Premiere Pro CC: How To Video Edit For Beginners: Learn To Tell A Story in Adobe Premiere Pro | Alli Bartlett | Skillshare

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Premiere Pro CC: How To Video Edit For Beginners: Learn To Tell A Story in Adobe Premiere Pro

teacher avatar Alli Bartlett, Filmmaker. Youtuber. Business Owner

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction to This Class and Your Teacher Alli


    • 2.

      How to Create an Organized Folder Structure


    • 3.

      Saving Project, Importing, Organizing, Sequence Setting


    • 4.

      How to Create Proxies for Faster Editing


    • 5.

      Troubleshooting and Turning Proxy Toggle


    • 6.

      How to Sync Your Audio in Premiere Pro


    • 7.

      Rotating and Scaling Clips


    • 8.

      How to Change the Label Colors


    • 9.

      How to Choose Dialogue Selects


    • 10.

      Finding Out if You Have Duplicate Clips on Your Timeline


    • 11.

      Create Sequence Preset


    • 12.

      How to Remove Spaces in Between Clips Quickly


    • 13.

      Working with 4K Clips in a 1080 Timeline


    • 14.

      How to Think Like an Editor When Choosing Selects


    • 15.

      How to Work with Audio Tracks


    • 16.

      Sorting Clips Effectively


    • 17.

      Finding the Best Royalty Free Music For Your Video Edit


    • 18.

      How to Put Your Editing Rough Cut Together


    • 19.

      How to Edit with Music and Transitions to Make Your Video Better


    • 20.

      A Deeper Look at Dialogue


    • 21.

      Working with the Third Speaking Segment


    • 22.

      Working with Popping Audio


    • 23.

      Working with Color to Make Your Clips Stand Out


    • 24.

      Color Correcting When Three Way Isn't Enough


    • 25.

      Reducing and Removing Shakiness in Footage


    • 26.

      Changing the Speed of Clips


    • 27.

      Working with Backup Audio and Gain


    • 28.

      My Top 5 Favorite Audio Effects in Premiere Pro


    • 29.

      Cool Effects For Showing Off The Logo


    • 30.

      Creating Lower Third Titles for Your Video Edit


    • 31.

      Exporting Your Video


    • 32.

      BONUS Best Way to Sharpen Footage


    • 33.

      BONUS How to Edit Faster in Premiere Pro


    • 34.

      BONUS How to Motion Track Out a Logo


    • 35.

      BONUS How to Motion Track and Blur a Face


    • 36.

      BONUS How to Reduce Moire in Premiere Pro


    • 37.

      Bonus Premiere Pro Production Panel for Solo Editors


    • 38.

      BONUS How to Put Footage Inside Text in Premiere Pro


    • 39.

      BONUS Premiere Pro How to Relink Offline Media FAST


    • 40.

      BONUS 4 Secret Premiere Pro Hacks


    • 41.

      BONUS Mistakes New Editors Make and How to Fix Them


    • 42.

      BONUS How to Remove Background Noise in Premiere Pro


    • 43.

      BONUS How to Use Photoshop Files in Premiere Pro


    • 44.

      Conclusion and Final Thoughts


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About This Class

Welcome to Premiere Pro CC: How To Video Edit For Beginners: Learn To Tell A Story in Adobe Premiere Pro

By the end of this course, you'll learn how to edit professional videos in Premiere Pro and you'll complete editing an entire professional 3 minute promo video! 

Footage and audio included! You can follow along and learn by gaining instant, hands on experience by downloading our included footage and audio. You can download all of the assets for this course here!J35zmTQa!fYq3QqvDXsBCCdeV5RISYw

This course will teach you how to use the included b-roll footage and dialogue audio to effectively tell a story using Adobe Premiere Pro. You will learn how to choose the best clips to get your message across while also learning all of the necessary tools and effects that every professional editor uses.

What makes your instructor qualified to teach you editing in Premiere Pro?

Alli Saunders has edited several hundred video project for paying clients of his in her established video production company located in Toronto. She specializes in editing highly engaging corporate videos, promotional videos and lifestyle videos.

What is this Adobe Premiere Pro course all about?

In this course, you'll not only learn all of the editing tools available in Adobe Premiere Pro, but also how to pick out clips, organize your project and edit together a polished video using professionally filmed footage.

This course will teach you how to:

  • Effectively organize your footage, sequences and assets
  • Edit a promo video
  • Many tools in Premiere Pro that will make your editing much easier
  • Working with slow motion clips, 4k clips and upside down clips
  • Syncing guide audio and external audio
  • Improving audio and finding awesome royalty free music for your projects
  • Correcting the color of your footage to make it come to life
  • Adding visual effects to your edits
  • Exporting your video for high-quality playback on any device
  • Advanced efficiency tips

And lots more!

By the end of this course, you will understand what it takes to create a professional video edit so that you can confidently move forward with the skills of a professional video editor.

You'll have a strong understanding of how to use Adobe Premiere Pro for fun and as a career!

Get started now with Adobe's video editing program today to create engaging visual and audio stories!

