That's everywhere. But that's because we're looking at colors like from the plants behind her and all the colors in the frame. So the next step is to isolate just the skin. So how do we make the adjustments and have it only affect her skin tones? The answer is by using something called qualifiers. So to start out, I'm going to go back and undo everything that I did. So I'm going to delete this mask and going to reset all of my wheels in here so I can hit this little reset thing at the very top right? And that's going to reset all of my grading, including the original basic color correction. So we're now back to 0. And what I'm gonna do is under HSL secondary, I can set qualifiers. And so if I take this little ink dropper, I could select her skin right here. And it's going to automatically select just those colors and just that exposure. If I click on here, it's going to help me fine tune it. So I didn't select all of the skin I wanted. So if I fine tune my settings here, I can dial it in to be just the parts that I want. And once you have these bars close, you can come down to de-noise and blur. And that's going to cut down on some of the artifacts from adjusting this. And we can leave it right there for now. And now any adjustments that I made down here are going to affect only these parts of the picture. So I'm going to set that back to normal. And like we wanted before, I'm going to add just a little bit more magenta to her skin tone. And I can double-check it using the method I showed you earlier on my vector scopes. The cool thing with doing it this way is by using a qualifier. Any of the adjustments I make are only going to affect the skin tone or whatever parts it is that I'm choosing to qualify it. Now, in the same way. If this Lumetri color right here has the qualifiers and all of my changes and settings. I can drag on another Lumetri color effect. And the one down here can have a second set of qualifiers that I choose. And on that second set, for example, I could, let's say select her skin again. And I'm going to quickly adjust this out on a little blur. And if I click this box, yeah, let me find tune it a little better. Okay, That's good enough for now. Now what I can do is select inverse. And what it's going to do is affect all the colors except for her skin. So if I wanted to color grade this with like are really hold feel, I can do that and it's going to make the background cool while leaving her skin warm. So using the temperature slider down here, I can make the image feel a lot more cool or a lot more warm without affecting her actual skin. Now, I know that's an extreme example that I just qualified really quickly. But it shows you the power and ability of stacking multiple qualifiers over here. And you can get really creative with not just your color correcting, but your color grading. Speaking of, it's now time to learn color grading. This is similar to color correcting, but going way more in depth. And it's for the purpose of adding to the story, adding emotion and adding a lot more character to your shots. 14. P2: Learn Color GRADING: In this video, you'll learn color grading and Adobe Premiere. Let's jump right into it. So an important thing though, make sure you don't watch this video until you already know about color correcting, really important. So all of the clips that we're grading have already been colored corrected. That's always the first step. The next step is adding emotion and adding to your story. So let's go ahead and watch this video here. This is a guy on a bike and go ahead and imagine what is he feeling? What's he thinking? Seems like he's kind of n has had detached from what's going on. And he might be wondering, realizing that his life is about to get a lot worse, least that's what I'm feeling from this blue dark look. Now here's the same video and it's quite a bit different. So yes, He's still removed from what's going on and it seems like he's in his head with his own thoughts. But it's like now he's wondering, wait a second, my life, just make turn around. For the first time. He just might have a glimmer of hope. Let's keep watching. So it's going back to the blue sad look. And then the happy look. So all that we did here was changed the color of the same two clips. And just by changing the color, it completely changes what your expectation is. For the next scene. It completely changes what's going on in the character's life, and it changes what he's thinking about. Color adds so much to your story, and that's the whole value of color grading. So let's go ahead and get into the how of it and we'll have some fun. So this here and let me put my scopes. So this is a model that is properly white balanced. This is properly exposed as well. And I'm going to explain that in a minute. Yes. All of this data up here, I'm not filling my waveform that it is properly exposed and I'll explain that soon. This is a model that's properly white balanced. And then this is the same exact clip with the same white balance, but the saturations pull it. And then the one other thing that I did is on my HSL secondary a selected the background and I keyed out the background. And by qualifying just the background, I can now change the color of it to be any color that I want it. And as you can imagine, if this was the video versus this being the video versus this being the video, it really changes the mood and feel quite quickly. Now, this is a pretty extreme example because the background is all one color. But you can do the same thing with changing the overall feel of the background without affecting her outfit like the closer a skin tone or anything like that. The way that was easiest for this video, let me show you that controls. So I'm going to completely delete Lumetri Color. And then under Effects, I can drag on lumetri color. And I can qualify just the background. And if I click here, I can see. What's being qualified. And you can keep doing this plus to add to it. Usually that's quick. And if that's not working, you can also just drag these sliders to fine tune it. And then I'm going to add blur and de-noise just to help. So that's the fastest way to qualify for this specific clip because of backgrounds all one color. And then it makes it really easy to change that color using any of the settings below. Now, you can see I am still need a fine tune it because I got a little bit of her tooth and stuff. Second way to qualify it, if I go ahead and just delete that whole thing, drag Lumetri color over. I can also just qualify based on her skin. And fine tune the sliders. And then you can click Invert. And that's going to select everything except the skin. And so if I turn that off and fine tune it. But now I could change the background and leave her skin. So I'm gonna go ahead and play it forward a little bit more unexplained the exposure thing to you. So this is the same clip with the same white balance. But you can see over here in the waveform we actually filled all the way to the top now. So the clip itself is not peaking. And we have as much contrast as we can fit without at Peking. However, it's not properly exposed. And why is that? The reason why is because there is nothing in this shot that is actually brighter than the talent. And so there's no reason to technically fill it all the way to the top. If there is a bright sky or a light behind her or something like that, then we could have that be the brightest part of the scene. Since her skin is the very brightest part of the scene, her skin is supposed to be a specific exposure. So there's an actual rule for it. Let me show you. I'm going to call this person a, model a, and then this model B. Now on model B, I'm going to go ahead and section off just this part of her cheek. And model a, I'm going to section off this part of the same side of the same cheap. And so here is model. And so something interesting, these two people obviously have different skin color, correct? Brown, they have the same exact skin color. The only thing different is the skin exposure. The brightness of their skin exposure, their skin. So here's Model B, and you can see right here is the skin color. And now I'm going to switch over to model a. And right here is the skin color. So model be model a, model be model a. You can see the color is exactly the same. However, if you look here, something is different between the two, and it's just the exposure level. So these two models have the same exact skin color. Every single human is going to be right here on the skin tone line or flushed line. However, the Exposure is going to be different. Typically a lighter caucasian skin tone, you're going to be at around 70 IRE, whereas a darker skin tone, you'll be anywhere from 30 to 50 IRE. However, makes sure that the skin color is always the same. Everyone should be on the same exact skin tone line or same exact color. It's just the exposure is different from person to person. And if you take someone that naturally has a darker skin tone and you expose it up to 80 IRE. It's going to look overexposed because it is. Now let's see how to change the feel of a video just based off like the temperature. So this video clip here, I'm going to hit play. This is a well filmed clip. It's a nice shallow depth of field. I like the white clothing that shows that the white balance is perfect. I like the blue and the water, the greens in the background, like the exposures, right? Like it's framed. Well, this is a nice-looking shot and a play it again. And just pay attention to the color, the white balance, all of that. And the reason I think it's important to focus on it right now is you're going to look at the same clip and a couple minutes and think that it looks terrible. And it's just to show you how much your eyes change over time as you get used to things. And so that's a good-looking clip and everything. That's how it should look, properly color corrected and properly exposed. So this is the same exact clip and I just cranked up the temperature. The reason that I did this is to make it feel warmer or happier, like it's a nice sunny day. So same clip, just a lot warmer. So what are some other things that we can do to change the feel of the clip other than just adjusting the temperature of it. The other things that we can do is let's take the shadows and the blacks and bring all of it down to make it feel a lot more moody. And the feel of this would be great for more of like a fashion or athletic out or something like that. It's a lot more moody, but it still has that like warm, happy summer feel. And now we're gonna go back to just be normal, like warm look without it the exposure being brought down. And this time instead of bringing the exposure down, we're going to bring the shadows up. And that's going to give it more of this like dreamy, summery feel. So let's watch it now at the exposure, the shadows brought way up. And it feels kind of like a summary, almost lemonade commercial type of thing. It also looks like log footage because the shadows aren't brought all the way down to 0. It makes it lose a lot of its contrast and it loses a lot of saturation that way. So we could try fixing that by bringing some saturation back into it. But it might look or feel kind of weird. But anyway, this is just one more look. And it's kinda happier summer look because the shadows are brought up. Now this is it compared to the darker, moody look. So happy, summery feel to the athletic, darker moody feel. And now we're gonna go back to the original clip. So I'm going to play the darker moody one. And then the original. See how different that looks like, almost how awful it feels like you would look at it thinking that its temperature is way too cool and it's not. You can look at the waveform and everything's perfect. It's just your eyes can quickly be tricked or quickly adjust to the wrong thing. So that's why knowing your waveforms are so important. But it also kind of shows you like all the different looks and moods and feels you could get just by adjusting the shadows and the temperature. The next thing I want to show you is instead of putting a lot of time into it, you can just do something called Lutz. So under this Creative tab here, have lots or lookup tables, like there's free ones online or you can buy packs of them. But you can go through and I can just hit this rate arrow until I see a preview of one that I lake. And then if I want that one, let's do something kind of extreme are different like this. So I'm going to click on that. And if this is way too strong, I can bring the intensity of it down. So I could just put it like a percentage of it on. And then from there, continue to make my own adjustments to it. But I'm going to scroll through a couple different Let's just so you can kinda see an idea of how quickly it can change your look. And again, this is all just about adding emotion to the story or character to the story, or helping tell the story better through color. So a lot of times adding like a warmer feel is going to make it feel a lot happier. Where if you add a cooler look to it, it's going to feel a lot more sad. And the easiest, fastest way to do that is just this'll give you a cooler, sadder look. So I'll give you a warmer, happier feel. And then also like, yeah, if, if the shadows are really dark and moody, it's going to feel dark and moody. If the shadows are a lot lighter, it's going to feel a little bit more like airy or dreamy or happier. And a lot of times you might be asked to do color grading just simply to improve the look of a video. So let's say you're doing a product commercial for orange juice or something. And this is the footage you have. You might be asked to liven up a product to make it look more fresh or real. And so all that I did for that is again, just really quickly doing HSL, doing the plus and selecting the orange. And I just made it a little bit more orange. And so just like that, I can click Play now. And you can see before and after, before, after of how much it really livens up a product just with one simple change. And I could obviously do a lot more to it, but color correcting doesn't need to be over the top necessarily. For this last scene, we're going to watch a video of a farmer hearing her fruit to the market. And this is a great clip. It's exposed well, my white balance is good. So all of my