Meet Your Teacher

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Alli Bartlett

Filmmaker. Youtuber. Business Owner


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1. Introduction to This Class and Your Teacher Alli: Hey, I'm Alley. I own a video production company in Toronto, Canada, where we specialize in creating commercials and social media videos for our clients, and they've added it probably close to 1000 videos over the years. I, also in the YouTube channel with my husband, will where we've released weekly tutorials. Four filmmakers. So if you want to be a better filmmaker and stay up to date with the latest and greatest stuff happening in the video editing and film making world, check it out. I love video editing because knowing how to edit well puts you in control of feel and the vibe of your video. There's so many possibilities with editing or ways to take your story in so many different directions and the more professional and cool techniques you know how to use when you're editing, the more you can make your video standing out, develop your own unique editing style and grab the attention of the viewer and your future clients. Let's go over some of the stuff you're gonna learn in this course. You're gonna learn how to stay organized and efficient with folder structure. Gonna learn how to edit with four K and slow motion had to make presets how to create frocks, ease to make your work flow faster and way more efficient as well as had a troubleshoot. When working with proxies, you'll learn how to add tools. Your toolbar, sink, guide, audio and externally recorded audio together create custom keyboard shortcuts. And, most importantly, you're gonna learn hands on how to choose the right clips and the right dialogue, where to put it within your edit and how to present it. To tell a captivating, creative and really engaging video, we're gonna be covering a lot. So be sure to pause the lessons often take notes and come back to this course time and time again if you need a refresher. I've included a downloadable PdF for PC users. That translates the keyboard commands. So if your PC user be sure to download this PdF. Now let's look at the video that we're gonna create in this course jungle way in the untouched Selkirk Mountains in southern British Columbia, Canada, halfway between Calgary and Vancouver, you will find the picturesque city of Nelson, known as the prettiest town in Canada, framed by rugged terrain, including the famous Kokanee Glacier this town's stunning landscape and many restored heritage buildings give it the look and feel of a fairy tale come to life. Welcome to Beautiful Nelson, British Columbia, where people come for visit and end up buying a home. This place offers everything from incredible ski and snowboarding hills to the best local beer you're ever going to try. Let's go explore this beautiful hidden if you're a hiker than you will absolutely love. Nelson BC Nelson has trails for beginners all the way up to trails that take two days to hike. But I promise you those trails offer a beautiful view. Ah, favorite amongst locals is pulpit rockets about 1/2 hour to 45 minute hike, and the views are absolutely stunning If you don't have time to hike up to Pulpit Rock to get a beautiful view of Nelson BC, and your best bet is to come to Gyro Park. This place is very easy to access by road. There's a parking lot, and it's a two minute walk into this beautiful view point. There are also lots of trails and bridges, as well as beautiful benches. To take a seat, enjoy the scenery, read a book and really experience Nelson BC The way the waterfront and Nelson is stunning, with views of beautiful Cooney Lake and Bob the Big Orange Bridge. It's really a magnificent sight. The park is beautiful, great for playing with kids or taking a stroll by and the water and beach in the summer is a great place to swim. Whether you're just staying in town to enjoy beautiful nelson BC, or you're exploring the surrounding areas the ski hills, the hiking trails or yoga retreat, there's so much to do here. This is a traveler's dream, and a really hidden gem waded this video together. You'll have so many different tools and skills that you can use with your own video at it, so let's get started. 2. How to Create an Organized Folder Structure: Hi, everyone. In this lesson, we will be setting up our folder structure so that we can remain organized throughout the course. We've provided a downloadable link so that you can download the clips and the other assets that will be using to create our video at it in this course. So please make sure that you have all of those assets downloaded. I have my assets downloaded their right here on my desktop in this Nelson folder. And before we get started, I'm going to move these clips and the assets on to an external hard drive. You can choose where you like to keep this footage, the assets and where you'd like to work off off this editing project. When I'm editing a project, I prefer to work off of an external hard drive. So what I'll do is I'll actually make two copies of all of the assets for the project I'm working on, which includes the clips, the music, the audio, the locals and so on. So that in case anything were to ever happen to one of my projects on one of my hard drives , I always have that second safety back up. If you have an external hard drive that you'd like to use where you will keep this project and all of the assets. Then you can follow along with me. And if you're choosing to work directly off your desktop, that's fine, too. You can still follow along and just make sure that our folder structure is the same. So as we go through this course, we're on the same page. So, as you can see, I have my five terabyte hard drive right here. I've got a folder called Video Project that I'm gonna click on. And this is where and when a dragon drop all of my clips and the downloadable resources for this project like So So I've currently got this Nelson older, which you should have downloaded on my desktop. I will drag that into here. All right, now that they're copied over, we've got the folder called Nelson. This is the name of the project will click on that we have a camp which has around 50 clips that are both 1920 by 10 80 resolution as well as four K resolution. Some of them are also in slow mo. So we'll be working with all three. In this project below, we have our H six, which is our audio folder with our dialogue. And as you can see, we have audio one l audio one r and it continues like this quickly. I'll give you a little bit of insight into why we have two different channels one left and one right l and R. The reason is because on some of the chutes that we do in our video production company that are smaller, we often use an H six audio recorder, and we have an adapter that plugs right on top of the H six, called an E x h Dash six. This audio doctor has two additional channels. So when one channel of audio is being recorded out of this adopter, it will record at both the set decibel level that the audio recordist has, and it will also create a duplicate of that audio on a second backup track that's recorded at minus 12 decibels, lower in some situations where you have a cinematographer also covering audio on a run and gun shoot, or you're working on a smaller budget shoot, or you simply just don't have a professional audio recordist dedicated to recording audio. This H six adopter definitely comes in handy and makes the life of an editor much easier, because, in case the original audio track has any parts in it, where the person being recorded speaks really, really loudly and the audio peaks, the editor will also have that backup track toe work with. As we go through this project, you will see some examples of when this backup track definitely comes in handy. We also have our local folder. We have our music folder. We have our Project folder where our Premiere Pro Project will be saved and we have our voice over folder. Now that we've gone over what each folder contains, let's open up Premiere Pro and get started on this project. 3. Saving Project, Importing, Organizing, Sequence Setting: Okay. Next, I'm going to open up Adobe Premiere Pro, and I am going to click on the new project tab here. We will name this project, Nelson. Then we're gonna go to location, click on browse toe, open up some location options, and we're going to click on the project folder there so that this project will now be saved in the project folder. Okay. For the video rendering and playback, I have mindset toe open, sea out my laptops a few years older. So open cl is best. I'm gonna stick with these settings here, as is so display format. We've got time code audio samples and capture former TV, so we're gonna push. Okay, now that premieres opened up, it is set to my default setting that created which you can see the top here. It's highlighted in Blue Ali 15 Edit Middle, and we're going to import our footage. So I'm gonna right quick here in the project panel. Click on import, and I'm going to click on a camp. Okay, so we have our footage important here. You can see all the clips right there when you hit the drop down arrow. I'm just gonna hit that. So they go back up. So I'm gonna double click into the folder here. And as you can see, we have both the 1920 by 10. 80 as well as the 38 40 by 21 sixties. That's a combination of 10 84 K clips. You can also see here the clips that are just these purple little filmstrips have no audio with, um So these air the B roll clips And then if we scroll down, you'll see these clips here with a little green audio symbol indicate that there was audio connected to those clips. Okay. And you can also see that the file structure is a little bit out of order. It starts at four here, and you can see down here we've got 123 So I'm just going to click name at the top so that it starts at one. The new click on that clip. Hold down, shift on my Mac. Go down to the bottom here, hit shift, and I've got them all highlighted. Now I'm gonna go back up to the top, grab this one and drag it down onto the timeline that's brought down all of these clips in the same order that this folder structures in, and it also create a sequence right within this folder. So I'm gonna drag that out of the folder, and it's the project panel will close this folder and let's rename the sequence by double clicking on it all footage. Now, When I did that, it automatically decided what the sequence settings were going to be. As you can see here, the sequence settings are in four K. You can tell because this footage here is, I know that it's 10 80 therefore it's created this negative space behind it. You'll also notice, as I'm scrolling through that it's going pretty slowly. That's because these are pretty big files here, So I'm set on this clip here, and it took several seconds before the clip showed up inthe e program view. But you can see this is four K. What I want to do is actually change this sequence to a 10 80 sequence, and we'll look into why more later. But let's go up to the top here and click on sequence. We'll click sequence settings and we're gonna go into editing moment here, click on that. And let's change to custom will stick with the time based here of 23.976 frames per second because that's what it was filmed on. And we're gonna actually change the frame size to 1920 and tab over to horizontal 10. 80. Okay, 16 9 Yup. That's right. Will keep these options the same. The audio will keep the same. You can see down here is well that we've got the video previews at 1920 by 10. 80. Okay, so we're gonna click. OK, that's fine. Look, look okay for that. So now what it's done is it's actually zoomed in off the four k footage, but all of the 10 80 footage fits to screen. You'll also notice here that I have a button option that I've added called toggle proxies. Proxies make the life of an editor so much easier and more efficient. So if you don't know what proxies are, let's go over them in the next lesson. Because they will save you so much time and frustration when you're working on an edit 4. How to Create Proxies for Faster Editing: in this lesson, we're going to talk about the ingest feature and how to work with proxies. A proxy is essentially a lower quality video file that gives you the option to edit in real time without having choppy playback. It definitely comes in handy if you're working with larger videophiles like four K or six K footage. If your camera films in True four K, otherwise known as D. C. I four K or in some situations cinema mode, then you want to use the proxy resolution that is a multiple of boarding 96 by 2160. So you would take both of those numbers and divide them by four and create a proxy out of that number for this particular project that we're working on. We used a camera that shoots in ultra H D, which is what the consumer world knows as four K. If you are shooting in this resolution, then your proxy resolution should be a multiple of 38 40 by 2160. So we're going to stick with creating a preset that is a multiple of that, which is 9 60 by 5 40 If you're working with footage, that's six k or above. Then you're gonna want to create your own preset go into media and quarter here. If you don't see this preset browser, then you can go upto window here and you can click on Reset Browser and that will bring it up. So let's right. Click on user presets and group and click on Create, including Pre Set that will open up this new preset window. For this footage, we're going to be creating a preset that works with 38 40 by 2160 footage, so I will get my calculator up here. Type in 38 40 divided by four equals. That's 9 60 Go up to the preset name and type in 9 60 by type in 2160. Divided by four equals 5 40 Okay, let's close that by 5 40 So the presets name is 9 60 by 5 40 Let's put in brackets 38 40 by 2160 Close bracket four K at 23.98 frames per second. OK, so we've got a preset name. The format H 264 is great. We're gonna base this on the presets will open that up and we're gonna go down and find a preset that is similar to that resolution. So we have here this Apple TV call my iPad comma iPhone four and Newark 9 60 by 5 40 23.976 Double click on that. If you are gonna be working with the four k audio, you could leave the export audio button on. But we're only working with the clips themselves. We're not gonna worry about the audio, so we're going to turn export audio off the width is 9 60 The height is 5 40 Yep, that's what we want. So that is good. We're working with 23.98 frames per second. So that is good feel order progressive? Yep. Aspect ratio is square pixels one Yep, for TV standard because this was filmed in North America, we're going to stick to NT. S. C. Powell is for Europe and Asia, So depending where you are and how you're going to be showing your footage, you would choose one or the other. So we're going to stick to NTSC here for bit rate settings. We always wanna keep the bit rate, including at VI br to pass to pass will not increase your bit rate, but it will create better quality. So stay with to pass the target bit rate with the preset we chose has gone to 1.25 with the maximum bit rate of 1.5. Let's make this just a little bit. Biggers will put that in to and the maximum bit rate will put 22.5. Okay. And as you can see here, we now have this proxy preset created. But we're not done yet. Let's right. Click on that preset and click on export presets. This is going to create an E p r file for us. I'm going to leave this preset on my desktop because I want it available for any project that I'm creating that I need to create proxies for. We're gonna push, save. Okay, now, let's go over to premiere. We will double click on the footage folder, the A camp folder here and right now we have this footage sorted by name, as you can see. So we've got some four K files. We've got some 10 80 files. It's kind of all over the place. I would like all of my four K files to be clumped together. So in a double click video info here and there we go off. The four K files are at the bottom here. So I'm gonna hold down shift with this file 43 highlighted, and I'm gonna scroll up to the last four key file here. Click on that. So I've got all of the four k files highlighted. Next time, when you right click, I'm going to go to Proxy Scroll over to create proxies and I need to click on add in just presets so that the priest that we just created works with Premiere Pro. I've already ingested this proxy, but to add it, you would click there and you would click on this e peer file here and you would click open . I'm gonna cancel just because I already have that proxy created. So the next thing we want to do is decide on the destination that we would like our proxy files to go go into browse here within a camp where all of the footage is. I've created a proxy folder. You can create a proxy folder as well. Once you create that you would double click on it and you would choose Select folder. So now off the proxy files that are going to be created will go into your proxy folder within your A camp folder. So let's click OK, and it will start creating the proxy jobs. I always let my proxies create overnight because it is quite time consuming to have these all created. So that's how you create your proxy preset if you'd like to. You can also go to the Resources folder in this course and download my pre created DPR Files and use those instead of creating them yourself. 5. Troubleshooting and Turning Proxy Toggle : were in Premiere Pro. And assuming that you've created your proxies, we should now be ready to start working on this project at a much faster pace. But first, let's go over a few quick ways to trouble she working with proxies. Let's say you're in Premiere Pro and you're scrubbing through your timeline and you're going through the footage and it's starting to get choppy. Your computer maybe freezes for a few seconds. This could be because somehow your proxies have a new attached. This could happen if you've moved the folder structure around. This can sometimes happen if you're working on one computer and then you start working on another computer, so it's very easy to reattach your proxies. We will double click on the A camp folder here, all of the four K browser at the bottom here, so I'm gonna hold down shift highlighted and when a scroll up to the last four key file here, click on that. So I've got all of the four K files highlighted. It'll just right click. You'll go down to proxies and click on attach proxies. I've got all of the four K footage highlighted here. So now I go to attach and I'd go and find my A camp folder and then within their about the proxies folder. Click on that and I'd click on one of those and push okay, and it would reattach the proxies very nicely. So I'm gonna close the A camp in here. The other thing that you need to do is make sure that you have the toggle proxies icon available to click and un click, so it will be in blue when it is in use. And that's what, as you can see, makes it super easy to scroll through this four K footage. If I turn this tuggle off, that is the proxies being turned off. And as you can see, I'm scrubbing through and footage is getting choppy. And playback is not as smooth and easy as it was with taka proxies on. So let's hit this plus button here to add the toggle proxies button. As you can see, it's right here. So if you haven't already added this button to your program screen, you can click on it and push. OK, ok, so there it is, and I've turned it back on. Even when you go to export, which we will look at later on. You can still leave this toggle proxies button on when you export it. That's when you create the bit rate and the resolution that you want the final video to be . So there you have it. That is how you create proxies to make your editing experience in Premiere Pro way, more efficient and way less frustrating. Remember, if you'd like to download my E p r file presets, I've already been created. You can do so by clicking on the downloadable links that are attached in this lesson. 6. How to Sync Your Audio in Premiere Pro: All right, So we're in Premiere Pro, and we have our sequence that has all of the footage for this project in it. These clips here have dialogue in them. But this audio, I'll just push the plus button a few times to zoom in there on the timeline. This audio is camera audio, also known as guide audio. We have the H six external recorder that recorded audio more clearly from the Laval Lear Mike that you can see right up here. So the next thing we need to do is import the audio from the age six. I'm just gonna push the minus button on my Mac to zoom back out on the timeline. I will push command tab to tab over to the finder window and let's drag the entire H six boulder into our timeline. Great. So the next thing that we need to do is sink our guide audio that is attached to the clips with our external audio recordings from the H six. I'm going to move this project panel over, and I am going Teoh, duplicate this sequence here. The all footage sequence. I'm choosing to duplicate it rather than creating a new sequence because by duplicating this sequence, so right clicking and pushing duplicate This new sequence will keep all of the settings that have been applied to the original sequence so that I don't have to spend time recreating all of the settings for new sequence from scratch. So let's change the name here to dialogue. All right, so for this dialogue sequence, I'm going to highlight and delete the clips that don't have audio underneath them. OK, so I'm left with only these six clips that have the audio underneath. Um, and I'm gonna show you how to sink your audio with an external audio recorder directly in Premiere Pro. You can also choose to sink your audio manually. This can introduce mistakes if you're even a hair off. When your audience watches the video, they'll be able to tell that something's a little bit off. So I prefer to use this auto sync tool directly in Premiere Pro. So what we're gonna do is hit the arrow to drop down the H six audio. I'm gonna bring in audio one owl onto the timeline and let's drag this up. I'm going to click the plus button, and I'm going to highlight the clip and this audio. The next thing I'm going to do now that these air highlighted is right. Click on the audio clip and I'm going to go up to synchronize and push Synchronize. Okay, so we want to make sure that audio is clicked and that clip start, clip, end and timecode are not clicked. Push Okay. And Premier Pro has done a great job at sinking that audio. So now we have both the guide audio, As you can see here in the blue and the left Channel audio, you're in the green, Remember, We also have the right channel as well. So now that we have that syncs up, I'm going to drag the right channel down here. As you can see currently, we only have four audio tracks. You can see that by looking at the left here. Let's odd to more. So we will right click the audio track there and click on on track. We could also do this faster by clicking add tracks here and you can choose how many trucks you want. Ads for video. Whoa, Add zero tracks for audio. You could add five more tracks. We just need the one, so we will push. Okay. And what's driving the time Line up now? As you can see, we have six audio trucks. That's perfect. So we will drag the right channel down more. And the right channel and left channel of audio one are the exact same size, which makes it really easy toe eyeball, where you need that right town to go. There you go. They line up perfectly, so you know that they will be in sync. Another option that I love and Premier is the snap option. It's right here. The shortcut for that is pushing s on your keyboard. So the great thing about Snap is with it on, I'll just show you as we're moving this right channel audio. When we get close toe where the cursor is, it will snap directly to where that cursor is. It makes it very easy to line up things if we turned it off so I've pushed s to turn it off . You can see it's off now because it's not highlighted in blue. And we move this around. It doesn't snap where that cursor is. Which leaves me guessing. See, I thought I was right, But I was a little bit off, so I have to move it over a little bit more, so I prefer to keep snap on. Always someone push us again. You can see that it's on perfect. Now that we have the first clip, sync up, Let's get the other one sync up. I'm gonna speed up this portion of the recording because you get the idea of how to sink this now, and you can follow along as well. One thing to know if you want to zoom into your timeline on a specific spot, I want to zoom in right here. You have to move the cursor, which is this blue line here to your next destination on the time line. If not, I'll show you. I'm gonna push the plus button on the timeline. Premier Pro will automatically zoom into wherever the closer is. So let's push the minus buttons to zoom back out, move the cursor to this next clip and now pushed the plus button to zoom in will move that over. Okay. I can also add both the right channel and left channel to the timeline and highlight the clip and both audio channels, right. Click, push, synchronized, audios checked and push. Okay, All right. Now that we have all of the audio sync up, I am going to just get rid of the negative space in between each clips. By highlighting the negative space and pushing delete on my keyboard, I'm gonna scrub over to the very beginning of the timeline here and push the plus button. I know that the left channel of audio, for the most part, is three audio that we want to work with. That's the audio that, when it was recorded, was set to the ideal decibel level for recording. We will only use the right channel audio, which is on tracks five and six if we peaked anywhere in the Left Channel audio. So let's mute these top two tracks that earthy camera audio guide and will mute tracks five and six so that we can Onley here and are going to only be working with the left General Audio For the time being. That is the fastest way to sink your audio within Premiere Pro. And in the next lesson, we're going to look at how to flip and size the four K images that we have here in our dialogue sequence, as well as trimming out and choosing which dialogue parts we like most for our project. 7. Rotating and Scaling Clips: in this lesson, we're going to look at trimming the dialogue cliffs as well as choosing which parts of the dialogue clips we'd like to use in our edit. We're also going to learn how to size and work with four K clips in the 1920 by 10 80 timeline. The reason we are using a 1920 by 10 80 timeline is because we're going to export the final video once it's complete in 1920 by 10 80 we're going to take advantage of the four K clips by having the ability to punch in and out of them and essentially get a few different angles out of one clip. This gives us lots of great options, and you'll also notice, as we go through this edit that some of the footage is upside down. It's upside down because the camera operator, in some instances finds it more comfortable to film longer dialogue pieces with Hiss equipment upside down. It's easier on his body, and that's no problem at all. For us. It's very easy to flip the footage in the right direction. So first, let's click on this clip here the number 12 clip, and we'll go up to scale here in the effects control and type in 50 so that the sizing goes down to 50% of what it initially is. And as you can see here, this is the entire clip in its whole. The next thing we're going to do is go to rotation here and type in 1 80 There we go. That flip the clip. 180 degrees. Let's go to the next clip here. 34. We will do the same thing. So we'll put the scale to 50 rotation to 1 80 Great will go to the next clip. So instead of manually doing this to each clip, I can also go to the previous clip. I can right click and select Copy. Now I can go into this clip highlighted right click and paste attributes. So I'm going to select motion and push. Okay, Perfect. Let's go to clip 42 Select. It will go over here, paste the attributes again, making sure motion is checked. Great. We'll go over the cliff 43. Do the same thing, paste the attributes and we'll do the same thing in Clip 44. Okay, so let's go to the beginning of the timeline, and we will scroll through so that we can cut the unusable hearts of this clip off. So I'm going Teoh, push C, which is a short cut for cut. And I'm going to cuts all of these audio tracks as well as the footage highlighted and delete it. I know this is where we want to begin. So let's now start here by pushing the space bar. Welcome to Beautiful Nelson, British Columbia, where people come for a visit and end up buying a home. This place offers everything from incredible ski and snowboarding mountains to the best local beer you'll ever try. Come check it out with me. This is truly one of the best hidden gems in the world. Okay, so I've pushed Space Bar to stop there. So as we go through this edit, if we choose to use the keyboard command C and individually cut every single track like we've been doing, that will be quite time consuming. So I'm going to create my own keyboard. Four cuts for cutting multiple clips. So any clip that has the track highlighted, as you can see here in blue, as long as that tracks not locked like so. So as long as that track is available to edit with the keyboard shortcut that we're going to create, we will be able to cut multiple tracks at once. And in premier, that is not known as cutting. It is known as adding, and at that point, so let's go up to Premier Pro Sisi here. Go to keyboard shortcuts and we will search. Add at it. As you can see here at Ed, it does not have a short cut, so let's create one. I've double clicked here where it's a short cut, and now it's going to allow me to type. So I'm gonna hold down the altar option key on my Mac and V. As you can see here, that is the short cut that's now going to be applied for adding and edit. So any time I push also or option B that will add and edit, let's push. Okay, so let's go over to a new point push down Ultra Option and V. And as you can see, I'll move my cursor over that's created a slice or in edit point in all of these tracks. In the next lesson, I'm going to show you a really cool tool that I absolutely love in Premiere Pro 8. How to Change the Label Colors: one thing to note, I have customized my label colors so they may show up differently in your premiere pro. If you'd like to create custom label colors, you can go up to Premier Pro Sisi. Click on that, go into preferences and label colors. Click on label colors. And as you can see here, I have customized my label colors. I've got orange, aqua, green, lavender and so on, and you can change the names of your labels. So let's say that you are choosing your selects. So your best footage and you wanted the best footage to be highlighted in red. You could go here and type in best on in blue. You could type in good. You could take in gray, not usable and so on. You could also go into the color by double clicking it, and you can drag this eyedropper around to choose Theo exact color that you want for each label. I'm gonna push, cancel and cancel here as well. So that's how you can create your custom colors for labeling your footage 9. How to Choose Dialogue Selects: and now we're going to sort through each of these clips and pick selects when I have found a clip that I'm happy with. I highlighted in bread. You can choose whichever colors work for you to do this, or you can follow along with mine. We will start from the beginning, and I'll push the space bar on my keyboard. Welcome to Beautiful Nelson, British Columbia, where people come for a visit and end up buying a home. This place offers everything from incredible ski and snowboarding mountains to the best local beer you'll ever try. Come check it out with me. This is truly one of the best hidden gems in the world. Welcome to Beautiful Nelson, British Columbia, where people come for visit and end up buying a home. This place offers everything from incredible ski and snowboarding hills to the best local beer you're ever going to try. Let's go explore this beautiful hidden gem. Okay, so between those two are like the's second take more. So I've just hit the plus sign on my keyboard to zoom in, and I am going to highlight this part of the clip here with the footage and everything right click go upto label and choose Red. By doing so, I've indicated that this is the clip that I would like to use in my edit. Okay, so if I pushed down the down arrow key on my keyboard, it will take me to the next edit point. The waterfront here in Nelson BC is absolutely stunning, with views of the magnificent Courtney Lake and Bob the Big Orange Bridge. This is a place that you'll want to stop and take photos. The park is beautiful, and you could take long strolls and the beaches sandy and great for swimming in the summer . The waterfront and Nelson is stunning, with views of beautiful Cooney Lake and Bob the Big Orange Bridge. It's really a magnificent sight. The park is beautiful, great for playing with kids or taking a stroll by and the water and beach in the summer is a great place to swim. So out of those two takes, I liked the delivery more in the first take. I thought it sounded a lot more natural, and I liked the choice of descriptive words more in the first take. So I'm going to highlight the first take of that clip and right click. Good label and choose red. Now we will continue on. I'm gonna hit space Bar my keyboard. If you don't have time to hike up to Pulpit Rock to get a beautiful view of Nelson BC, then your best bet is to come to Gyro Park. This place is very easy to access by road. There's a parking lot, and it's a two minute walk into this beautiful view point. There are also lots of trails and bridges as well as beautiful benches to take a seat, enjoy the scenery, read a book and really experience Nelson bc. Okay, so we've got the one take of the Gyro Park clip. I'm going to just scrub through it for a second here. Now. I don't love the hand gestures that were made right here and the facial expression, but that's OK, because we will use B roll clips to cover that up. So we will highlight this in red, pushed the down arrow on the keyboard to go to the next edit point end, pushed the space for it to continue. If your ah hiker than you will absolutely love Nelson Nelson has trails for beginners all the way up to trails that take two days to hike. But I promise you those trails offer a beautiful view. Aw, favorite amongst locals is pulpit rockets about 1/2 hour to 45 minute hike just across the Orange Bridge. And the views are absolutely stunning. If you're ah hiker, then you will absolutely love Nelson. BC Nelson offers everything from trails for beginners up to trails and hikes that take two days to get to the destination. But I promise you, when you do those hikes, the view is well worth it. Ah, favorite Nelson is Pulpit Rockets, about 1/2 hour to 45. Hike, 45 minute hike, other. The two clips. The performance in the first take was better. The speech came out properly and there were no mistakes. The second take, at the very end, had some mistakes when it came to the wording. So we are going to use the first take here. I'm gonna highlight it and put it in red to indicate that were using it. Let's go back here and just listen to that audio again because there was a bit of a pop noise close to the beginning. If you're ah hiker than you will absolutely love Nelson Nelson has trails for beginners all the way up to trails that take two days to hide. Okay, so we've got that pop noise there. So one thing that I will show you in an upcoming lesson is working a bit of audio magic. So we're actually going to take a little bit of audio from this second clip here, and we're gonna move it and replace the audio with the pop noise in the clip that's actually being used. So we're fortunate that we have the second take to grab some audio from will push the down arrow to go to the next edit push space bar. Whether you're just staying in town to enjoy beautiful Nelson BC, or you're exploring the surrounding areas the ski hills, the hiking trails or yoga retreat. There's so much to do here. This is a traveler's dream and a really hidden gem. Whether you're staying in town or exploring the area, hiking the trails, checking out the ski hill or going to a yoga retreat, there is truly so much to do here. Nelson, British Columbia is every travelers dream and a riel hidden gem. Whether you're just staying in town or exploring the surrounding area, checking out a hiking trail, the ski hill or going to a yoga retreat, there is truly so much to do here. Nelson, British Columbia. Is every travelers dream and a true hidden gem. Okay, out of those three takes, I think I like the first take most, Earl. Pretty similar. But for now, we will highlight the first taken red. And the great thing about having a dialogue sequence that is separate from your old footage sequence or a B roll sequence is that you can always go back to it. If you want to change anything, it just makes organization and the efficiency of editing very, very easy. Okay, so I'm gonna push the minus key on the keyboard to assume out. So we have these five speaking clips here that we're gonna be using in our edit. So I'm gonna go up to the project panel here, right? Click on dialogue duplicates, and let's call this rough cut. Okay, so we've got the sequence called rough cut. Let's double click on that to open it up. And it is a duplicate of the dialogue sequence. So I'm going to delete all of the clips that we aren't using. There we go, those deleted. And when I'm ready to replace any of the audio, or if I want to change any of the dialogue clips, I can always just go back into the dialogue sequence here and pick and choose the clips that currently have not been used if need be. 10. Finding Out if You Have Duplicate Clips on Your Timeline: welcome back. So we are looking at our dialogue timeline here, and I want to show you another tool in Premiere Pro that really, really comes in handy. And it is a tool that allows you to see if you have any duplicate clips on your timeline or any duplicate parts of a clip in the timeline. So let's show you that I'm going to click on the timeline panel here, and I'm going to click the minus key on my keyboard to zoom out of my timeline. So let's go to this wrench here. The timeline display settings click on it and you will see here that show duplicate frame markers is checked. What this is going to do is allow me to see if there any duplicate clips in my timeline right now they're not. But what if I highlighted this clip pushed command? See brought the cursor over here. Push come in V to paste that see? There you go. You will see that there colored lines of all of the duplicate clips and audio. This tool really comes in handy when you're working with a ton of footage. So let's say you're editing a big documentary project. And along the way, maybe you weren't as organized in your sequences and with your footage and clips, as you'd like to be. Or maybe you're editing a wedding. It could be a number of different types of edits, and especially with larger videos like Let's say, you're going to be putting together an edit of a video that's going to be an hour long. You're gonna have tons of clips in that situation. When you're working with a ton of footage and you're picking, selects and then you're moving around footage to fit in with dialogue, it can be quite easy to grab a multiple clip and not realize that you've used that clip more than once in your timeline. So using this tool makes it very obvious very quickly. If you have a duplicate clip or duplicate audiophile, I love it. I keep it on all the time and all of my edits, and I hope that you do as well because it's just one more tool that Premiere Pro offers. That makes your editing a lot more efficient 11. Create Sequence Preset: before we continue on organizing the footage so we can get started on the edit. I think it's valuable and worth me showing you how to save sequence presets because in most cases you'll be working with the same types of footage and having a sequence precept makes things way easier. So to save sequence presets in our project panel on the left here we will click on New Item click on sequence. And as you can see here, they're a bunch of presets already created for sequences. I'm just gonna close Thea Ari one there and at the bottom. We have a folder called Custom so to create a custom sequence for this project that we're working on that will be using in the next lesson. Let's go over to the setting tab and click on that. We will click on the top here on editing mode and choose custom. We'll keep the time base at 23.976 frames per second, or as most editors would call that 23.98 frames per second. Under the video tab, we will keep the frame size 1920 by 10 80. The pixel ask backed ratio will keep square pixels. Brackets won. The fields will go with no fields as it is. Display format will be 23.976 FPs time code. In the audio, we will keep the sample rate at 48,000 hertz. The display format. Audio samples. That's fine. Video previews Preview file format. I dash only MPEG. That's fine with 1920 height. 10 80 will keep composite in linear color clicked VR properties projection. None That looks good, and we're going to click on Save Preset. We will call this preset in 1920 by 10 80 23.98 And this is a preset that will be using throughout this entire course. And it's also preset that you can choose to save yourself, because in most cases as an enter likely, you will be working with 1920 by 10 any footage at 23.98 frames per second. So to save the sequence, preset will push okay, And if we drop the custom folder arrow down, you'll see that this preset is now here. We've created this In the next lesson, we will use this preset 12. How to Remove Spaces in Between Clips Quickly: All right, So now we're going to create a new sequence for all of the B roll clips. We will go in the project panel here, click on new item, click sequence and up pops the Sequent presets. So, as you can see, we're going to go with the 10 80 23.98 sequence where it says sequence name. Here we will type in B roll and we will push. Okay, we will double click on the A camp folder and we're going to click on the tab here that says video info so that it is organized by the videos Info. So by doing that, we have all of the 1920 by 10. 80 footage. First, as we scroll down to the bottom, you can see that we have the remaining four K clips at the bottom. I will scroll back up to the top of the been here, Click on clip five, hold down shift on my keyboard, go down to the bottom and click on clip 44. So they're all highlighted. I'm now going to scroll back up to the top, so I'm grabbing the first clip here, and I'm gonna dry get down by highlighting all of the clips in the A cam been and then going back to the top and dragging them down from the first top clip insurers that the organization will appear the same way. It doesn't this been as it does in the timeline, and you can check that by seeing that the first clip up here is a clip for If we go into our timeline, you can see it begins with Clip four. I will close the A camp in and next I'm going to delete all of the clips that have dialogue you can tell because they are eclipse with the wave forms. I'm deleting them because right now we're going to be focusing on the beat role, so highlighted and will delete those. And before we move forward with scaling down the four K clips and choosing selects, I'm gonna show you a tool that I use often in Premiere Pro that I absolutely love. And it is called Ripple Delete. The Ripple delete tool is great because it's very quickly removes all of the empty or negative space in between your clips. So what we're gonna do is in the project panel here. Click on new item. We will go down to color and click on that push. OK, in this window that's popped up. And as you can see, the color that selected is black. That's fine. We'll push. Okay, we will choose a name for this new man. We'll call it Black Push. Okay. Next, we will drag down this color Matt on to the V to track. I'm going to put my cursor close to that new color, Matt, and push the plus key on my keyboard. Okay. I've made sure that this color Matt is all the way at the very beginning of the sequence and it's aligned with the first clip. I'm gonna push them minus on my keyboard and you'll see that this little red tool comes up while I have the black color Matt highlighted. This is going to allow me to drag the color Matt all the way out and you want to drag. It passed this last clip so it kind of hangs over the end there. Next, we will highlight all of the clips on the V. A. Track one dragged them up to video drug to where the black mat is, while they're still highlighted, we will drive him back down to be one. And now we're gonna highlight the mat on the attract to once it's highlighted. Right? Click on that and go up to ripple. Delete. And there we go that has removed all of the negative space in between each of these clips. That's how you use ripple Delete to get rid of empty space is quickly on your timeline. In the next lesson, we will look at how to scale Fourcade clips, and we will choose our select clips for this video at it. 13. Working with 4K Clips in a 1080 Timeline: all right, We're in the B roll sequence, as you can see, because the title is B. Roll up here on the timeline. What we're now going to do is scale all of our clips that are four K clips. In the last lesson, we organized the clips in the camp folder, starting with the 1920 by 10 80 footage and ending with the four cake footage. So as we look on the timeline and scrub through the majority of clips at the beginning, and most of the clips on the timeline are 1920 by 10 80 as we zoom in close to the end of the timeline will assume that this first clip is four K weaken. Double check that in a few ways. First, I'm going to right click on Clip one here, and I will go to reveal in Project. Click on that. As you can see, the project panel here it is highlighted that clip and revealed it. So let's just drag this panel over here, and sure enough, when you check out the video info, this, in fact, is the 1st 4 K clip in the timeline. You can tell because it's 38 40 by 2160 and the one before it and all the way up is 1920 by 10. 80. So I know that clip one. I'm going to just push minus on the keyboard all the way to this last clip. Here in the timeline are four K. What I'll do is wild Clip One is highlighted on the timeline. I'm gonna go to the Effect control panel, click on scale and when a type over 100. So I'm gonna take 50 click away, and that has scaled down this clip 50%. This is the scale size we will be working with for all of the four quick clips. So we've scaled them down 50% of the original size so that we can see the entire clip in our 10 80 timeline. And the great thing about shooting in four K. But editing in a 10 80 timeline is that you can choose to punch in or out of any of these four K clips while still having very high quality footage. The next thing I'm gonna do is now that we have a clip, one scales 50% of the right click on it. Push, copy. I'm gonna push the minus key on the keyboard. Highly. The remaining clips that in over four K with them highlighted. All right, click on one and push paste attributes. Currently, paste attributes does not have anything checked. I'm going to check in video attributes motion with that checked push. OK, and as I scrub through here now, you can see that all of the four key clips have been brought down to a scale off 50. You'll also notice that some of the clips are upside down. There aren't too many that are upside down, so we will manually change. The few that are Clip nine needs to be rotated cause it's upside down. So I've clicked on it, highlighted it, go into the effects control, go to rotation and type in 1 80 so that we flip it won 80 degrees. Let's continue scrolling through the clips Here. Clip 37 needs to be flipped again, going to rotation type of 1 80 We've got it flipped. 39 needs to be flipped 180 degrees, and so does clip 40. So that is scaling clip sizes and rotating clips, and the next lesson we're going to choose selects 14. How to Think Like an Editor When Choosing Selects: Hi, everyone. Welcome back in this section, we're going to choose our selects from R B roll selects are the part of each clip that you like and you would like to possibly use in your final edit. If you have multiple clips, you would choose your select based on the best take out of each clip. You can also choose your selects based on the story that's going to be told. So I will show you my choice intellects for the first few clips I encourage you to on your own, choose the best parts and your favorite part of each clip. Make sure you use each clip in this project and later on as we're putting our edit together , if you want your select to be exactly in the same start and stop time that I've chosen my selects to be in, then there's a tool. But I'm gonna show you later on that you can do just that in. So for now, I encourage you to pick your favorite parts of each select, so I will bring the cursor to the very front of the timeline here pushed plus on the keyboard to zoom in. I'm gonna push the space bar on the keyboard to play. And I like this clip. It is a slow and steady clip. I'm gonna watch it all the way through. And it looks pretty great until the end, where the camera drops down so we'll just scrub back. I like to help begun. We'll cut it around there. So I'm gonna push option V to cut bat, and then I will bring the clip. The part of the clipped I've selected on to the track V two Can't Let's start at the next clip this grub through here. Okay, I, like have this clip looks up until it starts to go into the darker green trees. So I will push Option V with my cursor there and bring that up. All right, Now I'm gonna speed the video up so you can go along and choose your selects like I'm doing . And when we've chosen off our selects, we're going to highlight them all in red. Also remember that for the four K clips, we have the option to punch into those clips to get a closer shot. So, in this clip here, this is a very wide shot showing the Orange Bridge, which is a well known bridge in Nelson BC. We also have the tip of the Kokanee Glacier right here. So I may want to in the edit zoom into this to get a closer shot. I'll show you that quickly just to give you an idea of the possibilities that we have in the edit. So I'll go up to affect controls scale and type in 100. Okay, so that's how close we can go into this footage without the end result looking blurry or low quality. So that just gives you an idea of what we have toe work with. Let's push command Z to undo that. Zoom in and we will continue on with our selects. Okay, so now that we have all of our selects of each clip on the video track to, I'm going to highlight all of them, right, click on one go upto label and choose Red. I'm gonna close the A K M folder there. Put this beer a folder into the sequences folder, and I'm going to duplicate the dialogue sequence next. So push duplicate. Let's call this rough cut while we're still in the B roll sequence. Let's highlight all of the red Select clips and push command See on a Mac to copy them. Now we will double click on the rough cut sequence. This is a duplicate of the selected dialogue clips I'm going to highlight and delete the parts of the dialogue that we are not going to be working with. I'll drag down the audio, and sometimes you'll see the one the view, one track or some of the audio tracks will get hidden as your dragging up and down your audio. So to correct that over here on the right of the timeline and just drag that circle up and down so that you can see it again. Okay, I'm going to click on the V to track. So it's highlighted in blue and unclipped the V one track so that when I push command V to paste the selects, they don't go on the V one track, but rather they go on the to track. I also want to clear the in and out, which we're gonna look at the in and out more later. But for now, let's just right click in that area and push clear in and out Okay. Perfect. And one more thing that I want to do is just get rid of all of this negative space in between the selects. So we're gonna drag the audio down. We will bring our black matte onto the video track three, drag it out above these. Selects. You want to make sure that each end is either directly lined up to your first clip or slightly to the left of your first clip, and the same goes for the last clip. You want this, Matt, too? Be slightly hanging. I'll use the term hanging over the last clip that you wanted have before you use the ripple delete tool. Okay, so that's good timing. Highlight all of these B roll clips, Bring them up into the map. Bring them back down. Now we're gonna highlight the track three Matt here. Right Click on that and go up to ripple, delete and click that. There we go. We've gotten rid of all of the negative space in between each of those selects in the next lesson, we're going to move the select clips that go with each part of the dialogue. So first, we're gonna get very organized with our edits and we're gonna start placing clips in certain places. And then as we go, we will start refining the edit, adding some creativity and making this video that we're working on together fantastic. 15. How to Work with Audio Tracks: Welcome back. We're looking at a rough cut sequence, and the first thing that I'm gonna do is remove the guide audio tracks because we're not gonna be using them at all now that her audio sync up with our dialogue clips. So I'm going to bring the cursor onto the timeline and just push the plus button on the keyboard here. As you can see, these 1st 2 tracks a one and a two are the guide audio that come with the camera. We are going to remove those. So I'm going to right click on the audio one track and click delete track and all of the audio tracks below that bumped up. So again you can see there's still one more audio track of guide audio, the audio that came with the camera. You can tell that because this footage LaPierre's has 12 dot mp four and this audio track underneath says the same thing. So again, we're going to right click on audio one track and click on delete track. So for the most part, we're going to be working with the audio al track. We're going to keep the audio right track, which is the audio that was recorded at minus 12 decibels lower. We're going to keep that on mute and only use it if we need to. In case are left Channel track peaked for any reason. 