color correcting is fine. But now as far as color grading, what can we do to this? So obviously we could make it like feel colder or happier, but I don't want to do any of that. Next. I want to focus the story more on the farmer and less on the farm. On this next clip, it's a slight and subtle detail. But let me show you the before and after. Before, after, before, after. And what you probably notice is I just brightened up her face a little bit. And the way I did this is really easy, so I'm going to undo it and so delete all that. I did. So I'm going to grab Lumetri color, drag it on. And instead of doing any of my controls just yet, I'm going to hit this circle right here, this, and it's going to put a circle on the person's face. Well, on the screen. Now I can move it over and kind of fine tune it. And any of the effects that I change here are going to affect only what's in this circle. So let's say a really bring up the exposure. Now, that's going to be way too obvious where this hard line is. So something else I can do is hold this out to kind of feather my effect. And obviously I just wouldn't need the exposure quite that high. So now if I turn it on and off, it's not quite obvious how like where the hard line is, but it really brightens up her face. Now that changes this whole story from me focusing on the farm versus focusing on the farmer. The only problem with this is if I hit play, she moves and my circle doesn't. So let me show you that again. Yeah, I'm going to come to the end of the clip mask. Okay, so in this scenario it worked out where it stayed. But I'm going to show you how to track it. All that you have to do is hit this little Play button right here. And it's going to go through and look at every single frame for you and track it. So I hit Play. And now that's the answer. I can go frame by frame. And you can see that the circle follows her head. And if it didn't make a mistake, Here's all my keyframes and here, so I could adjust each keyframe individually if I needed to and then hit play again, and it'll keep tracking from that point. The next thing is, I added one more layer to it, and here's the before, here's the after, before, after. So what I did is to make it so that even more focus is put on the farmer instead of the farm. I did the same exact thing where I put a circle around her. And this time I brought the exposure down. Except over here I click this little inverted button. So that means all my settings that I do over here affect what's outside of the circle instead of what's inside the circle. And then I clicked Play so that it would track the circle to the farmer. And now this video, if I hit play, you will see it's way more focused on the farmer instead of on the farm. And now here's back to the original. And it's really apparent to me now, watching the original that the farmer is the darkest part of the scene where the farm is definitely where my eyes are drawn. Like I'm looking at all of this, wondering what's actually being grown and wondering what's going on. Like the farm is the main character in this clip. And this is just something blocking the main character. Whereas this, a farmer is definitely the main character and what your eyes are drawn to and the farm, it's hard to even look at because the main character pops out so much by doing those little subtle changes and then tracking it, you can really change where the focuses of each video clip and that can obviously change the story. It changes who the main character is. So you now have a very good idea of what color grading is, the different tools that you can use, how you can stack multiple masks on top of each other. And at this point, the only thing left is just your own creativity of what do you want to highlight in your shots? What colors do you want to select and change? And yet you know how to expose different things differently, how to use, Let's how to change the mood and feel of your clips. You now have a very good understanding of color correcting and color grading. So at this point, it's just left up to you as far as how you want to get creative with it. In the next video, you're going to learn how to do multi-camera editing. 15. P2: Multicam Video Editing: In this video, you're going to learn how to do multi-camera editing and Adobe Premier. Get started. I'm going to create a new project and I'm going to name it multicasts concert, okay, and we'll go ahead and drag our clips onto the timeline. And that's going to create a new sequence with the right settings. Let's say for this edit we have nine video clips and we have them all stacked here. And I clicked on this little eye to make these tracks and visible so that I could see the ones that's underneath it. Let's say we want to start with this clip here of the crowd. So I'm going to go ahead and hit play and stop. Like that's all that I need. That clip, gosh, hideaway. Play this clip. I'm gonna go ahead and cut all of these to hear. Okay, we did it. So now the video is going to start out with this clip of the crowd. And then if I toggle this back on so I can see these tracks, it's now going to cut to the scene of the guitar. That's great. And then after that, cut out that part. I don't think I want to go to the singer yet. Or the crowd again. Yeah, Let's go ahead and go to the drummer. And then here we'll go back to the crowd. So I know it's not this track and it's not that one. Yeah, we could hold this shot. And so as you can imagine, this is going to be very hard to edit this Way, to go through an entire edit and selecting all of the nine tracks, which one that you want to use at which time and try to not get overwhelmed by at all, that could take a really long time. So let me show you a way, better way to do it. So what I'm gonna do now is select all of these clips, right-click and do nest hit. Okay, and now I just have a one clip, but I need to make sure I enable multicast. So multi-camera enable. And now you see this little wrench icon. If I click on that, I can come up to multi-camera view and watch what just happened. So now I'm seeing the view that selected and I can see all nine of my clips all at the same time. So if I hit play, I can see, yes, I want to start with that clip, then I'll probably cut to this guitar, not the one that I did earlier down here. And then I could cut to the drums and then, yes, back to this view. So how do I make those changes? It's actually really easy. So I'm going to show you the first way to go about it. So I'm going to play my video from the beginning. I'm going to hit Spacebar. And then whichever video I click on, it's going to record those settings for me live. So I'm going to hit play. And then guitar, Drums, overhead view. And we'll go ahead and pause it there and now see down below it made these cuts. So here it opens up with the crowd and then it goes to camera four of the guitar and camera five of the drums, then cameras seven of the crowd. And let's say I wanted to fine tune that setting. I could just drag may cut over and make this cut longer. And it's easy to fine tune it that way. Now the next thing is, let's say instead of this being multi-camera seven, let's say I wanted this shot