16. Sorting Clips Effectively: So now to get ourselves really organized for our edit, we're going to group together. The B roll selects with each dialogue segment. We do have, ah, voiceover element that we're going to be adding to this edit. So let's import that now. I'm going to right click in the project panel, click on Import in our Nelson folder. We're going to click on the voiceover folder and push import. Excellent. I will hit the drop down menu there, and we have an MP three that we will now bring onto the timeline. The first thing I'm gonna do is hit Am I Mac keyboard. That brings this tool that when I click on a clip, will highlight everything and allow me to drag it over to the right of it. So if I click here, you'll see everything to the right of this double arrow tool is highlighted, and that's another tool that's really useful when you're editing, I'm going to push V on the keyboard to go back to our select tool, and I will drag down this voice over onto the timeline, feel free at any point in this course to pause a lesson and listen to the dialogue again so that you've got it in your head and you've got a feel for what kind of clips were looking for. Or if you need to posit for any other reason than that is a okay. And in fact, it's encouraged in future lessons. We will play out the audio and all of the dialogue, but for now I will give you a quick overview of what this voiceover says. It's intended to go with the beginning of this edit, and it talks about how the town of Nelson is tucked away in the Selkirk Mountains. So first, we're going to find the B roll clips that go with what is being said in that dialogue. In this lesson, you are going to be seeing, and you can choose to fall along with my decisions as to where I'm deciding to place certain B roll clips with certain dialogue clip. So this is going to give you an idea as to how an editor will make decisions when it comes to grouping bureau clips in certain areas. If you start to find yourself getting confused with following along with where clips are being placed, don't worry, too much because closer to the end of the lesson, we are going to do a recap where I am gonna let you know. For example, bring clips. 123456 under this marker in this area. And at that time, I encourage you if you are following along to recap and make sure that you have all of your Bible clips in the order that I mentioned, or at that point you can decide to drag the B roll clips where I recap and tell you that they need to be. I've also provided a downloadable PdF in the resources so that if you want to see which B roll cliffs are what you can refer to it. So let's get started here. Those 1st 4 1920 by 10 Eclipse our thesis. Al Kirk Mountains and they go with this voice over. So I've highlighted them and dragged them over top of the voice over those air clips. 456 and seven. I'm going to push am a keyboard and drag over that dialogue more to the right. We will continue scrolling through our B roll. These next three clips of B roll 8 10 and 13 are going to be used to show a glimpse of the town of Nelson before the host starts talking about the details and more specific things of the town. So I will highlight those three clips and pull them over. I will put them beside the Selkirk Mountain clips for now. Again, I'm going to push am a keyboard and drag this dialogue over because I'm looking to basically make groups with a little bit of space in between each of the barrel clips and the dialogue. So let's continue scanning through the B roll. I'm not sure what I'll do with these next few clips, but I see here we've got some hiking clips, so I'm gonna just drag 17 down onto the V one track. So I remember that's the first of these clips I want to use will continue scrolling through these next four clips. 17 18 1920 are clips of hiking this clip here. Number 19 is Pulpit Rock that is the destination that the host talks about hiking, too, so that will go along with the hiking clips and clip. 20 is the view from Pulpit Rock, so these four clips go together, I'll just bring 17 back upon V two. Highlight those four clips. Push Command X on my keyboard. The force clip with dial of on it is talking about pulpit rock and hiking, so I'm going to highlight and drag these three dialogue clips over. As you can see, I've got V to track highlighted in blue and not the V one track so I can push Command V on my keyboard so that those clips go over the hiking footage. And when a drag this fifth dialogue clip over more, that's great. We will continue scrubbing through this footage. Clip 24 is a shot of the viewpoint from Gyro Park, which is another place that the host talks about. So let's scan through these three clips 24 25 26 R B roll shots of Gyro Park, so I'm gonna just move 24 backup Highlight 24 25 26. Push Command X and I will hover over the dialogue that is associated with Gyro Park, which is the third dialogue clip in its right here. And I'm gonna push command V to paste those three B roll clips that associate with gyro park right there. I will highlight that grouping and just move it over. But we will continue scrolling through our B roll. 29 30 41. Those three clips are Lakeside Park, which is another talking point. So I'm going to hold downshifts. Holding down shift on my keyboard allows me to highlight all three of those clips. And now I'm gonna push command X on the keyboard to cut those clips. And this clip here with the bridge and the waterfront behind it also have dialogue talking about the park. So I will push command V. Let's put some more spaces in between each group. Space them out a little bit. Okay? I'll go back to this first grouping, and I'm gonna move over Clips eight and onward and push command V because these mountain shots will work nicely with those first few mountain shots. Scary to the negative space there. Okay, so as we're starting to organize, it's getting a little confusing. I know this footage really well, but if you don't know the footage so well, it might be challenging to remember where everything is so another great tool that Premiere Pro has that I use often with them. Ending projects like this is the marker tool. So let's push em. And as you see, it created a marker that's all fine and dandy. But let's use this marker and take it a step farther by holding down the option key on your keyboard and now dragging that marker out. Now, we don't need to have the option key held anymore. We're gonna just drag that side of the market right as well. Next, we're gonna double click on the marker and we're gonna name it. We're gonna name each group to make it much easier to navigate and to find the clips that we need to find. So this first group, we're gonna call Selkirk Mountains and push. Okay. And just to recap, we have 45672 and three clips within Selkirk Mountain. Thes Next set of clips are shots of Nelson. For now, let's call the marker that we're gonna create Nelson views. I'll push em. Hold down, option on my keyboard, Drag this marker out, double click on it, and we'll call it Nelson views. Okay, it's scrubbing through the B roll select. I did see a few other Nelson views. So we will go back to the B roll for now because I know that we don't have a specific talking point about these bureau clips of the waterfalls and the trees in the road. We're gonna put them within Nelson views. Okay, so let's grab clips. 14 15 16. Command X and the keyboard will go over to Nelson views and push Command V. It's drag those to the left of the timeline a bit more, and we'll drive the marker to the left a bit more. Let's continue scanning through the beer. Old clip 27 is now. Some of you. I'm just going to drag that down to the V one track clip. 45. We will consider a Nelson View with the City of Nelson. Sign 46 47 will consider Nelson views 9 11 or Nelson views will drag those down to be one 38 is a very popular while own Bridge and Nelson, so we will consider that Nelson view Pull back down. Let's drag the Nelson View B roll clips that I've just brought down to be one together. Well, now highlight them. Command X. Let's move all of that footage over. No push Command V. Delete the negative space there. I'll push a again to move everything to the rate of the Nelson views over. Now I'll push Command V on my keyboard, and we'll drag this marker out more. Okay, let's go through the remaining B roll clips. 2122 23 are part of Gyro Park, which is a talking point. These clips could also be transition points, which we'll talk about more when we're putting our edit together. But for now, for the sake of organization, we will label them as Gyro Park. Highlight them. Command X. There's Gyro Park. So will push a to move everything over to the right of it. Come in, V. This first talking clip number 12 is an intro clip which also shows the host likely we're gonna have the Nelson views B roll lead into this clip. I'm gonna move it to the left for now because we don't have any specific. Be well, we're going to use right over it. We will drag over this lakeside park and beach footage. Push em hold down. Option and drag. Other marker. We're gonna call this marker. Water front. Okay, clip 28 can go over there with the waterfront. This is a really nice shot. The camera movements, beautiful on the sun flares. Lovely. The compositions. Great. So this is gonna be a clip that will probably use at the end of the video toe end it strongly, but since we're not 100% sure where we're gonna be putting it yet, we will put it with the other waterfront footage for organization purposes. Okay. And for now, the remaining B roll clips that we have been placed anywhere. We will also consider waterfront again 37 39 40. The clips showing the sailboats in the water They might be used for transitional clips from one talking point to another. But for now, we will consider them waterfront because they are. So we'll just get rid of the negative space in between. Those clips highlight the remaining bureau clips that we haven't placed anywhere. Pushed Command X, and we will push a to move this over Command X. That's drag the waterfront marker over that. This is the dialogue. Push em. Hold on. Option to strike out that marker. Double click on the marker. Call this intro dialogue. Okay. Over here to the right of the waterfront marker. Let's make another marker. Drag it out. That will click on it. It's gonna be called gyro park G Y r o for gyro. Just gonna move those clips over a little bit. The hiking clips air next. So push em. Hold down Option or Altana keyboard to drag the mark route. We'll call this hiking. Over here we have our final clip will push em option to drag that marker out. Double click on the marker. We're going to call this outro. Die along. Okay, All right. Before we move forward, let's do a quick recap of where all of the clips and the dialogue goes so that we're on the same page. All right, So, first under the Selkirk Mountains marker, we have clipped one clip for 567 two and three Underneath that on the audio tracks, we have the Nelson voiceover Underneath the Nelson views marker. We have clips 8 10 13 14 15 16 27 45 46 47 nine, 11 and 38. The third marker on her timeline is the intro dialogue this is clip 12. Next marker is called Waterfront. We have the dialogue clip 34 and R B roll clips are 29 30 41 28 32 48 49 50 37 39. Under the Gyro Park marker, we have the dialogue clip 36 the bureau clips 24 25 26 2122 23. Remember, for moving too fast, pause and go back and review. And we also have the downloadable pdf in the resources folder that you can follow along with, just to make sure you're on the same page with where the clips are organized and where they've been placed. Currently moving along under the hiking marker, we have the dialogue clip 42 B roll clips 17 18 19 and 20. And finally we have clip 44 which is the dialogue Peace under the Outro dialogue. Okay, so you know what? We've called the sequence rough cut, but this isn't actually the rough cut. We've organized all of the footage, all of the selects, and we've labeled all of them, so we know what they all are now, But we aren't going to create our rough cut in this sequence. So let's go up to the project panel drop down sequence. We will double click on the rough cut sequence, and we're gonna change the name of this. We're gonna call this organized, selects Click off that. Okay, so now, as we're creating our edit, if we ever need to go back and reference any of the select clips, we can do so by referencing this sequence. So not only for creative purposes, but to really get in the flow of an edit. I love editing to music. So in the next lesson, we're going to learn about where to get your music from how to use it and how to choose it . 17. Finding the Best Royalty Free Music For Your Video Edit: when you're choosing music for and edit, you want to consider how you want the audience to feel when they're watching your video. If you're creating a video for a client, you, of course, also have to consider the feel the style and the brand of the client's company or services as well and keeping the client in mind. But also keeping in mind the point of the video you're creating and the audience will make for a great edit and four great music choices in the particular edit that we're working on its featuring a small town in the middle of mountains. It's got a wilderness nature. I sort of feel there's adventurous things to do in this town, and it's a very charming town. It's a town that many people would travel to to get away from the busy city life. So the music that's going to work while for this video edit is music. That's nay Cherie, that has a nice ambiente feel. And those were the words that we would search for. When we're choosing our music, we'd search for words like nature, ambient atmospheric. We want to stick with words that really suit the feeling that we want the video to have. And when you're choosing music for your video edits, if you're gonna be showing these videos anywhere, then you want to make sure you're getting royalty free music. And in most cases you have to purchase the music, and that purchase will come with a license. There are various licenses that accompany your royalty free music purchase. Depending on if you're gonna be showing this video on YouTube or for broadcasts and so on. For the purpose of this course, I have downloaded four previews of songs from Audio jungle dot net. This is a website. I go too often to purchase my royalty free music, and because this is a course and many people are going to be taking this course and following along, we have to stick with the preview files of the music that have the audio jungle I d. Embedded within them, which you'll hear as you're going through the music. And if you're working on a project for client, in many instances you would send them the first version of the video with the idea of music , so you would send them the first version of your video once you've completed the edit and ask them if they're happy. But the music, if they are, you would then purchase it and get the license, and then you would deliver the final product with the purchased music track. There are many websites you can go to to purchase royalty free music. My top three most visited websites for purchasing royalty free music, four video editing projects is audio jungle dot net. I go to this one often also pawned five. Pawn five has some great music options for all sorts of types of videos. I also like Premium Beat. Now all three of these websites have different rules that apply to using their royalty free music, and you have to create an account for each one of them. But they're great websites with tons of variety in the music that they have available. So I definitely recommend that you keep thes three royalty free music websites on hand or in your notes, because they are websites that I and many editors use regularly when choosing music four videos. So we will go back into Premiere Pro now and import the four audio Jungle. I did songs to get started on our rough cut go into premiere pro hair, right click in the project panel, Click on Import within our Nelson folder, we will click on the music folder and click on Import, and I'll just drop that down. So we have these four songs here that we will be working with in our edits and putting to use in the next lesson. 18. How to Put Your Editing Rough Cut Together: in this lesson, we are going to start building our rough cut building are at it. I'm gonna be doing both instructing you to follow along. I'm gonna be explaining why I'm making the choices that I'm making. And we're also gonna have moments where we listen to different parts of the music and listen to different parts of the dialogue to ensure that our clips air going in the best spot. The first thing we're gonna do in our organized selects is I'm gonna push command A to highlight all of the footage on this sequence. And now I'm gonna push command, see to copy it. Next. We're going to go to new item in the project panel. Click there. Click on sequence. We will use our custom 1920 by 10. 80 sequence and we will call this rough cut push. Okay. Gonna bring the cursor to the very front there and push command V to paste all of those clips. We're going to start our edits off with some beautiful clips of the mountains and we're going to have music playing at the beginning to establish the beautiful mountainous location. Before we start hearing the voice over so I'm going to highlight the voice over and drag it to the right for now. All right, so let's click the drop down menu Ford the Music folder here, and we will select the last music clip that is called 20378725 underscore Nature underscored by underscore aspiring Ko preview Who will drag that onto the timeline on tracks? A three and a four, and we will push the plus button on the keyboard to zoom in there with highlight this music and drag it over. So it's lined up with the beginning of the first clip here. What I like about beginning with this first clip clip number one is I like that the mountains and the lake are revealed from it looks like a tree, so I like that it actually begins with darkness, and the camera move opens up to the beautiful. Scenery will push the space burner keyboard at 6.15 seconds into this clip. You can follow along by looking at the time code to the left of the timeline. Here the camera move ends, and that's also a good time in the music to cut into next clip, so I'm going to grab the end of clip one and drag it over. Let's move. Clip four over and we'll start from a few seconds back on. Clip one and continue along. I don't actually like that clip. Next. There's a particular clip I'm looking for. I believe it's clipped to Yep, it is. So money. Grab two and move it over to the right of Clip One will drag these other clips to the rate and bring clip to down. I, like clip to going after Clip one, because clip to is a second shot of this area from the first shot. So let's continue going to just scrub through here to a point that I like will drag that part of clip to down and bring it beside clip one. So at 10.3 seconds in, I will end the clip there. Next will drag clip three over the side clip to push plus on the keyboard to zoom in and I'm gonna scrub through here. I think the clip will actually begin nicely here, so we just have a little bit of this land on the left, showing in a drag in that clip. So it begins right there. Move that on two V two audio junk and we will stop this clip where the music beat kicked in at 16.15. It's nice to put 2 to 3 shots together when you're establishing a landscape. So we have these three clips, clips 12 and three all together to establish this beautiful location. And now we're going to add some other clips of a more rugged terrain within the Selkirk Mountains. So we'll move. Clip four over, and I'm going Teoh, scrub through that. Okay, I like seeing both this mountain full of trees on the right and this no filled mountain in the frame. So I'm going to start clip for their drag it beside clip three way, and we will end that clip where the music again kicks in here at 23.4 seconds in will move , clip five over. And I like seeing this tree here framed on the right so we can see the mountain in the background here, as well as the beginning of this mountain here. So I'm gonna drag that particle it five over and clipped five will begin their We will drag that beside clip for and again where the music kicked in, We will end the clip. Remember, if you want to follow along with the exact timing, you can look at my time code on the left of the timeline here and make sure it's the same as your time code. We will bring clips six and 7/2 5 I'd like to see the beginning of this clip. Start with the tree lined up where the rule of thirds are. If you're not sure what the rule of thirds are, imagine a grid placed over this clip, so it would be a line here. A line here, two lines here we'll move. Clip 62 left. What? He jumped. I really like how this shot reveals the white tip of the mountain. Here we will dried clip seven over to where the cursor is at 36.8 seconds in clip seven will begin with the white crowd here, shown in the frame but almost out of the frame. So ah, well drag clip seven sort Search their bring up aside Clip six and the camera movement stops there, which works out perfectly. That's where we will ended at 40.10 seconds in. Okay, so now that we have those clips lined up, I'm going to move the voice over under a few of them. It begins by talking about the Selkirk Mountains so it would be appropriate to have the dialogue begin while the Selkirk Mountains are shown, so will highlight the dialogue and drag it over. So it's starting underneath some of these bureau clips. We will zoom into the timeline, and I'm going to just scrub over. What do you Jim? We will start the dialogue clip lined up with clip five, and we need to have the music become quieter when the voiceover starts in. So I'm going to drag up. The audio here will drag a three track wider and push the plus button on the keyboard to zoom in. I'm gonna push pee on my keyboard for the pen tool at this point in the wave form slightly before where the dialogue starts, I'm gonna push on the line here to create a point. And a few seconds after the audio of the dialogue has started, I will put a second pen point on the music truck. Now I'm going to push V to hit the select tool and drag this point down Tu minus 2121. Let's mute the second track of the audio for second and just listen to that. See if it's on smooth the way will actually bring this second point up to minus 17 69 and will highlight the dialogue. Trim it a bit so that we can see it begins closer to when the speaking starts and we will also move the dialogue over so it again is lined up with Clip five. Let's play that back tucked away in the untouched. Okay, we will drag the point on audio Track three. The second point up to minus 15.19. Let's drag audio three. Track up, drag out Audio four. Track a muted. And now with audio truck three highlighted, we're gonna right click on that. Click on copy. We will highlight audio truck for right click and push paste so that both sides of this stereo track have the exact same effect on it. Okay, we will move our your four back up and we will drag the audio in the tumbling down. I'm going to shorten these few clips here. 56 and seven. So we'll play it through again. Away in the untouched Selkirk Mountains in southern British Columbia, Canada. I'm in a drag clip. Six over to 29 03 Canada, halfway between Calgary and Vancouver. Okay, as soon as the dialogue finishes saying halfway in between Calgary and Vancouver, I will have clips seven. Begin Queen Calgary and Vancouver you will find. Now I want to find the clip that shows the sign of Nelson. I would be a perfect clip to transition smoothly into clips of Nelson itself. So will push the minus cuma keyboard. And I remember that this chunk of clips has the Nelson views and their that clip is clipped . 45 So highlighted. Push Command X on the keyboard. Bring the cursor over to that B roll. I'm going to turn on the V to track and turn off the V one track and command V. Let's play that back. Agree Vancouver. You will find the picturesque city of Nelson known as the prettiest telling Canada. Okay, you know what? I'm not sure if I like clips seven there, so I'm gonna highlight it and drag it to the right. I'm gonna move. Clip 45. Besides clips 63 in Vancouver, you will find the picturesque. Okay, we'll move. Clip 45 over, and we'll drag six back out. Okay, So as soon as the dialogue finishes saying City of Nelson, I want that sun flare to show up. So we need to just scrub through this a bit. I'm going to drag that clip shorter. And where the cursor is is where this sunflower begins. So I'm going to put my select tool over the cursor and now drag it to the left. Let's drag clip 45 shorter. And now we want to find a clip of Nelson that is picturesque. So we will go to the views of Nelson. Okay, I think we'll take clip eight. So we'll move. Clip eight to the left. Zoom in. Let's move this clip to the right. Bring down Clip eight. Known as the prettiest tell in Canada. Framed five. I'm gonna grab clips 45 8 tiling them both and move them to the left. A little bit halfway between Calgary and Vancouver, you will find the picturesque city of Nelson. Okay, we'll move. Clip eight over so that it begins around the time the next part of the dialogue begins. City of Nelson, known as the prettiest town in Canada. Frames five. Okay, we will cut, clip, ate their delete the rest of it go through the Nelson views footage again, and we'll highlight Clip nine. Push Command X. Bring the cursor over toe. Wear worse during, or edit and push command V. We'll bring clip nine beside clip eight framed by rugged terrain, including the famous Kokanee Glacier. So I want to actually have this clip begin closer to this middle point. So I'm gonna go to write and grab this lip tool. I'm gonna click on it. You can see him blue. It's now in use and where the cursor is, I'm going to push down on my Mac and drag the slip tool to the end of the clip that has dragged the footage over while keeping the clip the same size. So let's push V, so we have select tool and play that through again brains by rugged terrain, including the famous Kokanee glacier. Okay, I like how clip nine is now, so we'll drag it shorter. Okay? And this is a four K clip you can tell because its scale to 50 instead of 100. So because the dialogue is mentioning the Kokanee Glacier and this is the Kokanee Glacier, we're actually going to zoom in to 100% on this clip. So where it's a scale will type in 100. Click off that. And now that we've scaled in, we're actually gonna move the position over now. So where it says 9 60 we will have her over and we will drag that to the right. It's just type in 15 45. Okay, let's play that out. Rugged to rein, including the famous Kokanee Glacier. Okay, that works will grab Clip 10 and drag it over this town's stunning landscape and many restored heritage buildings. Clip 10 is beautiful, but it's moving very slowly. It was filmed in Slow Mo. I'm going to with the clip highlight right click on it, and I'm going to go to speed duration so we'll click speed duration, where it says speed, it is playing out at 100%. Right now. Let's type in 1 80 push. Okay, now let's play that back. This town's stunning landscape and many restored heritage buildings. Okay, so we've hit the space bar to pause their bat speed Looks pretty good. So we will drag that clip down. So it ends at 0.15 seconds and we will continue working on this project in the next lesson . 