here six instead, I can just click on it and hit six on my keyboard, and it switched over to six. I could also right-click. And under that multi-camera option. I could choose to come down to cameras 6, 7, like I can choose which camera angle I want this to be. And then let's say I didn't like any of this. If I, if I ruined all of it, I can come back to the beginning, hit play and record over the top of my original cuts. So now if I pause, I'm going to see all of it appeared down here. And it's so quick and easy to do multi-camera editing this way, you can literally just play the video live and click through on the shots that you want. So now to make it even easier, I can record over all of it again. And this time instead of clicking on the ones I want, I'm just going to press the numbers on my keyboard. So one through nine effects video tracks one through nine. So I'm going to hit 1, 2, 3, 4, 5, 6, 7, 8, 9. And just like that, I cut nine different times through every single video clip. Now I'm going to drop my resolution from full down to 18 because we're playing nine videos at once. It's pretty intensive on your computer. So doing that will help your computer play faster. So now if I hit Play, this is what the final result will be. That would have taken me so long to do that same exact edit using the method I was showing you originally. So using this multi-camera feature is such a fast way to do multi-camera setups. The main downside to it is getting it set up initially. So let me show you something again. What I did was just selected all my tracks, right-clicked on Nest and then did multi-camera enable that, the little wrench thing, you can follow those steps, but how do I actually line up all of my clips to match at something I'm going to show you now and I can have premier sync it up for me automatically. Now I'm going to show you how to take this to the next level. So remember how J, K, and L, the shortcuts on our keyboard, goes backwards and forwards. Can use J on my keyboard and it's going to go backwards on my timeline here to stop elder, go forward. As you notice, media is playing back and forth through it. This up here is yellow. It being yellow means it's not recording. It's just showing me a preview of what my settings are. But as soon as I click on one of these, it's going to turn red and be in Record mode. Or as soon as they hit one of the numbers on my keyboard, it's going to go read and be in Record mode. So if I do L and then k, at this point it hasn't rerecorded anything. It was just in preview mode. But if I hit L and then start hitting numbers on my keyboard, it's going to switch over to record mode and record over all of this stuff right here. So I'm going to hit L, 2, 3, 4, 5, 6, 7, 8, 9. So it made changes to this section here, but it left the beginning unchanged. The reason this is so beneficial is because MY pairing J, K, and L, with the numbers on my keyboard, I can just move forward and back without touching my mouse. And I can change all of the tracks without touching my mouse. So it becomes very quick. You can do a formal take him at it just from your keyboard. So in my example, I just noticed that this actually didn't turn red when I was recording. So I'm gonna hit play and then record. Okay, so now it turned red that time. The reason it's acting kinda weird on my computer is because I'm trying to play nine for HD files or some of them are fork and shrunk down. Anyway, I'm putting way too much for my computer to handle. And so if you're in the same situation, you either have to do fewer angles at a time or you're going to have to create proxies of all the clips, edit all of that as proxies, and then swap it out with the full res files later on. And if you don't know how to do that, go and watch the video on speeding up your computer and using proxies. The very hardest part about doing multi-camera is sinking the clips and setting it up to be used for multi-camera. However, it's not actually that hard. So I'm going to show you the process for it. So here is a video that I filmed cameras at once once. One camera is straight on and one was from the side. And yes, both are out-of-focus, but that's not what matters. What I'm going to do is go ahead and line both of these up on top of each other, and it's going to be out of sync. This is what that looks like. So you can hear two sets of audio playing at once and it sounds really bad. Let's pretend like it's really hard to line these up manually. I'm going to go over the ways that you would typically sink it. One is with a clapper board. And what the clapper board does is gives you an audio and visual cue. So I actually did that at the very beginning of this video. I'm going to go ahead and meet one of the tracks, so it's not annoying. So this audio spike is my clap, and it happens to line up with this audio spike right below it. So I could manually set those and I've got to zoom in a little bit in its spot on. Yeah, that's probably close enough. Now, what happens if one of the videos doesn't have an audio track? Yeah, it works. Yeah, you can just visually see where the clap comes together and lime that part up with the spike on your waveform. So the other thing like that's the purpose of a clapper board. However, most clapper boards now you'll see a digital readout on it, and that's the time code of the camera. So a camera has its own built-in like clock. And as long as the clocks from multiple cameras are all linked together, you can sync all this just based off timecode. However, if you don't have time code and you forgot to do the clap, There's a third option for sinking. And the third option is having premier go in and actually look at your wave form. Basically it's listening to the video and then it's listening to the other video. And if there's other any parts that match, it will align those up on top of each other and synchronize the clips based off how the audio sounds within the video. So let me go ahead and show you how easy it is to do this. All that you do is select the clips that you want to sync, right-click and then do synchronized. Now this will give us the options of doing like if they both started at the same exact time you hit record on both of them at the same moment. You could do it at the start timer and time. If those were sink, you could do it off time code. If your cameras had timecode, this camera, doesn't it? Or I can do audio which is automatically selected. I hit Okay. And just like that, was it already it was already sinks. Let me read it. Right-click it. Synchronize audio is already checked. I hit Okay. And just like that, it moved it over and now it's perfectly in sync. So that's how easy it is to sync your cameras using Premiere. Now, I can't see multi-camera this view. And that's because I still need to do one more step so I can highlight these. Right-click, do nest it, okay? And then my nested sequence right here, I need to right-click that and turn on multi-camera. So we'll take camera and then enable. And I already showed this to you earlier, but just to kinda go over it again, I can hit 1 and 2 on my keyboard. It's recording live the settings that I'm doing. I could also