19. How to Edit with Music and Transitions to Make Your Video Better: All right, So now that we're getting into the rhythm and the flow of putting this edit together, we're going to continue placing the clips in order of where they fit best. We're gonna pay attention to the music and the beat of the music. So we cut our clips on the beat. And once we have all of these clips laid down, we're going to go back over them to fine tune them and to adjust them so that we're getting the best part of each clip shown for our video. Okay, I lack over them to clip 13 years. I'm gonna push see on my keyboard and cut that beginning part. Drag it over to show up next in our sequence. Okay, Just after the voiceover says, And I will begin Clip 13. And many restored heritage buildings. Give it the look and feel. Okay, so we will end this clip when the voiceover says feel and because the prior clip in this sequence clip 10. The camera move is going from right to left. I want to change up the camera direction in clip 13. Currently, it is also going from right to left. Let's right click on this clip, we'll go into speed duration and we're going to reverse speed with that. Checked will push. OK, now the clip is going to play from end to beginning instead of beginning to end. Told to show you that and many restored heritage buildings give it the look and feel of great. We will continue on. We will grab Clip 46 move that over. I will trim that clip and drag it over. Okay, will end the clip there, grab my slipped tool and moved this clip over just a bit. Will push V to choose her select tool. Now, in this edit, we will introduce the host. And remember, we have four audio tracks underneath the shot of the host, so we're going to move these two tracks of music down will drag them down once. Let's just move the audio up here and we will right click on the audio tracks and add a track now because I'm going to be using the A command a lot to highlight a bunch of clips that once moved them over. I don't want to accidentally try to move over a bunch of clips using the eight command and drag the music by mistaken when push command Z to undo that. So let's zoom out under timeline. As you can see currently, this music is on tracks five and six and we don't have any other audio on that track, so I'm gonna actually lock those two tracks. That way, if I push a and I move everything over, push Command Z to undo that it will not affect the locked tracks. Okay, So, open V to choose this electoral, I'll zoom back in here and I will bring over the first dialogue clip which is here. So we will drag that with the audio over to our edit. We will bring the cursor to Reddit, zoom back in on the timeline, and we're gonna have the voice of the host heard while Clip 46 is still playing. So we're gonna actually move this over a little bit. We'll leave a few seconds of space in between the voiceover and the host dialogue. You can see with the way forms here that we need to move this clip over a little bit. Another way to do that, besides dragging it on, the timeline is to hold down command and with command held down on your keyboard, push the right arrow key and that will nudge the highlighted clip over. When the host mentions people come for a visit and end up buying home, we will put a shot that features and homes. So let's go back to our footage here. Let's go to clip 47 we will have thes two white houses on the edge of frame. That's how we will end the clip. So I've just dragged the clip down in size. Will drag clip 47 over the dialogue, bring the cursor there and move this over. And I like the clips starting at this point where you see Cocchi Mountain and you also see rooftops of houses, so I will drag that clip down. Now I drag it to the left, so it's right beside Clip 46. Okay, we will bring that clip down in size. We will let the host be seen on camera from here to here. When the dialogue says, Let's explore this hidden gem, which you can tell is right here in the dialogue. There's a pause for a second or so and then so what? That part will bring the cursor back there. That's where we're going to show another clip. And we're also going to transition the current music that's being played into a more upbeat song. So as this video is viewed, when it is all complete, it will feel like a natural transition. You'll see what I mean. As we go, we'll bring Clip 13 over. Zoom back in and we will have this clip start. So I'm gonna just drive, clip down where the sun flare here kicks in. We'll just drag that over the dialogue. Okay, so we will cut that clip there. Let's open up our music folder in our project panel and we will bring down the clip that is called 20354828 underscore acoustic dash up lifting. We'll drag that down onto audio tracks three and four. For now. Let's move this audio up, and we're gonna right click in these audio tracks and click on Add tracks will push zero for the ad video tracks and for add audio tracks will push to okay, so two more audio tracks have been created will highlight the new music and drag it down to track seven and eight will now move it over. Assuming here. So it starts to begin right where the next B roll clip shows. I'm going to bring the cursor right up to the beginning of the track and I'm gonna hold down command shift D on my keyboard that has created audio fades here. And when I unlock tracks five and six I'll push see on the keyboard and cut the remainder of the first audio track Highlight and delete. Let's go over to the left here and click on a one and a six. So all six of these audio tracks are in blue with our cursor at the end of all of these audio tracks, I'm going to again push command shifty and we've created fades over all parts of the audio . I'm going to just drag those fades so that their smaller the to music tracks were actually leave the fates longer. We're gonna drag them out more all the way to where this next music track begins and we're gonna drag the fades on Are the trucks seven and eight all the way to where this music track ends? So I'm gonna zoom out on the timeline. Let's just have a listen to that. Let's go for it. Okay. So that transitions nicely. But of course, we have to bring down the new music in volume. So I'll drag audio truck seven out, zoom in a bit more. Push p, and we will put a point, their in the music. So where the dialogue ends above and pen point here, and we'll just drag that all the way to zero. Push V on this first highlighted music track on track, a seven will push copy. Well, now, highlight already. Truck eight and push paste attributes. And the audio attributes volume, channel volume and pander will be pasted. So push okay, we'll move a seven up, bring a seven down, and as you can see, they were pasted. Now, let's have a listen again. EST local beer You're ever gonna try. Let's go score. Okay, I'm gonna drag this down, and as we zoom in and look at the dialogue, I don't want the pause in dialogue to be that long. There is a second or two of a positive now, so I'm gonna push, see on the keyboard and cut a one a two a three a four and clip 12 right before the wave form shows the dialogue, picking up again next time in a highlight that part of Clip 12 and bring it over much closer to where the dialogue here ends and you can see in the way form that ends there. So let's have a listen again. Best local beer you're ever gonna try. Let's go explore this with that still highlighted pushed command and will push the right arrow on a keyboard to move it over four spots and we'll drag that back out. Let's have a listen again. We're gonna try. Let's go. Okay, we need to move the audio, track up the music. Still a little loud. So let's grab this point on track a eight and we'll move it over more toe where this point is here. Let's push copy, and we will paste the attributes on track. A seven. Yep. There we go and have a listen again. Let's go for this. Okay, that works for now. We can make final adjustments leader on its drag. All your truck ate up and we'll drag all of the audio down. Now we're actually going to lock tracks, eight a seven, a six and a five. They'll move around, and we will continue working on this edit with the more upbeat music in the next lesson. 20. A Deeper Look at Dialogue : all right, we're going to continue working on our rough cuts. Now we have the more upbeat music beginning. We're just gonna zoom in on the timeline here. So we started the host dialogue off by seeing her say, Welcome to Nelson Talking a little bit about it. The next major feature in Nelson that we're going to show dialogue of is going to be the hiking trails. Hiking is a huge part of this town's culture. People come from near and far to go to this town to hike these beautiful mountain and hiking trails. So we're going to use a few transitional clips leading up to the hiking clips. And then we will get into the host talking about the hiking trails and some of the most popular hiking trails. When I say transitional clips, I mean clips that we currently have his B roll that don't have a specific part that they need to be a part of. I like to put for transitional clips toe lead up to my next talking point. I'll put wide shots of a town output shots of a road there, more neutral shots that take you from one part of an edit where in this case, one part of the town is being featured and they transition you to the next part. So I'm gonna zoom out on my timeline and we will cut clips 14 15 and 16 Command X and bring them beside Clip 13 here, man V, push command left air to nudge that over. Remove this clip seven over to write more. And now we're gonna find the host talking about the hiking trails that is clipped 42 with the dialogue will also take the remaining the role clips of hiking. Highlight those push Command X and we will push command V to paste those clip 42. I am going to drag from the V to track to the V one track. I like to keep all of my dialogue clips on the V one track and all of the B roll clips on the V two truck to stay organized. Move these remaining two clips down. Great. I'm gonna just move clips seven way out of the way. We also have a few more clips showing pulpit rock. One of the hiking points that's mentioned clips 19 and 20 so I will highlight those push Command X and with a cursor here, I'll push the up arrow my keyboard to take me right to clip 18. And let's review what we have so far from clips 13 on You're ever gonna try. Let's go explore this where the second beat kicks in in this new song we have here, Let's move, Clip 14 over to So the cut happens on the beat. We'll just play that back again. Where the beat kicks in, we move the cursor to and hugs clip 14 up against. Now we'll move. Clip 15 and 16 over and continue on zooming. Bring 16 over just a little bit so that the cut happens on the beat. And again you can see in the way form with most songs where the beat kicks in. If you want to just double check to be really accurate. So we've zoomed in right here. Where this point comes up, we will bring clip 16 to Let's zoom back out, highlight This next job could clips here, and we'll bring 42 up to there. You're now we need to bring the audio volume down because the dialogue starts so moved that up. Unlock all the attracts seven and eight. Drag this down. We'll zoom in. Let's push P. I will put a point there So a few seconds before the dialogue starts, and then we'll put another point there a few seconds into the dialogue. So push you ve on my keyboard. To bring this down will bring the volume down to minus 22.92 Let's mute eight for a second in play That back. If you're a faker than you, we will highlight a seven track push copy. Highlight the eight track and paste attributes. Make sure the audio attributes your all checked in the pace attributes window they are. So push okay and we'll a mute that bring this audio back down and we'll continue on. Let's scrub to about halfway through the dialogue part and listen on drills offer a beautiful view. Favorite amongst locals is helping rockets. Okay, we'll bring 17 and 18 over, so they're hugged up against 16. And let's play that back if you're a faker than you will absolutely love. Nelson Nelson has trails for beginners all the way up to trails that take two days to hike . I'm in a trim clip 18 a little bit more so that it ends with this pause here. So let's just play that back to hike. But I promise you, those trails offer a beautiful view. Yet that works. I like seeing the hosts at this point where the talking starts promise you those trails offer a beautiful view. I will bring 19 and 20 over as she saying a favorite amongst locals is Pulpit Rock. Actually, bring that over more again. You can see there's a space here, so I'm gonna have clipped 19. Go a little bit over her speaking at this point, let's watch that through you, would you? Ah, favorite amongst locals is pulpit rockets. About 1/2 hour to 45 minutes hike just across the Orange Bridge and the views are absolutely stunning. I'm gonna take out the part where the hosts mentions the Orange Bridge in this dialogue because she mentions it a few times throughout this video. It's a little tedious, So just across this part here I will push, see, and but just across the Orange Bridge and the views just across the Orange Bridge. Ouch. So push a V on the keyboard Highlight clip 42 in those audio tracks and pushed elite. Now I'll highly the rest of this clip and bring it over. Let's have a listen back. About 1/2 hour to 45 minutes hike and the views. Okay, that dialogue is a little too close together, so push command and the right arrow to nudge it over. Three frames drag bed out. Okay, I'm monitoring the eyeball off for a second on the V to track over here. So now it's off and you can see Cliff 42 underneath. As you can see the host, it's a little awkward on that last line because she's starting to walk away as she's still speaking. It just looks awkward. So we're fortunate that we have some of this beautiful B roll altering the eyeball back on on V two to cover that up. This is also a B roll clip of the viewpoint that would be seen if you were up at the top of Puppet Rock, so it works out perfectly. Having this is bureau clip. This clip is a little slow compared to the pace of the music, so I'm going to highlight it, going to speed duration and let's speed it up 50%. So the speeds currently 100%. Let's tape in 1 50 and push okay and watch that back. And the views are absolutely stunning, okay? And I've stopped the cursor on the next, beating the music's all just drag that bureau clip out more, zoom out, and we will continue on with a few more transition shots, leading us into the next talking point, which talks about Gyro Park. The reason we're putting the dialogue that talks about Gyro Park next is because it flows nicely after talking about the hiking points the Gyro Park dialogue mentions. If you can't make it up to Pope it rock, then you can come to Gyro Park to catch some great views because we just had Pulpit Rock mentioned in the dialogue before Talking of another hiking point fits in nicely. So this is the Gyro Park clip with all the B roll for Gyro Park. I'll highlight all of that push Command X, my cursor back over to the edits will highlight V one and push Command V. Just move that over Clips 2122 23 we're gonna use as our next transitional shots will highlight those and move them up beside 20 and we'll move 36 with the audio move 24 over as well. So 2122 23 24 Our clips that were filmed with in Gyro Park. So there's Clip 23 is a wide shot showing the bridge that we just saw in 21 in 22 and then Clip 24 is a clip of the host looking out at the viewpoint in Gyro Park, so that will work nicely with the talking points starting around here, we'll move that over to where the beating the music kicks in. If you don't have time to hike up the pulpit, rock, get a beautiful view of Nelson D. C. And your best bet is to come to Gyro Park. This place is very easy to access by road. There's a parking lot, and it's a two minute walk into this beautiful view. Points where the host mentions Beautiful viewpoint will bring 25 26 over. There are also lots of trails and bridges as well as beautiful benches. Take a seat, enjoy the scenery, read a book and really experience Nelson. So I like how that plays out. We will drag the audio up. So what we haven't done yet is bring the audio volume up when the dialogue peace stops in between these two dialog tracks so again will drag down. Seven. Push the plus key and where this first I log, it ends. It's pushed the pen tool. We will put a point pretty close to where the dialogue ends. There's still a few words being spoken, and then we'll bring it another point there shortly after fishes. Let's zoom out. Okay, so we're gonna put pen point there, pinpoint their pinpoint there and there, and we'll zoom in on our timeline. Okay. I'm gonna push the V command so that I can move these pain points over. Just drag it over in the time line a little bit more and drag this pen point over a little bit more. We've got it at minus 22 90 to, and we've got the pen point underneath. The last word. The second point we'll bring back up to zero decibels. Let's play that back. Well, mute eight actually. Move this point to where the beat kicks in. Great. Okay, so we've zoomed in. We're gonna mute eight, drag a seven down their pen tool, make a point just below the end of the audio there, and will make two more points close to the beginning of the audio. There. I'm gonna push V on my keyboard from this electoral, and I'll drag the second point here up to zero decibels. If you have any trouble getting it exactly zero decibels, you can hold down option key while you're dragging, and it makes it stick betters. We've got that good. And we will go over here, drag this point up as well to zero decibels. Now, let's play that absolutely stunning. Well, actually, bring this second point over to this. Beat the kicks in there. Point over to this if you don't. Okay, we're gonna move this points toe where the beat kicks in and have it at minus 18.99 Because the volume of the song here lowers a little bit naturally. Okay, that's good for now, we'll drag a seven back up. Highlight it. Push. Copy. Highlight eight. And push paste attributes. Push. Okay, take mute off. Drag the audio clips down. Okay, lets cut the second music track there and bring down the track. 6821156 Underscore Warm Dash Summer Evening. We'll bring that down. We're gonna unlock audio tracks five and six and bring this third song on two tracks. Five and six. We'll move it a little bit under the last dialogue part. Move the audio up. Push command Shift D. At the end of that, let's move it over to just a few seconds under the dialogue finishing Go to the end of the acoustic uplifting song Push Man Shift De. And that didn't work because we have to actually highlight a seven and 88 Now we can push command shifty again, and it worked. Let's drag that clip to the end of the dialogue so it lines up. We'll bring the fades on the acoustic uplifting song out More will drag the warm summer fades out more Push p but mark, they're in the dialogue where you can see the way form get really big will put another point at the end of the dialog. We're gonna do the same thing for a six push V and really experience. Okay, where the char hits and the music. That's where we'll actually end. Clip 26 sumo in the timeline to look at that. Okay, so there we go. We'll continue on with the remaining part of the edit in the next lesson. And once we have piece it all together, we are going to go in fine tune. It moved things around and adjust them so everything looks perfect. And then we're going to start color correcting and adding some other cool effects on to these clips to make the video great. We'll see you in the next lesson. 21. Working with the Third Speaking Segment: All right. Continuing along here, we are going to highlight Clip 27. Push command X. Move that beside Clip 26. We're gonna grab clip 50 Command X, grab clip 41 bring it over. Grab clip 32 bring it over. Make sure 32 ends on the music beat. Grab clip 28 command X and move that over on the timeline. Now we're gonna highlight the dialogue. Clip 34 push Command X turn on the V one track and push command be Grab clip 38 Command X. Let's turn V one off. We're gonna move 34 halfway underneath. 32. Move the clip of the bridge over. Move 28 over to write and drag it out. More front. Here in Nelson, BC is absolutely stunning with views of the magnificent Courtney Lake and Bob the Big Orange Bridge. This is a place that you'll want to stop and take photos after listening to clip 34. I think I'm gonna change up the dialogue a bit. So let's open up. Our dialogue sequence will go in there. So I actually after watching it through, like the second take talking about the Courtney like more, so we're gonna highlight that. Push Command CNR keyboard over to the rough cut tab. Highlight the current clip. 34. Delete it, Turn the one on and push Command V and, as you'll see here because we didn't move the two audio tracks that were part of the guide audio. When we paste this clip down, the audio trucks cut directly through the music. So let's highlight the two audio guide tracks and push Delete Now will highlight the remaining audio tracks and dried them up. Let's highlight the right half of the music and pushed Elite Grab this left half and will drag it open again. Great. Let's also zoom in here and red trim the new clip 34 because you can see the way form and the dialogue starts there so we'll trim this excess and now will bring over slightly under Clip 34 Plato Waterfront. And Nelson is stunning with views of beautiful Cooney Lake and Bob the There we go. Yeah, I like that more so we'll drag 38 over to cut some of clip 28. Now we're gonna push. Why? To bring up our slip tool and we're gonna drag that to the left and 28. Now we need a clip of the park. So we used a clip of the park in an earlier part of the sequence, but I actually prefer it to not be a transitional clip and two rather show. When the host talks about the park so it's clipped 41. We're gonna highlight it and drag it over top of that dialogue. And now we're gonna highlight this chunk of clips here 30 to 28 38 41 34 and drag it up towards 50 and against Clip 50. Now let's get a shot that shows the water. There we go. We'll take clip 30. Push, Come in X on clip. 30 butts on Highlight Jack V. One. So we have completely covered up the host speaking. There were not going to see her. We're just gonna have the beer. Oh, clips over the talking part. This will feel a little bit better because earlier on, we have voice over and it's the hosts voice. So having what feels like voice over again with bureau clips just kind of gives this edit a while rounded feeling, so we'll continue on with a few more transitional shots of the waterfront. We'll grab clips 37 39 40. Highlight them and push. Come in X, go back to read it, and I think we'll actually put 39 beside 30 here and move 37 to the right. Well, now grab the final dialogue. Peace clip 44. Push Command X with it highlighted turn V one back on and pushed. Command V. Clip 44 is the final dialogue. Peace and the dialogue is summing up what this video is all about, saying There's so much to do in Nelson. No matter what you come to do, there's something for everyone that's great. So we'll let that clip play out, showing the host a little bit longer and let's grab Clip 29 Push Command X will turn V one track off, and about 1/3 of the way over unclipped, 44 will push Command V for clip 29 clip. 29 will be our final clips, so we're choosing it as our final clip because it's a beautiful shot. It follows the host feet walking through leaves, and then it continues on through this fencing here, showing a beautiful shot of the mountains and Cooney Lake. This is also a great spot because it holds this clip holds on the lake for a few seconds. This will be a great shot to end with and put our final logo. So we have a few extra beer. Oh, clips. Gonna just delete the negative space in between them. We can scan through here. So will highlight those four extra B roll clips and we won't use them. We have to bring the music track down underneath the audio here. So we're gonna move the audio track up. Let's work on audio six Will push the P on your keyboard, Put some points there, zoom out, put a few more points here, close to each set of dialogue because we're gonna be bringing this music down. So we will push V on a keyboard, zoom back in and this second point close to where the dialogue begins will bring down to minus 16. For now. Do the same thing over here at minus 16 we'll go to the next dialogue part and dry the second point in down tu minus 16. Okay, so we're gonna drag this second point in to the point in the music that kicks in. Let's mute a five when you put the two points to bring the music volume down. When you put them a little bit before the dialogue and end that transition a few words into the dialogue, it creates a more natural feeling than, for example, it's just bring this point over here and show you what this would sound like if we brought down the music before the dialogue started. Waterfront and Nelson. That's a more amateur thing to do when you're starting out. You might bring the music down right before the dialogue starts, but it doesn't feel and sound is natural. Your viewers will watch this video, and it will be more noticeable that the volume on the music's brought down. So by having it transitioned down more slowly as the dialogue starts, it will go unnoticed. And when you're editing, sometimes you want things to just go unnoticed and feel natural, as opposed to being noticed and feeling a little bit off. So I'm gonna push Command Z to undo that so that the transition of the volume going down stays the way we originally had it. Let's play the ends here. Taking a stroll by and the okay, we're gonna move this point over bit and this point to the right a bit as well. A place to swim. Okay, Whether you're just remove this point, let's trim clip 40 force that it begins right on the dialogue. We'll move it over a little bit to the left. Whether you're just staying in, okay, we're gonna move this point in the music over a little bit as well. So the transition starts earlier, and there we go. Now to highlight both of these pen points, we will click on the 1st 1 here to the right, hold down shift on your keyboard and click on the 2nd 1 and then we can drag both of them over together. Kidding. Okay, let's drag this clip down. Push Why on her keyboard for the slip tool. Let's drag this clip over much to do here. This is a traveler's dream and a really hidden gem. I think this goes a little too long, so let's cut it right before the second son flair and I will drag it over. We'll drag the music out a little bit more. Okay, great. So we've laid down all of the clips and placement for a rough cut. We have worked with the volume of the music and move that around in the next lesson, we're going to find too. In this rough cuts, we're gonna be watching it over, making sure it's cut in the right parts and that everything sounds good and we will see you in the next lesson. 