manually click one or two and it's recording at live. Now if I hit stop, I can see all my settings right here. And if I zoom in, I can fine tune them by changing the cuts, moving the cuts around, but see right here how it says one and right here it says 2 and then 1. So it's, they made it very easy to edit this and very easy to rerecord over your settings. So if I like everything up to my play head right here, but I want to change what's after it. I just hit play again. And then, so right now it's in review mode, but as soon as I click, it's now in Record mode and it's rerecording my previous settings. So multi-camera makes multi-camera editing so much easier and Premier, this is night and day difference for the workflow. The hardest thing is just setting it up, which is actually really easy once you know the steps. It just wasn't very intuitive. So, and let me show you one more way of doing the steps. So let's say a dragon, my two clips into my Project tab. I can also as another workflow, I'm going to right-click on it and click on create multi-camera sequence. So right here. And then it gives me a few more options, but I'm just going to click on Audio and then OK, and it's going to automatically synchronize the clips for me and create this new sequence. So I can just drag this onto my timeline. And now I have a multi-camera clip. One thing I do have to remember though, is right here on this wrench, I need to make sure I click on that and come to multi-camera view. Otherwise, I'm just going to see the composite view. You click on this wrench and come to multi-camera view instead of composite view. And that's going to give you the option to select which camera you want. You now have a very solid understanding of how to create multi-camera sequences. How to have premier synchronizer clips for you based off the audio and how to edit films very quickly, even if there is nine different camera angles. In the next video, you're going to learn the secrets to audio mixing. 16. P2: Learn Mixing and Sound Design: In this video, you're going to learn audio mixing and sound designer and Adobe Premier. Within a couple minutes from now you are going to be an expert at audio mixing. There's editors that have been editing full-time professionally for years that don't know how to do what you'll be able to do. And just a few minutes, even though they spent years trying to develop an ear for audio mixing. So let's get into it. Right now. The background music is either too quiet or too loud. So which one is it and how much should we adjust it by? The answer is it's too loud. So let's go ahead and make it quieter. You can just right-click to Audio Gain and bring it down. Let's say bye to decibels and audio gain. And then what was he saying? Adjust gain by minus 2. Another trick is this line right here. You can drag up or down to increase or decrease the audio level. The problem is that the audio level is now either too quiet or too loud again. But what is it this time and how much should we change it by? I don't know, you told me the answer is it's still too loud. However, let's say you keep sending a audio gain, it's still too loud. Minus 2 again. Track out to a client and they're like, well now it's too quiet, now it's too loud, now it's too quiet. Where should it be and how long will it take to develop an ear for that, I have no idea. The answer is you don't have to develop an ear for it. There's a really quick trick that you have to do is when someone's speaking, your audio should be minus 12 dB. And God. Okay, so that's going to be really easy. So here's what's going on. When this is playing. You see this bar right here. You hit play time and how much you see where those green bars came up to? That's my levels. So that means my audio is at minus 12 right now, but let me just double check that. So technically This song set gain two, it's at minus 13. So your background music anywhere like minus 12 to minus 25 is fine depending on how loud or quiet you want, your background music. And you can easily adjust the gain by right-clicking, do Audio Gain and you can raise it or lower it. So in this case, I could do set gain two and set my exact amount. Let's say I wanted it to be minus 12 or I can adjust it by putting it higher or lower, but we're just going to do minus 12 for now. And that's turning my entire music track to minus 12. And if I want to double-check that, I can just see it on my bars right here. Do is when someone's speaking, your audio should be minus 12 dB. And when that person's not speaking, you can bring the audio background music backup to minus six dB. Got it. So during this break right here, I have to bring the audio back up to minus six. So I could do a cut there and there, and then select this part. Right-click, come to Audio Gain and then set that. To set gain to minus six it okay? And then under my Effect Controls, I can find audio transitions crossfade constant power, but on both sides. And now I go from minus 12 and bring it up to minus six, back down to minus 12 and it has transitions. So it'll sound smooth and mind. So let's go ahead and do that. We can set a point right here. And with this keyframe, we can choose when the audio goes up and when the audio goes back down. Got it. Okay. So what's going on here is the way I just did. It took way too long. It was way too hard. If instead, let's say a select the track. I can pull this window up so I see it better. Span this. You're going to see this keyframe right here. Now, I'm going to set my key frame right before I stop speaking. Set one keyframe here. The keyframes Track Keyframes, Volume. So now I'm going to set one keyframe. And then right, when I'm done speaking, I'm going to set my next keyframe and raise it up to the, let's say if I'm at minus 12, I want to come up another six. And then I'll set another keyframe here. Set a keyframe. And that's one more keyframe here. And then we'll bring that back down to 12. Gosh, it's a lot of work. If I pause, the background music can come back up to minus six dB. Okay, so now I do that again. Set a keyframe, go forward a few on my arrows on my keyboard, set another keyframe and bring it up to six or so. Some arrows forward, set a keyframe. You're more arrows forward, another keyframe and bring that back now. And when I'm speaking again, the audio should duck down to minus 12 dB. Josh, I gotta do it again. And then again, when I pause, the background music can come back up to minus six. Now, as you can imagine, if there's a lot of dialogue, especially if you're doing a documentary or a full feature film. This would take for ever, yeah, this is gonna take freaking forever. So there's gotta be a faster way. And there is. And fortunately for you, I'm going to teach you how to, in one click, do all of those steps automatically. But you knowing how to do it, the way I was just showing you is still important for you to know to do it automatically. I'm going to go ahead and just delete all of this completely. So drag a fresh song on. I'm gonna check my audio levels, Audio Gain, and we're going to set it to minus six because that's what it should be at when no one's speaking. And we'll go ahead and listen to it over the top. Here around music is definitely too loud, but it's fine for when I'm not. Now for here, I'm gonna do something called auto ducking. That means Premiere is going to listen to my dialogue and it's going to listen to my music. And it's going to automatically adjust the music for me every time someone's speaking. This is a lifesaver and it's really easy to do. All I have to do is see this Essential Sound tab. If you're not seeing that it's because you need to click Audio right here on your workspace. And if you're not seeing audio right there and your workspace, you need to come up to Window workspaces and then just select audio you're on editing or something like that, switchover to audio. And then you'll see all of these things I'm talking about, including essential sound. So let's go ahead and talk about essential sound. I can select my dialogue tracks. Dialogue. Her mirror now knows that this is my dialogue. I can select my music track, and over here, I click on music and Premiere now knows that that's my music track. Here's the cool thing. I can have a adjusting my loudness for me, I could do automatic and that's going to set it to broadcast standards for me. I don't want that though because I said it on my own. But here there's something called ducking. If I click this, I can set it to AutoDock like the tracks that aren't marked yet. I follow my music or my dialogue. I'm going to leave it on dialogue as that's the part that I'm trying to AutoDock right now. So I've got a few dials here, my sensitivity DACA mount and fades. What that means is how sensitive is it to whether or not it should duck. I think the default settings for all of these are pretty good because this is a workshop video. I don't want any background music or if I do, I want it really quiet. So I'm going to set this to minus 25 ish, and then that's going to be really quiet. I might even go quieter, but that's, that's fine for now and then fades. This is how long does it take? How long are the transitions? Are they really quick transitions or slow? I'm going to set mine to be somewhat slow. And then the final step is you just click on generate keyframes. And let's go ahead and take a look at what that did. So if I click on here, come to Window Effect Controls, I can see sure enough here isn't the amplifier effect that it put onto here. And here's all of the keyframes, all of the points that are put in it. I'm sure I can also expand this up and see keyframes within this actual track. So let's zoom into that and you can see all of the keyframes. So let's go back to the part where I did a ridiculous amount of houses back down. So if I pause the background music can come back up to minus six dB. And when I'm speaking in, this doesn't sound leveled right, because it didn't auto match. I thought I'd show it to you, so I manually set my levels for this. I'm going to adjust gain by, let's do five for now. And the reason why is this truck hasn't been normalized. But if this truck was on its own, already set to the proper levels, then me doing the set gain two would make sense. But if it wasn't properly leveled while it was recorded, then it kind of throws you off there and you just have to do it visually or by checking your meter over on the side of dB. And then again, when I pause the background music can come back up to my yes. So my dialogue, it's not peaking, but it's around minus 40 dB. I think that's fine for my dialogue track, just because there probably are Arts where I speak more loudly and I don't want it to go over 0 because that would make the audio sound really bad. Now, let's take a closer look. I'm going to delete all of that track. And let's make these gaps a little bit bigger just for the fun of it. So I'm going to cut each of these gaps and space them out a little more. And now if I click on my song, because those gaps don't line up right now. But if I click on it and hit Generate keyframe again, it reset the keyframes for me. So now it will sound good. So let's go ahead and do that. We can set a point right here. And with this keyframe, we can choose when the audio goes up and when the audio goes back down. So if I cause the background music can come back up to minus personally, I think the fade is way too fast, so let's go ahead and save that down and then hit generate. So you kinda have to fine tune it based on your situation and make it a little slower. Just so I get that extra gap there and the audio goes back down. So if I cause the background music can come back up to minus six dB. And when I'm speaking again, the audio should duck down to minus 12 dB. Yes, So this is working great. And with my settings, the way I have it is the background music is always at minus 6, unless I'm speaking, then it goes down to the minus 25 here. And I feel like for a workshop that works great, but let's get back into manually mixing stuff. So you can set all your keyframes on it. You can do it reading like huts in the song, and then manually turning the volume up and down on each one of these cuts. And then you can add in your audio transitions to make that more fluid. When I'm mixing, I just leave my workspace under the editing layout. And then up here under audio clip mixer, you can see this is audio track 1, audio track to Audio Track 3. Right now I have my song on audio 3. So me pulling this down to, let's say minus 10 dB is going to bring the entire track three all the way down 10 dB. And on my track one, when I brought my audio levels up earlier, I could bring all of that track up, let's say 60 be just by using this one slider. So for audio mixing, you now know that the dialogue should be anywhere from minus two to minus 6. You can get quieter for like quiet soft parts of the film or make it as loud as you can for like the really heavy hitting action parts of the film. However, for the most part, your dialogue is going to be around minus two or minus six. Background music is going to be minus six when no one's speaking and it has to be under minus 12 when there is dialogue or there is someone's speaking, but it doesn't have to be all the way up to minus 12. You could have anywhere between minus 12 and minus 25 is fine. You also learned, instead of ducking everything manually, you can use the auto ducking feature and it's going to save so much time if you have to do a lot of that on one of your edits, the final valuable secret for your mixing is to keep each piece of the audio on a different track. So if you have multiple actors that are each speaking, keep each of their dialogue tracks on a separate track. It's going to make it so much easier for mixing. Keep your music on separate tracks, keep the folly and sound design on a separate track. Now, with all of that said, I think you're ready to move into the sound design part of this video. For the first part is sound design. We're going to discuss rises and drums. Here are two examples of rises. So that's kind of a quick rise, and then this one's a little bit slower. The purpose of arise is to really build up tension and emotion for something that's about to happen really big. And then this is a drone. In the purpose of a drone, It's almost filler