22. Working with Popping Audio: Okay, so we have our rough cut laid down. We have all of the clips that we're gonna use, and we have the dialogue place and the music placed. So the next thing that we're going to do, if you remember in a former lesson we noticed that the audio made a popping sound during the dialogue about hiking. So we're going to replace that audio with another take. We will push the plus key on your keyboard. Bring your cursor to the beginning of this dialogue which is clipped 42. And let's play that toe. Listen to where the audio pops. If you're ah hiker than you will app. It was right there. Okay, so I'm just gonna drag a one track open, pushed the plus key. Mort, zoom in. As you can see, there's a point in the audio where you can actually see the pop right there. So what we're gonna do is let's go into the dialogue sequence and this take here is the other take of this dialogue. Peace. So let's listen from the beginning of this take If you're ah hiker than you will app, we're going to take the beginning part of that dialogues. We're gonna push Option V on your keyboard to cut just after the host says You absolutely love Nelson. BC gonna keep that clip 43 all of the audio highlighted while this is highlighted, let's push down shift on her keyboard and click on the A One track and a two track the audio there within the timeline to unhygienic it. Those 1st 2 tracks. So now when we push command, see to copy the highlighted dialogue and audio, it's going to not bring over the guide audio. We'll go back over to the rough cut. Let's turn on the V one track will zoom out a little bit and push Command V. Okay, so what that did was directly replaced the dialogue at the beginning. Let's have a listen back to make sure that sounds correct. We might have to move a few things around You're hiker than you will absolutely love. Nelson BC Elsen has trails for the new dialogue that we just used as a replacement cuts into the previous dialogue a little bit so we'll just zoom in here using the plus key with the clip 43 the audio highlighted Let's hold down command on her keyboard and nudge this dialogue over using the left arrow key. Next will highlight Clip 42 all of the audio and drag that out to hug against 43 so that should work better in the next lesson. We're going to be color correcting clips, so stay tuned, and we will see you in that lesson. 23. Working with Color to Make Your Clips Stand Out: Okay, so in this lesson, we're gonna be color correcting clips. So let's push ar minus key on the keyboard to zoom out will bring the cursor to the very beginning. The first clip here. Let's actually go midway through this clip, so they're several color correction effects you can use. The two main ones I use are three way color. I use this when I have to do light color correction, and the other effect that I use that is heavier so it affects the clip more. It takes up more Processing power on your computer is loom itri color. So if I have to change the color temperature in a clip, if I have to really brighten the clip up, if I really have to do some serious work, I will use limiter color, which I'll show you in some of the clips. But this clip looks pretty good, so we're going to do, like color, correcting on it and use three way color corrector. So let's go into our effects panel and type in three way color corrector. There we go will drag that effect on to clip one, and as you can see, it shows up in effect, controls over here. I'm going to just exaggerate some of the options we have, so you can really see what they do. So if we go into input levels here and we'll click on this middle part here, we can drag to the right. As you can see, it is adding white to the clip. That's a Sfar, as I can push it so you can still see the image in the clip. But it's extremely white. It usually sits at one. If you bring it lower, it really darkens up the clip. Let's keep it at one. Everything looks properly exposed here. I like the contrast in the crowds. I like the contrast in the lake. I'm gonna make this clip a little moodier or a little more dramatic. I don't want it to look unnatural, but I do want to add a bit more dynamic to the clip. So I'm gonna grab this pointer in the input levels, the one that's closest to the black side of the scale and would drag it in. Let's move this out more so we can see the number brother. So I'm gonna drag this in. Let's click on this number here and just pushed 20. There we go if we want to compare. So as we're adding color correction effects, our eyes may get used to the effects, and we won't really be able to see as we're working on it, the difference in the effect. So to turn the effect off you go up here and you can toggle the effect on and off. So that's it off so far. That's it on. Let's scroll down in the three way color correction. Let's drop down saturation and let's bring up the master saturation to 1 35 we'll click away. That brings some more color into the clouds here, so a little bit of yellowy orange so you can tell that the sun is over here. It also brings color into these clouds here and the reflection on the lake. Go back up on Will tar gold, the effect on and off again. So as you can see with it off it back on, I've done very light color correction with this affect your It hasn't been dramatic, but the clips still looks natural. It just looks more enhanced. Another thing that you can do if you want to give it a more sun kissed look. You can go into the mid tones here and bring this circle closer to the orange. As you see, I've done this and it really feels like a sunny morning. Now, if I brought up the orange in the shadows, it makes it look even more Sunkist. Let's bring up the highlights as well. You can see as I move the color around in the highlights, you can see that the highlights of this clipper changing You can see that in the clouds. So as him over to this purple e blue, you can see here that the cloud highlights are really changing colors. Toe Undo this. You can reset using that arrow here I'm gonna also reset the shadows was just show you what the shadows do as well. So I've brought the shadows all the way over blue and you can see that effects the shadows in this clips over here and over here you can see those air blue. So let's reset the shadows. There we go. And again, let's talk gold The three way color corrector on and off. So that's it off. This is it on gonna lower the mid tones a bit and just have them very slightly going into the orange, so it makes the clip a little bit warmer. But again, it's nothing drastic. Okay, because we have several clips that were filmed in this area. Around this time. I'm going to click on this effect and push command see so that I can copy it. And now we will go to clip to Let's click on Clip To will click in the Effects Control Push Command V and that copies that effect directly onto clip to It's chocolate off. Toggle it on. So let's go to clip three will highlight it again. Go into effect Control Push. Commend V. Now in this clip, I want to brighten up the areas that currently are quite dark because of shadows. So let's scroll down and let's drag the input levels to the left. More as you can see, I've dragged the input level all the way. The left and that has lightened up and shown more detail in the darker areas of this clip. Got a clip for okay, Clip for is actually filmed in a different setting. Now let's highlight it. Click on effect controls and push come envy and I don't like that. Look, it's it's too dark and the details have been lost now, as you can see in the mountains. So let's go to the effect here and with this half circle arrow here, we're gonna push it to reset the effects. So now we have the three way color corrector on a clip for we haven't added any elements to this effect yet. So let's do that now. We'll scroll down and where it says, master saturation, I'm gonna click, and I'm gonna push one 30. Well, toggle that on and off. That's made him bear resettle. Change in the trees Here. You can see in this clip ter looking a little bit greener rather than black. When the saturation is on, let's also will go into the input levels and using the middle pointer, we'll scroll it to the right so that it goes toe 1.2. That's brightened it up a little bit. I like to stick. Usually, I will only bring up the middle input levels toe 1.3. If you push them too much, things start to look very dull. I'll show you very flat, so I'm gonna push Command Z so it remains at 1.2. Okay, we'll go down. Let's bring the left pointer in the input levels over to the right a little bit. So it goes to 7.6, and let's toggle that effect on enough. So it's very subtle on this clip, but that's as much as well due to it. So it remains looking natural. What's ad? Actually a little bit of orange to the mid tones and see how that looks. I'm close to the center of the mid tone circle here. Um, just click slightly to the left towards the orange. I like to push the color a little bit that I'm adding to see when it starts to look unusual , and it definitely looks unusual there in a natural. So let's drag it back down. Well, very, very slightly. Add a little bit of orange, so it's barely noticeable. But I've slightly tried to warm up this clip a little bit because the previous clips air warmer, going to click on the three way color corrector here in the effects controls push, come and see will scroll over and continue on with clip five. Okay, well, pace that continue on to clip six. Command V in effect, controls to pace that Go to 45. Push Come in V. It actually works. It brightens up the clip and makes it a little bit warmer. So I'm happy with that. We'll go to clip eight. Click on it. Push Command V. Okay, I don't really like the three way color corrector on this clip, so let's click on the reset of fact button scroll down. And as you can see this clip, it's exposed decently for the trees and the buildings. But when you look at the sky, it's over exposed. You can't see any detail at all in the sky or any separation from the mountains in the sky . So one things air are filmed and they're over exposed. You've lost the detail, so unfortunately, you can't really bring it back using three way color corrector. But let's see if we can bring in a little bit more detail in the other areas of the clip, so we'll go to input levels. Drag this left point, your will bring in a little bit to the right. We'll bring it to 21.9. Now let's go to this mid part of the input level. Then we'll drag. It's the left so that its 0.8, also with the output levels and from the white side, will drag that in a little bit. So it's to 47.4. Let's just toggle that off and on. Okay? So as you can see, more detail has been added to this clip. Now let's go to master saturation in type in 1 20 So that's made the colors pop more okay. I'm also going to again at a little bit of orange to the mid tones, because currently, although these colors in the leaves and the houses air starting to pop because the saturation has been brought up, you can still really feel that it was a very dull day. So let's add a little orange to make it feel a little warmer. Okay, well, toggle that off back on again. Okay, I'm happy with that. So I'll click on three with color corrector. Push. Come in. See? To copy that latest effect will go to nine. Highlight it and push. Commend V. Okay, So that looks too dark. It's almost made. Look under exposed, So we will click the Reset Effect Arrow. Let's bring up the master saturation toe. 1 20 will go to the mid tones and bring in a little bit of orange to make it look like a Sonnier day. Let's talk about on and off, okay, I'm happy with that, so I'm gonna click on it. Push, commend, See to copy this latest three way color correction affect. Go to clip 10 and Clip 10 is actually filmed in the same spot as Clip eight. Let's go back to clip eight for a second click on that, and we'll copy that three way color correction that was on Clip eight. So come and see. Bring the cursor over to clip 10 again. Highlight Clip 10 Command V. OK, so, as you can tell from Clip eight to clip 10 the cameraman obviously changed his settings a bit because with the exact same of fact on Clip 10 that's on Club eight. Club 10 looks much darker, so let's scroll down and well move the input level on the left over to the left. More moving all the way to the left will go to the output levels and the right pointer. Move that all the way. The right to bring up the whites a little bit more, and we'll go back to the input level and bring the middle pointer to one. Let's talk about that on enough. Okay? I'm happy with that. Let's click on the three way color corrector. Push. Come in. See? We'll clip 13. I light it pushed. Command V. Okay, That actually works for this clip is Well, it brings up the saturation in the different color roof. Send in the trees, the leaves of the trees. So I like. That's a lot of 46. Now click on this toe. Highlight it. Now go into effect. Controls push Command V. Okay. I've just brought the playback in the program panel to full. And I've turned off the toggle proxies because the clip looked a little too blurry for me Now that I'm color correcting it with the Targa proxies on and the quality for playback at only 1/4 of their original resolution, So was it on full? I'm happy with the way that looks. It's brightened up the colors really pop. That's great. So bring this playback resolution down to 1/4 again pushed the toggle proxies back on. So as we put the three way color character on these clips, this doesn't slow down. So I'm gonna go to 47. Click on the effect control panel. Push Command V. Let's talk all three way on and off. Okay, well, looks good. Move on to clip 13. How did it push? Come in, V. Okay, let's do the same thing. Unclip 14. Yeah, that looks good. Clip 15. Command V clip 16 is a closer shot of clip 15. So push come Envy on clip 16. Command V unclip 17. Again, let's bring the playback resolution to full turn taco proxies off so we can see the details more. I'm actually gonna bring the input level of the middle White up to 1.2. Here. In doing that, it makes it look a little bit brighter. Makes it look like it's the middle of the day. The sun's out. So now that I've changed the three way Ah, factoring clip 17 and win a highlight. It pushed MNC to copy it. Go to Club 18. Highlighted. Push Command V Clip 19 Highlighted. Push Command V 20 Command V. I wouldn't actually out a little more contrast to this. So I've scrolled down in the three way color corrector. Let's bring the input level the middle point back at one, and let's increase the darker color in the input level to 17.1 that's made it look more dynamic. Let's go down to the output levels with white and bring That's the left to slightly 20 to 47.4. We'll go to master saturation. Bring it upto 1 30 Struggle that on and off. All copy. Three way color corrector off clip 20. How the clip 21 paced. Let's go down and bring the dark part of the input level all the way. The left so more light and white is back in the frame. Let's go the open level in the white and bring that all the way the right. Okay, I'm gonna push three way here, Command. See toppy that effect for clip 22. It's actually Layton that up a bit, so we'll go to the input level and bring the middle pointer toe 1.2. Copy the three way newest effect. Go to 23. Pace that. Okay, now I'm gonna bring the middle part of the input level. Back down, toe one. I actually think that was a little to saturate. The colors don't look natural. So let's go to a master saturation Goto 1 15 and we'll actually undo the mid tones here. Okay, that looks more natural. 24. Color Correcting When Three Way Isn't Enough: well, a copy highlight through Recall a corrector Push command See Go to clip 24. Command V came to bring the mid orange up slightly. Bring the dark part of the input level. 24.8 in the middle part of the input level. Remembering toe left a little bit. 2.9. It's Tuggle that often on actually know what? Let's leave the input level. Middle part at one will copy with a clip. 25. We saw a similar quipped to this earlier bracket clipped eight and 10. So let's scroll to the left. On the timeline. There's clip 10 highly clip 10. Click on three way color corrector in the Effect control Push. Come in, see Scroll back over to 25 as you can see when effects were added. Two clips The little effects square on the clip turns to purple. That's how easily knew we were working on Club 25 because it doesn't have an effect on a yet, so have highlighted it will push Command V. Okay, let's go to 26. 26 looks similar to clip 22 so let's highlight Clip 22. Click on through a color corrector. Push, Come and see. Go back to 26. Highlight that and push Command v highly 27. Commend V. I'm not happy with that. So let's reset effects. We will bring the master saturation to 1 30 Let's bring the mid tones slightly orange very slightly, and we'll bring the input level the dark side of the input level in tow. 9.5. Let's talk about on enough. Okay, with the three way on this clip, it looks more dynamic now, so we'll copy that. Go to clip 50 paced Toggle it on and off hasn't really made a difference in this clip. Let's bring the input level. The dark side, the input level back to the left. Let's bring the white in the open level to the left a little bit. So to 37.9, we'll talk a long enough. Okay, that adds a little more dynamics to the clip. So let's copy that. Go to 32 paste. Bring the white neo put all the way back to the rights. Okay. Like the way that looks. Let's copy the least effect. Go to 28. Highlight it and paste go to 38 paste. 41 paste, 30 paste, 39 paste. Okay, Looking good. So far. 37 paste, 40 paste, 29 paste. Now let's work on the dialogue parts. So we're at Clip 12. Will highlight that paste. That actually looks pretty good. Let's scroll through to another part. Toggle it off. I'm gonna bring the mid input up to 1.2 stock lit on and off again. Okay? Yeah, I'm happy with that. So highlight three way color corrector. Push Command. See to copy that. Let's scroll over to a 42. Pilot it. Push Command V. Let's bring the input level. The mids down to one. Okay, Like that's we're gonna copy that to grow over to 36. Highlight 36 Command V. We'll scroll down. Let's bring the input levels. The middle, white 21 Let's bring the dark part of the input levels to 6.7. Now, let's bring the mid upto 1.1 toggled often on. Okay, for now will keep the three with color corrector like that. Copy this latest effect, and now we've gone to 44. Okay, for clip 44. The white balance is off. As you can see it's outdoor. It was shot outdoors, but it looks like the white balance was set to tungsten white balance, so it's probably set toe around 3200 Calvin, but shots outside in 5600 Calvin lighting. You can tell because the host skin tones are very blue. Everything looks very blue, so let's highlight it and I'll push Command V for three way color. Corrector will just recent this effect scroll down. Let's bring the mid tones or injure. Okay, so I've brought the mid tones all the way as oranges. It can go and it looks funny, right? It doesn't look natural. She looks weird. Let's add orange in the shadow and orange in the highlights. It just it looks weird. This is where I am going to use Lumet Tree. It has heavier processing power, but it doesn't much better job of correcting white balance. So let's click on three way color corrector. Push delete on the keyboard, go upto windows, scroll down to loom ITRI color and click on it. Okay, it has opened up for me and my work setting another panel, so let's drag this over. As you can see here we've got the temperature. Okay, let's drag the temperature over to the right all the way. 100%. Okay, that looks unnatural as well. So let's will stay at 60.9 for now. As you can see here, I'm just going to drag the Lumen Tree panel over. The effect has been added in effects control, so it's toggle it off. You can see how much bluer it is with it off will toggle it back on. That's better. We'll do a few more adjustments with Lumet Tree color, and then we'll continue on her edits and come back to it because sometimes when you're editing and you're looking at a screen for a long time, your eyes start to get used to the coloring. So we want to make sure this looks good, and that's why it's good to rest your eyes, look at something else and then come back to it so well, work on it a bit more. For now, let's bring the exposure up 2.2. We'll bring the whites upto 10.5. It's also clicking curves, and we'll click on the blue circle of curves and let's drag this blue line down a little bit. We're dragging it down because it's still too blue. So by dragging it down a little bit, it's taking the blue out of the clip. As I drag it more, you can see the blues really taken out, and it's leaving the colors of green in the clip. You can also turn on individual aspects of looming tree by clicking this check mark. Now you can see that affects back on, so I've moved the blue curve slightly to the right. Let's turn it off. Turn it back on. Okay, let's click on basic color Correction. Let's move the blacks up, Teoh 20.3. Move the saturation 2115 Look over to the effects control panel. Toggle the effect off. Toggle the effect on Okay, so it looks much better now. Let's hit this drop down arrow to bring looming tree color up so we can't see any of the options that were previously using. Let's go into the effects and let's type, in contrast, and we'll bring the brightness and contrast effect over into the effects panel, where it says contrast. Let's type in 10. So can you see the contrast that's been added to elements of this clip. I'll just toggle the effect off and on so little to contrast E for me. I'm gonna bring it down to seven. Tuggle it off. Trouble it on as we continue working on the final details of this edit and our eyes look away from this particular clip and then come back to what We might change this clip a little bit more. But overall, right now unhappy with it in the next lesson, we're gonna put a few more effects on certain clips that are shaky. We're gonna change the direction of some clips and I can't wait for you to learn it. This really helps tell the story of your edits, and we will look at this more and learn how to do it in the next lesson. 25. Reducing and Removing Shakiness in Footage: in this lesson, we're going to learn how to make shaky footage, not take anymore. So I'm gonna just push the plus key on my keyboard to zoom into the timeline, and we will get started with Clip to here. I'm going to temporarily mute the music track so I can talk as we go over this clip. So let's just play clip to now. It's slightly shaky, so we're going to use warp stabilizer. Let's go into the effects panel here and type in warp. There it is. Under the video effects, distort been warp stabilisers. So I'm going to drive that right onto clip to and as you'll see this notification on the right bottom right here comes up saying warp stabilizer requires clip dimensions to match sequence fix by nesting. Basically because clip to is a four K clip and we're working in 1920 by 10 80 timeline. This effect will not work on this clips. Let's push command Z on the keyboard to undo that. What we'll do is right click on Click to go to Nest and click on that, and now we can name our sequence so we will call this to that indicates to me that this is the nested sequence for clip to push. OK, now it's nested. So we will go up to the effects panel and drag warp stabilizer on that nested clip. And there we go. What's happening right now is worth stabilizer is going to it's default settings to stabilize this clip. In some cases, it actually works great. In some cases you have to fiddle around with the settings, but let's see how it does. As you can see the program panel. It is currently analyzing the clip. You can see it's not quite done analyzing. Get It's at 96%. There we go. Let's just dragged the timeline down so we can see what it's done. So if we go to stabilization results, it has added smooth motion to this clip at a rate of 50%. The method was substance warp, and this effect has stabilized, cropped and auto scaled This clip. OK, so we'll drag timeline back up. Let's play that back to see how that turned out. Okay, so that looks better. It looks a little bit smoother. I'm happy with it. Another great thing you can do if you're editing on smaller screen like a laptop, for example, and you want to watch the clip closer up. You can use the tilde key on your keyboard. So first of all, we're gonna click on the program panel and you can see it's highlight and Blue. That's I know it's clicked. Now let's click the tilde key and I'm gonna push space bar to play that I've pushed Space Bar to pause. Let's push the tilde key again to go back to the original view, and there we go. OK, so I'm happy with Clipped to stabilization. Let's move on now. The next clip we're gonna stabilize is clip number nine. This clip is shakier than clipped to it. Shaky because we've punched in on four K clip. So this was originally at 50 on the scale over here in Effect Control, and we have skilled in all the way to 100%. Generally, if there are handheld shots being filmed or shots with movement, when the shot is a wide shock, you won't really notice if it's filmed. Well, you won't really notice shake, but when you zoom in or in this case scale into a four K clip on in 1920 by 10 80 timeline . You can really see the shake, so I'm a mute. Let's just meet all of the audio on this timeline for now and will play back Clip number nine, click on the program panel and hit the tilde key and push space bar. As you can see, that's quite shaky. So let's push the tilde key to get out. So again, what we're gonna do is we're going to right Click on Clip nine and Nest and we will call this nested sequence Name clip nine. Let me just show you what happens when you nest a clip. I'm gonna double click unclip nine. And as you can see here when you nest a clip, it actually creates a new sequence for the cliff. So that's just something to keep in mind. We'll go back to the rough cut sequence and again we'll drag warp stabilizer on Clip nine, and we'll let more of stabilizer work its magic on this clip. All right, so let's watch a clip. Nine. With work stabilizer on its click on the program panel pushed the tilde key and the space bar. So as you can see just push the tilde key. The clip warped a little bit. I'm not happy with that, So let's go back into Clip nine. Drag the timeline down. I like to keep smooth motion on. I like to keep for the most part substance warp on. And I like to keep the framing on stabilized, cropping auto skill because if you don't, you usually have toe scale within yourself. The clipping yourself anyways, So I always leave that on. But smoothness at 50% I think, is too much. I'm gonna click on that and type in 20. Look away and it's stabilising again. Okay, so let's play that back. It still has a little bit of a weird warp happening. Let's bring the smoothest down to 10. In some cases, when you have shaky footage, warp stabilizer just won't do the trick, and you have to live with the shaky footage. In some cases, you can use it very lightly, like I'm now doing at 10% smoothness, and it will make a little bit of a difference. Let's