when you don't want to have music yet. So it could be something that brings tension, but it doesn't necessarily have to just kinda filling in noise where a song isn't quite the right thing to use for filling it. So sound design can be adding in things like drones and rises to add emotion to the sound. You can also do things called folly. Folly is adding any type of audio that matches the video. So if someone's walking, you can go and record footsteps later and add that and over the top to add to the video so that you actually hear the steps when they're walking. The next thing to cover is, let's say you have terrible audio, like there's bad background noise going on. What is something that you can do to fix it? And it's actually really easy. All you do is under your audio effects come to noise reduction and then de-noise, you just drag that onto your track. And that's going to automatically de-noise it for you. And if it's something really bad, you can right-click and do Edit Clip and Adobe Audition. And that's going to pull up a different piece of software that's quite a bit more intensive for audio correction. And under here I could do something like noise reduction and then de-noise that you also have like adaptive noise reduction that I'm just going to click the noise for now. And let's me fine tune my settings right here. Like do I want to reduce it by a 100 percent, which might make my voice sound really tinny, or do I just need a little bit of correction in a similar way when I drag de-noise onto my clip, you'll see the effect pop up right here. And I can click Edit. I want to fine tune it. And I have the same panel that I would have using Adobe Audition. The next piece of sound design is I can click on my clip and over here on my audio mixer. So not only can I change the levels with this arm up above you see this L and this r. I can change which speaker that this is coming out of. So I could have it coming out of only the left side, only the right side, or I could have a bit of a mix. So let's say I have a scene next to a busy road and there's cars over on the left side. I could add in folly of car noises and then change my levels so that it's only on the side that actually matches up for the video. 17. P2: Create Animated Video Titles: In this video, you're going to learn the fastest way to create animated titles and Premier. So adding titles and Premiere is as easy as dragging a title onto your timeline. And then changing what it says. So I'm going to say drive faster. And now let's go ahead and play that. And just like that, we created an animated title and Premier. So let's go over the steps in a little more detail to start out, what you're going to look for is something called Essential Graphics. And then once you're in the essential graphics, you have browse where you can look at all your precreated titles or edit, where you can actually edit the specific title that you drag onto your timeline. If you don't see Essential Graphics yet, you might want to come up to window and under Workspace, try coming under graphics or something like that. And then also make sure Essential Graphics is checked over here. And then at that point you'll hopefully find this window. Premier comes with a bunch of default templates within here. And all you have to do to add them to your timeline is go ahead and take the one that you want, drag it onto your timeline. And then to edit it, you have to actually select the title. And that's going to open up your edit tab over here. And once that's up, so this specific title here, it's going to cycle through a few different things. So where focus goes and then energy flows. And up here we can see where focus goes to edit, titles. Click Edit. And so you can see it's pretty quick to change whatever your words are. However, I don't like the layout of this now. I feel like this should be seated a little bit lower. Whoever the amount that you can customize each title is, just kind of up to that template itself. You don't have a whole lot of control most of the time, the word where I can change, it's tracking. So that's like the timing that it's coming in. So I'm going to hit Control Z on that. Or you can just double-click TreeSet where scale so I can make that bigger or smaller. And I know it says where, but that's just them trying to save this first text box where x position, so the position on the x-axis and then on the y-axis. And so if I wanted to bring this down, I'm just looking for energy on the y-axis, which is down here. And then, so I like that position a little bit better. And then obviously I can change the colors here, Let's say, brought it over to blue. And let's say we make this one green for some reason. And then the line in the middle, I can also adjust that. And you can see it's very customizable. I wouldn't recommend these colors though, and that's all it takes to edit titles in Premier. So as you might be able to imagine, you're somewhat limited to the titles that you have in your browse section, but this is fully customizable. Also, I can download a lot of different types of titles that go into the central graphics things. So let me show you a few examples real quick. Like if I scroll down, like those are different styles, but I could also grab this is called a lower thirds. And so this will show like the person's name in the bottom corner if I'm interviewing him. And so I can obviously change the scale and position and stuff like that too, if I wanted, that, this just kinda shows you there's a lot of different options you can do with titles. Let me also see. I think I've got like countdown timers. A lot of these might have been like third-party things that I added on after that, again, all you have to do is if you download more titles online, you just drag them into this box and it's going to save them here. And then I just want to show you a few more examples. So it looks like I also have like a little social icons. And then I've got like YouTube and screens. There's so many different types of things that you can do with the essential graphics section. It's not the same size as my timeline, so I'll just zoom that out a little bit. And this makes it so much easier to customize something that could take me a long time to build within Premiere. So you can see a pure like I could change my subscribe a fresh video. I could change the wording on a lot of things and then the links down here, all of that's customizable over on the credit side. And then the brows side, you just want to find something that matches pretty close to the title you're creating. Drag it on. And then once it's selected in your timeline, it's automatically going to bring you over to the edit tab, but you can also manually switch back and forth. So I know that was a really quick overview and that's because Premier makes it so simple and easy. But you are now an expert at editing titles very quickly and premier, although I feel like I should probably show at least just one more example. So here's the drive faster. I can take that same title. I'm going to hold down Alt, drag it over, and that just made a duplicate at it. And I can now click on it and under edit, it could say fly higher. And now if I come back to my timeline, can play this video. So that quickly I can create animated titles that you just drag into the timeline and customized for whatever you need. And let's say I don't like how long it's taking this title to make the changes its making. And let's say it's not customizable over here. Something else I can do is just customize it using all the other tools that you already know about. I can hit R on my keyboard to select the re-time tool. And then I could just make this smaller, which means the title is going to play faster. So here's an example. So that happened much more quickly that time. And alternatively, I could stretch it out to make it the title takes forever to go through its words. So it's going to come in a lot more slow and hold on it for a lot longer because I stretched the title out on the timeline. So at this point, you are definitely an expert at adding and editing titles within Premiere. 