play that back. I'm still not really happy with the time. In a double click on Click nine to go into the nested sequence. Click on nine here. Let's scale out to 80%. We'll just move with position over a bit. In this case, I rather scale out of the clip so you can still see Kokanee Glacier. But you're seeing more of the clips that the wider shots so you'll notice the shake less. Okay, so we'll go back into the rough cut sequence and will hit the tilde key. Play that back. Okay, so I'm not really happy with that. Let's try a few more options within warp stabilizer to see if we can get this clip looking smoother. Let me just show you what changing a few things in this effect will do to the clip. So I'm going to click on Borders framing and stabilize on Lee. Now let's play that back. See how in the top here there was black showing through. That's because the effect didn't auto scale to the frame. And that's why I always leave the auto scale on. Let's look at some other stuff here. Method. Let's go into position. Scale rotates. We will play that back. You know what that actually did? An OK job of making it this clip a little less shaky, but it still showed the frame going in and out. So let's go up to scale here and type in 1 10 pain. Now, let's play that back. It actually works fairly well. Okay, so we will use position scale rotation instead of substance warp on this clip at 10% smoothness. I'm gonna just spring that drop down, arrow up when you use warp stabilizer, depending on the clip, you're using it on the house shakiness. You're gonna have toe customize each setting within warp stabilizer and try out a few different things to see what looks best. So that's warp stabilizer. This is an effect I use once in a while if I have any shaky footage and I wanted to look smoother. Sometimes shaky footage is fine. Sometimes it's subtle enough that you don't really notice it. Or maybe you do want to notice it in a video because it adds to the feel of the video. But in this case, since the majority of shots are very smooth and beautiful shots, if we have the option to make our footage, any random clips last shaky, we're gonna do it 26. Changing the Speed of Clips: Hi, everyone, Welcome back in this lesson. We're gonna reverse the speed of some of our clips. Let's zoom in to clip three to clip four Rather, and we'll just play that back. Okay, so currently the camera is moving from right to left. I prefer the movement in my shots overall to go from left to right. I prefer this because when you read, your eye reads from left to right and it's more visually appealing to view something going left to right in most cases, not in all cases, but we're telling a story. The story is moving forward. It feels good to have clips move from left to right. So to do that, that's right. Click on clip for going to speed duration, and we will click on Reverse speed Push. Okay, what's highlight the program panel. Click on the tilde key on our keyboard and hit the space bar to play great. Hit the space bar to pause. Hit the tilde key and you can see here in the clip. It's reversed because it says minus 100%. Okay, clip five as well as you can see is going right to left. So I'm going to reverse that. Clippers. Well, let's just go back to before and play from there. It will feel better when you watch both of these clips moving in the same directions. We'll right click on five. Click on speed duration again. Click on reverse speed. Push. Okay, it's play that back. Great. I'm okay with clips. Six going from right to left because the shots revealing the mountain to peer through the trees so it feels a little different. So we'll keep that the way it is. Clip 23. We're going to reverse the speed of his Well, so we'll right click going to speed duration. Reverse speed Push. Okay, Also clip 10 here is currently set to a speed of 1 80 It looks a little too fast, slightly choppy. So I'm going to right click in on clip 10 go to speed duration and will change the speed toe one 60. Push. Okay, let's play that back in kind. That's better. OK, so that is how you reverse the speed and direction of clips 27. Working with Backup Audio and Gain: in this lesson. We're going to work with the dialogue audio, so we'll zoom in to clip 12 where the first set of audio is here. I like to play my audio back. I always wear headphones. When I listened to my audio and if possible, I always use professional speakers to listen to it. Because if you're editing off of a laptop, for example, you're not gonna hear from your laptop speakers the audio coming out of the laptop in a well rounded way. So if you have professional speakers that you can used to listen back to your audio, that's great. If not, definitely use headphones. And so now what I'm going to do is unused tracks one and two already a tracks one and two, and I'm going to push the space bar to play these first actually gonna drag this audio meter up here. Now I'm gonna play the back as you can see its remaining around minus 12 decibels when it's played back. I like to keep my volume when I'm playing back dialogue and edit. I like to keep it as you can see in the middle so I don't listen to it all the way up like that and I don't listen to it all the way down. Keep it in the middle. So let's hit the space bar. As you can see the audio waas pretty consistently at minus 12. I'm going to bring up the audio too, so that at its higher volumes, it sits around minus 6 to 0. So to do that, I'm going to drag and highlight on your one l Here. Right click. We will goto audio gain and push six So the audio gain is going to be adjusted by six decibels. Push. Okay. As you could see in the wave forms the volume raise. You can also see the of F X box here is in yellow, which indicates the effect has been put on it. Let's play that back. Credible skiing snowboarding hills to the best local beer you're ever gonna tie. Okay, let's zoom in here. We'll start over here, see where this wave form here. It's pretty close to peaking. So our zoomed in. I'm gonna push p So the pen tool make a point here. A point here in a point in the middle, and I'm gonna keep the middle point held down and just drag it down at minus seven decibels . We'll do the same or a one. There we go. And if we see any other parts of audio that looked really high, like right there will do the same thing. This brings the volume down on that part that we're treating. You want to bring it down too far, but you want it to be more aligned with the rest of the audio. Your we'll do the same here. Let's say we had a part of audio that was really peaking. That's when we would use the backup tracks through the right channels. So I'm going to drag this. Are you up? Dragged this down. Remember, this was recorded. The back of audio was recorded at minus 12 decibels, lower than the left channel. So what you would do if we're going to let? So we're gonna replace audio one l I would push see on my keyboard. I cut that part of the right channel. I right click it, push audio gain since it was at minus 12. Maybe we'll bring up by 14 decibels. So it still brought up less than this audio because remember, we added six decibels to this audio, and I would literally I told on option with this clip highlighted, and I drag it overtop of those two left channel clips. Play that back. Try. You might not be able to hear the effects through watching this video, but give it a try. For the most part, this audio was recorded pretty safely, so it wasn't recorded in a way that really pushed the audio and caused Peking to occur. So we'll scan the audio. And if we see any other major parts that we need to bring any peeking down, we will will also adjust the audio now. So I'm just gonna push command Z Command Z because we didn't need Teoh Command z again and command Z a few more times to remove the cuts there. Okay, so let's go to the next dialogue clip here. As you can see, audio five owl. The wave forms are pretty low, so I'm gonna highlight How do you owl? And I'm going to go the audio gain and I'm gonna bring them up the audio by 10 decibels. Okay, let's play that back. So, love Nelson, bring it up a little bit more que decibels more Nelson house trails. So as you play back, watch the audio meter over here. You want your audio to be around minus six and zero as a safety between minus 12 and zero is good, because this video would be played on a website and many people would be listening to it on the computer, potentially with not so great speakers. In that case, I push the audio a little bit and keep it around minus 6 to 0. You want to avoid the audio going to read those? We want to avoid it going any higher than zero. So let's just I'll show you will highlight this and audio gain. What's add 20. See that everything is speaking. You can tell the audio here is all clipped. It's just flat clipped out. I'm gonna turn the volume down and let's play that back and watch the audio meter here. See how the audio was constantly in the red. You want to avoid that, So let's just push Command Z to undo that. We'll move on. Will highlight Audio one, an audio to track for audio three albums audio gain. Let's bring that up by seven decibels. It's a little too hot. You can see it was hitting the right a little bit more than we'd like do so back into audio gain was pushed minus two. Okay, okay, so that is better. We'll go over here to clip 34 Highlight audio, Track one and to right click. Going to argue Gain. Let's add five decibels. Okay, that was a little hot. Let's go back into audio gain and push minus one. Okay, there's some spots here where you can see it's peaking. So where the host says, Bob, the audio peaks. So in this case, we will use the back of audio on you to our I'm going to push Siem a keyboard and cut this part of the audio out that says Bob, I'm going to click on audio to our hold on shift and highlight both of those cut out parts of the audio tour track right click for the audio gain. Let's add 12 and push. Okay, And now let's drag thes to argue. Clips over top of the audio to l will play that back about Okay, so that is better. Now let's go to the final dialogue. Highlight audio tracks. One in to right. Click push audio gain. Let's add five decibels. Enjoy. Beautiful Nelson BC or you're exploring. Okay, so that was a little hot. We'll bring it down by minus one. Push. Okay. He was surrounding areas. The ski hill. All right, so that is working with audio gain. Another way that you can bring up the value of a clip. I never do this because it doesn't give you many options afterwards, but just consume into audio six. L hear you can drag this lying here up. Premium only allows you to drag it up by 6.2 decibels. And that's the reason. For the most part, I don't use this option to bring up role you. It also can get messy if you during its some clips, not other clips. So I'm gonna push command Z and just let it sit there. Also, if you are using the p tool to, for example, it's just click if he spots to bring up different areas of the clips. By keeping this white line through your audio at zero decibels, it gives you more flexibility when using the pen tool to create points. So I was gonna click on these points pushed elite push, delete, delete. So it's remains back at zero. All right, so that's audio gain, and we will see you in the next lesson. 28. My Top 5 Favorite Audio Effects in Premiere Pro: There are a few more audio effects I want to show you that I use often when editing one of my favorites is the adaptive noise reduction effect. It's great because it can really help reduce certain background noises, and that's great because it allows you to focus on the dialogue that's being said. So in this case, all the clips have very subtle background noises of nature because they're all filmed outdoors. But there's one particular clip, the last clip that has background noise of a waterfall. So it's slightly distracting. And it's more evident that there's background noise in that one clip that any of the other dialogue clip. So we're gonna reduce that waterfall in the noise. We will push the plus key on your keyboard and go to clip 44 here. I mean, it's so low audio track one so that it's the Onley clip we can hear Highlight audio track one audio six out will go up to the effects panel and type in noise and in the audio effects bin. The adoptive noise reduction affected showed up. So let's drag that on to audio six hour, and we'll just play that back to enjoy beautiful Nelson BC or you're exploring the surrounding areas, the skis. So when you put the adaptive noise reduction effect on, it automatically uses its default go to to adjust the audio that the effect has been put on . But we're going to customize this effect so that it really does the best it can with this particular clip. So I'm gonna go into defects controls panel here under adoptive, no introduction and click on edit. You can see it's currently set to the default settings. We'll move this dialog box up a little bit, so we have access here. I'm mainly adjust the reduced noise by and the noisy nous. Let's play this through and to enjoy beautiful Nelson BC or you're exploring the surrounding areas, so you may not be able to hear it as well through this lesson, but fall along with me, adjust the reduced noise by all the way to 40 decibels. It makes a very slight difference. Let's also move the noise nous all the way to 100% and will play that back. Enjoy beautiful nelson BC, or you're exploring the surrounding areas. OK, as you go through this toggle on and off when you make adjustments so you can hear the difference. The effect has made. So with the noise nous at 100% it feels you can hear in the audio that it sounds altered. It sounds like robotic. It doesn't sound great, but you can also hear that the background noise of the waterfall is very much reduced. You can't really hear it at all. 100% for noisy nous is too far. Let's bring it down to 60% and play that back in town to enjoy beautiful nelson BC or you're exploring the surrounding areas. Okay, I've pushed the space bar to pause that that sounds pretty good. We will keep adaptive noise reduction with the reduced noise by 40% and the noisy nous at 60%. Let's close this dialog box. I'm going to go into the effects control. Highlight the effect Push. Come in, See on the keyboard. Highlight the a two track because this is a stereo track because these trucks air stereo that give you the left channel and right channel toe work on, and I'm going to command V paste the effect with e customization we did on the other side on a two. Let's go into edit just to make sure Yet Okay, so, well, un solo that another couple of audio effects that I want to show you that I love. They're great toe have in your arsenal because in certain cases you'll definitely need to use them. So one of them is called the D Esther Audio effect. If you have someone speaking in the very SC or slightly speak with a lisp, even when you use the D s or effect it reduces that s C sounds. Let's go into the effects and type in D. Yes, sir. So it's rights here will drag that down onto the first audio clip the audio one now on a one track and we will play that back. Welcome to Beautiful Nelson, British Columbia, where people come for visit and end up buying a home. Go into the effect controls on the right here where it says the Aesir and Click edit. This place offers everything from incredible skiing Stober the hills to the best local beer you're ever gonna try. Let's go and we'll keep it in about minus 40 right now because in this particular clip. The host isn't overly SC, but what you would want to do if you'd have dialogue where the s sound is really standing out, you would use the Aesir and you would adjust the threshold until it sounded less Essie So I'm gonna close that dialogue box and delete the Di essere. Another audio fact that definitely comes in handy and certain audio situations is de Hummer . There we go. I'll put this again on audio one. Now, this is great for removing background hum noises. What's going toe edit? What you would do is best local beer you're ever gonna try. Let's go explore this beautiful hidden gem. You would adjust these points so you'd click on these red, curvy, pointy lines here and you would move them around, which would adjust the frequency and the gain. You can also drag them down. That's going to really affect the sound of the host voice in this particular occasion can move them up. This place offers everything from incredible skiing sober again. I know you're not going to hear the full effect of this audio effect on these particular clips because there's not a huge hum noise, but I want to show it to you because it's a great audio effect to use. If you do have a hum that you need to remove or reduce, close that Delete de Hummer. Another effect I love using, particularly if there's dialogue being spoken and the speaker hasn't had any liquid in a while, and you can kind of hear that spit noise when they're speaking. That's something that drives me crazy. It's a personal pet peeve when it comes to editing dialogue, and in most cases, if you're working with professional dialogue, hopefully the person speaking on camera will have water with them, so that if that Spinney sound happens while they're speaking, they'll have water to quickly correct up. So to reduce that crackly clicking sound that can come when people don't have moist mouths when they're speaking is automatic click remover. So let's put that on audio track one audio one. Now go into edit. You would adjust the threshold, toggle the effect on and off so that you can hear the difference. It's a pretty simple effect toe work with, but it definitely comes in handy. I use it whenever that sort of speedy noise happens when someone speaking and it really, really helps, So I will delete that. So those are some of the effects that I use on the regular to make my audio sound better. I also put very small fades on all of my audio. I'll show you why it's good to this part of Clip 12 here. Listen, so you can see here in the timeline that there's a cut here. Zoom in. There's a cut here. I'm gonna play that and listen, it doesn't sound completely smooth. We're gonna try, Let's go explore. You can hear that the host breathes and you can hear that it's a cut. So with my cursor in between that cut, I push command shift D, and that creates cross fades on the audio. Let's dragged those cross trades a small as we can, and now listen again. Let's see when you put the fade, the cut in the audio is much less noticeable. You can also go to the cross fade, hold down shift on your keyboard and then drag out one side of that fade. So that works for this clip. I'm going to hold on shift and drag out the audio fade on audio truck. Tuas. Well, I also like to at the beginning of every clip, have a fade. So again we'll go to the beginning of the clip with a cursor here and command shifty. Well, Dr that faith. So it's not completely this small, but so that it fades up like so we'll do the same to audio Track A to a three a four. Don't really matter. We're not using those clips. We've got them on Mute will go to the end of audio one. Now, in some cases, when you're pushing command shifty, watch out for this cause it can happen without you even realizing if you have the other track highlighted when you're pushing command ship D, it will also affect the end of that track like it did in this case. In this case, it works Fine, But just be aware of that. Because sometimes when you have audio cross fades on audio tracks, the audio from the first half of the track will bleed into the second half and overlap each other. It kind of sounds funny, So we will go to the next dialogue here again with the coarser at clip 43 audio five l push Command Shifty. And you actually have toe click on the timeline here. Imagine the There we go the first time it didn't work because I didn't have the timeline clicked. We'll drag this audio faint down. If you're hikers. Let me show you an example of putting this audio cross fade in between two audio tracks without reducing the size of the faith. Command shift D. I don't know that. Highlight the timeline. Command ship D. Okay, so see how long this fate is. Let's play that back. See, Nelson has trailed. Did you hear there, Nelson has this audio is fading into this audio and vice versa, so they're overlapping of it. That's why it's important to adjust the audio fade for each clip to make sure that doesn't happen. Nelson has trails. So we're gonna do this for each cut in audio. And you don't want to leave the fate as you can see here at the end of clip 42 audio for l . You don't want to leave the fade going over the wave form where the hostess will speaking here because that basically just reduces the volume and fades out. So you won't be able to hear what the hostess saying as well. So you want to drag it to the right where the host has finished what she's saying. You can follow along with me. See how this particular audio fade only shows up on the left side of this cut. Why couldn't do is highlight it and drag it over to the middle. I'm gonna copy that fade, go to the next part of the cut and paste it because it's a very small fade. Will also go to the end of 34 push command V to paste that fate again with a clip 44 Command V to paste that faded into the same thing on Clip 44. And one thing that we also need to do is make sure the rest of the music is adjusted during the dialogue. Speaking, we didn't do that every music clip in previous lessons, so let's drag out this music. Okay, The first track in the second track. We have worked on the audio volume in between audio volume of the music track during speaking, but the last track we didn't so let's just zoom in here well unsold low. Other Truck one and solo audio track five will push the P tool, go over to this point in the way form and for the second point in the audio track and bring it down to minus 16. Let's play that back. Oh, you know what? Because that's so load we won't hear the speaking. So let's so low audio Track one and only attract to a swell The waterfront and Nelson paint , not works, will go to the end of Clip 44 get her pen tool and put two points on the audio that will drag second point back up 20 to swim tonight. That works. Go to the next dialogue clip, which is 44. The pen point there, and they're in the audio track. Bring this down toe 19. Play that back, whether you're que works and now the final dialogue clip. We will put eight points there there and drag it back up to zero and play that back great and will also go to the end of this audio ended the song Push Command shifty to create a fade. We're gonna add a logo in the next lesson to clip 29 when we do, we will adjust the length of this final song. Next thing we want to do is click on audio truck five, push coffee, highlight audio track six and push paste. Attributes will go down to audio attributes. Push volume, channel volume and pan er and push. Okay, let's confirm Yep, Bat has copied the effects we just made on on your truck. Five onto Audio Track six. That's great. So we will now push the three tracks that were so load and unsold them, and we'll keep audio three. An audio four muted because those were the backup dialog tracks. Great. So we will see you in the next lesson where we are going to be working with a no go in this video. 29. Cool Effects For Showing Off The Logo: Hi, everyone, Welcome back in this lesson, we are going to look at how to incorporate a logo into your videos. Often, when you're working on a client project, they will provide you with a logo. So you want to ask them for a logo file type that works well with Premiere Pro. This would be a PSD file, which is a Photoshopped file or a PNG file. J Pegs are OK as well. PSD files air Good, because if for some reason you need to manipulate anything in the logo, you likely have Adobe Photoshopped as well a skreamer pro, and you could easily work with photo shop directly from premiere by right clicking. Let's pretend this is a photo shop file for a second, so it's right. Click on it. You can go to edit in photo shop, and this file will open up in photo shop and allow you to directly at it. Once you save the file and Photoshopped, it will update Improver Pro. That's really cool. Now a PNG file works well as well, because let's just scroll over here on their timeline because a PNG file allows you to have a transparent background which means that this local here that started off with black text came in with transparency in the background. It didn't come with a completely white or different color background. It was just the local itself, with a transparent background, photo shop files and PNG files allow for this. And that's what makes some really great to work with in photo shop. Also, when you're working with clients and sometimes this is a little bit of a tougher request to get through. But ideally, you want a logo. That is the size, the resolution size of the resolution that you're working within Premiere, which in most cases is gonna be 1920 by 10. 