18. P2: Stabilize Shaky Footage: You're about to learn how to stabilize shaky video footage with one-click. Let's say that this is the clip that we want to stabilize. All that we have to do is drag this warped stabilizer onto the clip and you're done. That easy. So here is the after. And then here was the before and the after again. Now something you're going to notice is that after I stabilized it zoomed into the video a little bit. So if you're happy with the stabilization, then you can just leave it there. However, I'm gonna go in depth into the other settings and show you how to adjust different things and how it all works. The first step is dragging on the Warp Stabilizer effect onto your clip. But just in case you don't fully understand what that means, you want to find this Effects tab right here. If you don't see it, then you can come up to Window and then down to effects. And it might be in a different position depending on how your workspaces laid out. So right now, minds on editing. So it just happens to be down here, but just look for this effects tab. And then you can search for the word warp, stabilizer or stabilize. And it's going to be under the Video Effects and then under distort and then warp stabilizer. And you just drag that onto any clip that you're wanting to stabilize. Now, as soon as you do that, you're going to see Warp Stabilizer pop up right here. And this section, and this section is your effect controls tab. And if you don't see your Effect Controls tab, again, just come down to Window and make sure your effect controls window. Right here is click. And then you might have to look around for it, but it should be in this top left. Now, let's go down and talk about each setting within Warp Stabilizer starting from top to bottom, you can see analyze and cancel. So those are blacked out because I already analyzed for me automatically. But sometimes it messes up and it'll say in big letters on your clip you need to analyze and all you have to do is just click that button right there. Now under stabilization result, right now I have it set to smooth motion, but I could also do no motion. And so I'm going to show you the difference what that looks like. So now if I hit play, what you're going to notice, it's a little bit weird because the camera's moving, but the room itself is also moving in. In this scenario, it locked onto the person, not necessarily a big camera movement of the room. So what it did is made sure that the person did not move at all and it's trying to emulate a tripod shot. So in this scenario, because there is movement, I want to actually say smooth motion and it's gonna come out a lot better. Now the next thing is the smoothness percent. Right now by default it's on 50%. I could bring this all the way down, Let's say, to 5% and then watch it back. So it just lightly smooth that or I could set up, let's say to 500 percent and you're going to notice it zooms in a lot more. And when I hit Play. It'll either make it way more smooth or it's gonna get glitchy and completely ruin it. So typically anywhere from 15 to 50 percent should be fine for your project and then the method. So once it knows all the tracking points and how it should stabilize it, what method should I use? So on default it was on subspace warp. And you can kind of picture this as like four different levels of stabilization. So level one is position where it just moves your actual position of the video around. Level two is position, scale and rotation. So instead of just moving the position, it's also going to do the rotation. And it's gonna do the scale of the camera's moving in and out. And so that's the difference between these. And then in a way, levels 34 just get more and more advanced perspective and then subspace warp. So warp will actually warp the image to make it look even more stabilized work, I'm pretty sure is the default. I typically just do position that. It just depends on the finish that you're using. And it's going to be different for each clip. But typically just doing smooth motion position and 15 percent or you can just leave it on the default. Either is going to work for most clips. And then finally, are we going to crop it or not? So by default, it's going to Stabilize crop and then autoscale. If I say Stabilize only, especially let me turn this back up to a 100 percent. I'm going to show you what happens. So I set it to no motion and 400 percent just to purposely create this problem here. So I'm going to hit play and you see this black outline and let me zoom out a little bit. I'm gonna play it again. And you can see this black box like here's the edge of it, right here, and then you can definitely see the bottom of it. It has to do that. That's how it stabilizes. It is actually moving the video around in the only way to hide that black box is by zooming in to crop out the edges of it. If you look over here instead of Stabilize only I can have it stabilized and crop that Stabilize crop and autoscale I feel like is the easiest way to get rid of the edges automatically for you and that's already wet. It is on default. Let me show you one more example real quick using the tripod method. So on this next shot, you can see that this is a handheld shot, so it's shaking a lot, but it looks like it's supposed to be a locked off tripod shot or at least be a little more smooth with the shakiness. So I'm going to drag Warp Stabilizer on the backlit. And then right now it's analyzing in the background. So you can see right now it's at 4%, 10 percent, and it'll also switch back and forth between showing me the percentage versus the time left. So I've got about 30 seconds left. And what it's doing while it's analyzing is watching the video clip and trying to track every single frame to see how it's moving that way. It knows how to it later. So I don't have to wait for that to be done on changing my settings. That's separate of like you don't have to reanalyze these settings. Yeah, I'll just leave it on subspace warp and then no motion and let's go ahead and watch this clip. This is the after and it's perfectly still. And then here was the before. And then the after again. So you are now an expert at stabilizing footage in Premier.