80. In this edit, we're working with 1920 by 10 80. So you want a file around that size? If you get a file that's a much smaller size, you're likely gonna have to zoom into it when you're working with premier. And once you export the video with a very low quality little resolution small logo, you're going to be able to tell. So you want to request PSD files or PNG files from your clients when getting locals, and you want them to be around the resolution of 1920 by 10 80. So first we will click on the project panels and you can see here it's highlighted in blue . I'm going to push command tab on my Mac to tab over to the finder window where we have our logo folder in our local folder. We have an illustrator file and a PNG, so we're gonna bring the PNG file here into premier because PNG files are compatible with Premier. Let's highlight and drag this file over into the project panel. There we go. OK, so I'm now going to drag the logo over top of the final clip in our video edit clip 29 push the plus gate zoom in here. So currently, this logo is bigger than the image on screen. So we're gonna go to scale in the effect control and bring it down 2 25 and we'll move our logo over to the right a little bit more. So what we want here is, as you can see in the music wave form, you can see that the music volume comes up just as the host finished speaking. We're gonna let clip 29 play out a little bit, and then we're gonna fade the logo and fade the clip out. So let's just take a watch here. Well, stop it right there where the beat is. Let's drag the local out, drag the right side of the local longer as well. I'm going to click on the local file here. That's on Track V three. Let's drag affect control over so that we can see what's going on on the side here. And let's click this toggle animation button on as well as the position button on. So that's going to create these key frames that you can see over here on the right at the beginning of the logo. Let's play through. Okay, where the beat comes up again, we will add another key frame. And let's scale that to 30. Okay, let's also add, I fade onto the local. So with the logo file highlighted on the timeline, we're gonna push command D to create a fade. Okay, let's watch that back. Okay. So as you can see in the footage, it will look great to have the local show up after the camera move reveals the rest of the lake in the mountains through the handrail bars. Let's move the logo over to where we've got a cursor currently. And let's play that back. Okay, so the footage starts toe move a little bit close to the end of it. So let's bring our cursor to where the logo begins with our clip 29 highlighted and we're going to drop down opacity. We're gonna push the ad key frame button here and with scrub to wear right before the clip starts to kind of shake here. So right about there, we're gonna add another key frame and bring the opacity down to zero. So what's gonna happen here is as the local starts to show up, Clip 29 is going to fade. We're gonna bring the right side of local in. Let's play that back. Another thing we can do is let's go to the project panel. Click on the new item icon, Click on color, Matt, push. Okay, let's drag this to the white ist part of the color mount and push. Okay, let's call this white. Here we go. Let's drag this color, Matt under neath the logo on b one. Okay, so I like that more. I like it fading toe white and showing the logo. Let's drag the white color Matt out to the end of where the logo was there, and we won't have the local fade out at the end. We're gonna highlight that fade that's on the right side of the local and pushed the lead. Okay, so that's how the video will end. Let's highlight the music and drag it over to where the local ends. No, zoom in and we'll drag. The audio fades on the music over to the beginning of the local where the local begins here . Okay, one more thing we're gonna do is we're gonna push p for a pen tool and we're gonna put a key frame on audio track six and another key frame at the very end of the music and drag that second key from all the way down. Let's strike the A five track open as well, and we'll do the same thing there at a key frame and another key from at the end. By adding these key frames, this will help the feeling of the video coming to more oven end. So let's play that back. There we go. OK, great. So that's how the video and that's adding a logo. Sometimes it's nice to add the logo to the beginning of the video as well. So let's try that out. Now. We've got our local here in the project panel. The Discover Nelson Local will drag that down over the first track here, and we will highlight the Discover Nelson logo on track fee. Three. I will bring that down to 20 fries. So with this logo at the beginning of this video, with the clips starting out black and then revealing the mountains, you can't see the logo because the local is also in black text. So what we're gonna do is make the logo color at the beginning. White. Let's go up to our effects panel and type in invert, and we're going to click on not the audio fact, but the video effect. Invert and drag that effect onto logo. And, as you can see here that has inverted the color of this logo. So it is now white instead of black. It would be really great if, as the mountains revealed, the logo starts to move off screen. So now we're going to do that was just drag this logo so that it matches up with clip one Here. We're gonna use our arrows for this. So we're at 0.20 seconds. Let's push Are right. Arrow to the right. And as you can see here in the program panel, the sun set and the scenery starts to be revealed right in the crack of the frame there on the left. So I'm going to push my left arrow. Can never backed black with our logo highlighted push position. And now we're going to push the right arrow. We're at 4.14 seconds with the little still highlighted. We're going to go up to our position where it says 9 60 drag it to the right year to 25. 31. Let's play that back on the timeline. Okay? So as you can see here, we did not drag it far enough because the logo starts to go to the left as the darker part of this frame is revealing. The mountain in the lake. So So you're going to use a right arrow to go back over tow, lined up with where? That second key for miss. Okay. And you know it's lined up exactly because the key frame here is highlighted in blue. I'm going to push the left arrow on my key word to go off of this key frame. See how the blue color is no longer right ones. And there you go. So that's how you know you are back on this key frame. If over here the position key frame is highlighted in blue, let's drive this toe 4000. Okay, let's play that back here and there we go. 4000 works nicely. So there you have it. That's working with logos in your premiere Pro edit. In the next lesson, we're going to create a lower third for your host. We'll see you in the next lesson. 30. Creating Lower Third Titles for Your Video Edit: in this lesson. We're going to make a lower third title for our host, so we're going to have the lower third title show up in the frame here. And as you can see, I have the safe emergence on around the program panel here. I've turned this on by going to the tool bar in the program panel of Clicked On That, and as you can see, I have safe emergence clicked back is allowed these safe margins to come up. I'm using the safe emergence because it makes it easier to see where you should place your lower third title on the frame. So let's go up to file new and we will click on Legacy Title will call this title one. Okay, if you can't see anything on the frame here, that's likely because you haven't clicked the show background video icon up here, which is a little eyeball in front of a filmstrip. So I'm going to click on that. It's highlighted in blue, and there we go where my cursor was. On the timeline is exactly where this frame will show up. So I have tea. The type tool here highlighted. I'm gonna click on the frame. And then when the type in Ali Saunders, it has shown up as the default text. So I'm gonna change that to Helvetica. You can do that by just typing directly into the text font family search here, change the font style from light two boards and I'm gonna go down to the fill type the color double click on that and bring all the way down toe white. So the hex numbers f f f f f f push. Okay, let's click on this selection tool up here, and we will drag this over and up a little bit was pushed back on the tee and we will highlight the text here. And we can do some cool stuff here, like go to Kern ing and drag that. So the right. And as you can see, it drives out the spaces in between each letter so you can make your text look a little bit different by doing that, let's type in five there. Okay? You can choose to slant your tax when we're another. I'm going to push Command Z to undo that, you could create a shadow. As you can see here, you can click the shadow box and that's created a slight shadow behind the text. If you little pastie, it's at 50%. Let's drink that to 100. You can see the shadows become thicker behind the text. You can also move the distance that allows you to have the shadow go really far one way or not so much. So let's make the distance five. Okay, there we go. I actually don't like shadows, so I'm gonna unclip shadow And there we go. I'm gonna push X here. The next thing left to do is go to our project panel and there we have Title one created. I'm going to drag that over clip 12 here on the three zoom in. And it doesn't perfectly match up with the safe emergence. So let's highlight two. Title one with a position and we will drag 5 40 down to 6 40 and move it over just a little bit so that it falls within the second frame of the safe margins. I'm gonna now go to the project panel and go into settings in turn the safe margin off. See how that looks. Okay, that looks good. Next thing we're gonna do we will drag the title file over so that it ends where Clip 13 begins with a highlight Title one and starting in the being of Title one, I'm going to use my arrow key to go over 10 frames. So 123456789 10. I'm gonna go up to the effect controls Click position. Now we're gonna go back 10. So where they use the left arrow key? 123456789 10. Now I'm going to drag the position over to the rights so that it's at 18. 41. OK, let's push the space bar to play that. So you see how it came in? It revealed the next thing we're gonna do is go over here to the right of effects control and move this over so that we can zoom into these key Frings. Let's highlight both of them There now in blue will, right click and go to temporal interpolation. And instead of having linear wouldn't go to ease in. Let's click that we will right click on these key firms again and incentive auto busy will linear That's gonna make the title come in a little bit smoother. It will look better roles to play that back. Everything from incredible skiing, snowboarding Hills to the best local beer. You Okay? So to make the title lower, third title go out, we will go to the end of title one and push the left arrow key to go 10 over. Highlight Title one. We will push the key frame up a position that Louisville right ton and bring the position over Griet over to 1923. So let's play that back here. You're ever gonna try? There we go. So that's creating a lower third title. I'm just gonna bring that down, and that looks good. In the next lesson, we are going to export this video so that it's ready for final delivery, So I will see you in the next lesson. 31. Exporting Your Video: Hi, everyone. Welcome back in this lesson. We're going to export this video. So the first thing I'm gonna do is click on the timeline, push the minus key, and I'm gonna highlight all of the clips I've used in the timeline here is wealthy audio. Let's just drag that, Uh, I'm gonna put shift because I missed this last audio track here and click that So it's highlighted, right? Click and go upto label and put this in orange To me, that just signifies that the entire edit has been worked on and is ready to export push, Plus, bring my cursor to the very beginning of the timeline here, and I'm gonna push I that is creating an in. Now I'm gonna push minus key on my keyboard a few times and go to the end of the edit over here. We'll just go to the very end. Let's zoom in. So 3 58 +08 and push. Oh, to create an out. So everything within the in and the out is going to be exported. Let's drag this audio up a little more here. Great. I'm also going to change the name of this sequence from rough cut. We'll click on it up here in the project panel to final video. Click are fat. Okay, that's great. Before new export your video, watch it over in its entirety. Wants to make sure you're happy with it. And if you are, then you are ready to export. So I have a few. Are the attracts muted simply because they were the default audio tracks. A eight here does not need to be muted to have clicked on the M two unm units because that is the stereo part of the music. Okay, so the only two trucks I have muted or a three and a four, which were the backup audio tracks. And as you can see here, I'm going to push the plus key to zoom in on the keyboard clip 44 because we used loom ITRI color on it. And because it is a four K clip, it has shown up with this red line over it. That just means that's going to take a little bit longer to process. Okay, we are ready to export. You can either push come in em, which is a short cut to export your video or you can go upto file. And you, Congar Oh, to export media. There we go. So we're gonna talkto formats and choose H 264 So with match source, high bit rate selected in our preset. And next, we're gonna go to output name or it's his final video with a double click on that final video, and it currently is being exported to the Project folder, which we don't want. So let's click here and click on Nelson. And when you create new folder and call it Final Push creates, There we go. And we're the Save the name of this video as final video. Okay, great push, Save. As you can see here in the summary, we have this video going into the Nelson Final Folders As an MP four. It's going to show Oppa's 1920 by 10 80 Resolution 23.976 frames per second. Progressive, there are few things were going to adjust down here in the basic video setting, so let's scroll down here where it's as big rate encoding the br one password. Click on that and change that VB are two pasts that is gonna make this video to note higher quality. Also, where the target bit rate megabits per second is instead of 10 we're gonna push 18 and where it says maximum bit rate, we're going to click and push 28. I find these to be the best resolutions for videos that you're gonna be putting up on the web. This is going to export Ah, high quality video at a higher bit rate. If you need to have a smaller file, you can bring down the sizing. But keep in mind, that's going to affect the quality. So I stick at 18 between 18 and 28 for my target and maximum bit rate. We will go down here. We're going to click here where it says use maximum render quality. So we've checked Mark that the rest of this looks good. So the estimated file size is 5 21 megabytes. Now we're gonna push export and the rendering time for this video to be exported is going to depend on your computer for my computer. It takes about 20 minutes or so for video like this to be exported. So that is it. You have put together a professional video edit. You've worked with dialogue. You've worked with music and lots of effects. That is awesome. And we have one more lesson to go where we're gonna go over exactly what you've learned and what you can do. Moving forward with the knowledge you've learned from this course. So I look forward to seeing you in the next lesson. 32. BONUS Best Way to Sharpen Footage: In this tutorial, we're going to take an image of me where I missed the focus mark on my eyes while I was filming. And we're going to sharpen my eyes in the best way possible, imprimatur pro. So let's hop in there. Okay, so we're in Premier Pro and I'll zoom into this clip of me and yep, my eyes or I defocus. So we need to sharpen them. You may think, well does use the sharpen effect, but that is not the best effect to use when you're working with a clip of a person. And here's why the sharpen effect will sharpen the entire clip. Not only increasing details in the eyes, but also increasing details in my skin, my hair, the background, plus the more sharpness you add with this effect, the more noise is introduced to the clip. So we're not gonna use sharpen and don't worry because there's a better way. Instead, let's go back over to the effects panel and in the search bar, start to type in on sharp. And in the video effects blur and sharpen folder, you'll find the unsharp mask effect. This effect is called unsharp mask because the areas of your footage other smoother with less detail like my skin in this case, will ideally be masked out or unaffected. This effect is awesome. If you're looking to subtly sharpen areas of your footage. The have a lot of detail like in this case my eyes. So let's drag this effect onto her clip and go over to the effect controls panel. This effect includes three parameters. Let's go over what each of them does as we sharpen my eyes. Amount will increase the intensity of this effect. So the farther we push amount, let's push it all the way to 500, the sharper it will make the details in your frame pushing it too far like this adds more contrast, which gives a more sharpened looked to the eyes, but also introduces noise onto our clip and sharpens other areas of our image. The goal is to find a nice balance between sharpening the details in your clip like in this case, my eyes without making those details look on realistic. So let's bring amount to 150. That's looking better because minimal noise was added to the rest of the clip and our eyes are looking sharper. Next, let's check out the radius parameter. Radius allows us to control the distance of the effect from the detailed edges. By default, the radius is set to one, which affects one pixel on either side of the edges that were sharpening. I'll push radius a little too far to show you how it can affect an image. So I'll bring it to five. And doing this extends the distance of the effect too much by making areas around the eyes and other parts of this clip to detailed. It also introduces more noise all over clip which we don't want. I usually keep radius between one to two so that it's very subtle. So let's try 1.5 to just slightly increase the radius around the eyelashes. Increasing threshold will reduce sharpening in areas that don't have a ton of contrast or detail, we can keep threshold of 0 or adjusted to one. So let's check out what one does to our clip. As you can see, this blurs or smooth skin, but also blurs the eyes which we don't want. So we'll bring threshold back to 0. But you know what threshold can do if you need it. So this may be tough to see on your screen, but in using the unsharp mask to sharpen the details in my eyes, I've also sharpen some other more detailed areas of my clip like my hair. It's very subtle. But if you happen to be working with a clip that has a lot more details in it. And you really only want this effect applied to a specific detailed area of your clip. Like in my case, my eyes, I'll show you one more thing that I like to do and that is add a mask around just my eyes. Doing this will isolate the unsharp mask effect so that it's only applied to the area that we create this mask around. So back under effect controls under unsharp mask, Click on the ellipse shape and doing this creates an ellipse over our clip. When you hover your mouse over the ellipse on the program monitor, a hands icon appears, which allows you to hold down on your mouse and move the ellipse mask wherever you'd like on this clip. You can also select each point of the ellipse and decrease the size of the ellipse like so. I'll adjust the size so that it goes around both eyes, but so it's not over my entire face. Great. Next we're going to add key frames in a very quick and easy way to follow the position of my eyes on this clip as my head moves around while I'm talking. So bring your playhead to the beginning of the clip because we're going to start there with our key frames and then move right. And next click on the toggle to the left of mask path to add your first keyframe to this clip, which will hold the mask in the current position. Next, let's have firmer pro track this mask as the position of my eyes moves around as I speak by clicking this Play button. Now Premier Pro is doing its best to adjust the position of the mask frame-by-frame to move with my eyes. And as you can see, more key frames have been placed to track the position of this mask as it follows my eyes. Now I'll click on the mask so we can view the blue border of the mask to see how well it did to track my eyes. I'll scrub through this clip and Premier Pro has done a great job of tracking my eyes, using and customizing this effect worked very well. There you go. That's how the sharpen more detailed areas of your footage imprimatur pro, using the unsharp mask. 33. BONUS How to Edit Faster in Premiere Pro: In this tutorial, I'm going to show you five things you can do right now in primer probe to make editing faster. First, if you want to move a clip or an asset that's on your timeline from one track to another track. Really quick and easy way to do it is selected, hold down, Alter option on your keyboard and use your up arrow to move it up, or use the down arrow to move it down a track. Next, let's look at how to quickly add a key from your audio track where the volume line is, you can hold down command on a Mac keyboard and control on a PC, and click the areas where you'd like your keyframes to be placed all at these two keyframes. So I can fade this music lower, and we could use the command or control key on your keyboard and click on Align within our footage here to do something like create a fade, like so. Now when you're working with audio and you're using this line to adjust the volume, it can be pretty annoying to try and get it to the exact decimal you wanted at. I'm going to show you two ways to make adjusting the volume easier. So by selecting the audio volume line and then holding down Command on the Mac and control on a PC, you can drag the audio up or down a lot slower so that you can get really precise with where you choose to have audio decibels sit. That was the first way to precisely adjust audio. Here's the second way. So let's say you want to change the decimal of your audio by one. While with your audio selected, you can hit the left bracket key on your keyboard to bring that audio level down by one decimal, I'll just hit the left bracket a few times here. And if you want to increase it by a decimal, you can hit the right bracket. Now, you might currently make edit points by using your razor tool to cut the clip, then selecting the cut part of the clip, pressing delete, then deleting the empty space in the timeline to bring the following part of your overlay this, but there's a faster way to do this. So I'm just gonna press Command C and my keyboard to undo that. Okay, and the faster way to do this is to use ripple trim. So we could either choose our ripple edit tool over here in the toolbar, or we could work even faster and pressed the keyboard shortcut b to bring up this ripple edit tool. And now we can just drag that clip to the point where we want a trend. And when we let go, that brings all of the other footage to the right to that point. Awesome. Now, when you work with text and Premier Pro, you're probably going to find fonts that you really, really like and there's a quick way to access your preferred fonts. So let's just click on this text layer here, go into my essential graphics window and the edit tab select that allium will text title and under the text drop-down menu, Let's say we love aerial. Let's find it. And we want to click on the star beside it to favorite it. And now when we go up to this star here and click on it, we will be able to easily access all of our favorite fonts. Favoriting fonts is a big time saver, especially when you work on multiple projects for one client who prefers using the same font, wrote all of their video projects, and there you go. Those are my five tips for editing faster in Premier Pro. 34. BONUS How to Motion Track Out a Logo: Hey, I'm Allie, and in this quick tutorial, I'm gonna show you how to mask and track by hiding this big circular sticker on this iPad here, the technique you're going to learn can be used for lots of different things. Let's say you want to hide a logo that's moving around on screen, or you want to hide something that's in the background of a wall. By the end of this video, you're gonna know how to do just that. We're in. Premier Pro will select this clip on our timeline. Hold down the altar Option key on our keyboard and drag up to the second track to create a duplicate of this clip. Next, turn the visibility of the original clip on track one off by clicking on the eyeball icon, so it's crossed out. We don't want to be able to see the original clip because if we could see it, we wouldn't be able to easily spot or mask and it would just make things confusing. And the effect panel search bar typing crop, there it is in the Transform folder. Drag this effect onto your clip on the V2 track, pop on over to the effect controls panel. And before we just the crop effect, let's get a closer look at our Eclipse so we can choose the best area of the iPad to use as a mask. Go to the program monitor, drop-down menu here and change the view to 200%. So we're nice and zoomed in. I'll just scroll down here so we can see the iPad and circle in effect controls under the crop effect, select the free draw Bessy eight tool and over an area of the iPad that's a more solid color that doesn't have any distracting elements. Let's draw a tall rectangle. This will be the part of the iPad that we use to cover the circle. Now, the decision of the shape of the mask you create should be made on ecliptic clip basis, but I'm choosing to draw a mask, its rectangle and larger than the circle because this rectangle mask will blend better with the rest of the iPad and be a lot less noticeable, not noticeable at all once we're done with it, then if we were to draw a circle mask in this case, okay, we've got our mask now under the crop effect. Let's bring the crop over from the left by scrolling it from 0% to 100%. Cool. So now we have a rectangle crop that ever clip, but we actually want the opposite of this. We want just a rectangle mask showing the gray of the iPad and the entire clip around it to be cropped out. So we can quickly do that by check marking inverted. And now we ever masked that will track over the circle. Let's skip through this clip to make sure no distracting elements are gonna show up in our mask. And here we can see the top edge of the iPads or into Show. We don't want that to be visible. So let's select these top points of the mask and drag them a little lower. So we're just seeing that solid gray part of the iPad. Great. Oh, and our mask feathers set to ten by default, which suddenly softens the edges of the mask instead of having a sharp edge. In this case, I'll leave the feather at ten, depending on the clip you're working with, you may choose to increase the feather or decrease it. Let's go back to fit View and turn the clip on the B1 track back on. I'm going to select the mask under the crop effect so we can see the blue outline of it and scripter the clip. Okay, so we have our mask, but as the iPad moves around on screen, the mask staying still. So we get a track this mask, making sure that the V2 trek clip, which is the mask is selected and on our timeline and that are cursor is at the very beginning of the clip because this is where we'll have our tracking begin in the effect controls panel, we can adjust the position of the x axis until the mask is covering the circle like so under the mask drop-down menu where it says mask path, Click on this circular toggle to the left to place your first keyframe, which will hold the position of the mask in this spot. Next, we use pre-molars mask track, which is pretty great job of tracking, press the play icon and this is going to take a few seconds. Okay? These are the tract key frames that are now holding the position of the mask over each frame of the clip. Let's check out how successful the tracking job was. And as you can see, it's a pretty good job over all. But there are few areas where the tracking missed the mark, which is okay because we can manually adjust the masks position in these areas. Let's just get a closer look at our mosque. And this line indicates the play heads position and where it is within your clip. Depending on which keyframe it sits over. If we move our mask, the new position will be saved to that specific keyframe. Click on the mask here to show the blue outline of it. And we can bring our cursor over the program monitor where the mass is doing. This brings up a hand icon which allows us to click down and move the position of this mask so it covers the circle that's peeking out. Awesome. This new position has been saved to that keyframe. Let's play ahead to see where the circle pizza again and Mover Mask again to hide it. And now that we have the new position saved, let's check this clip out. Awesome, so there you go. That's how you mask and track distracting elements to hide them as they move around in your clip, imprimatur Pro 35. BONUS How to Motion Track and Blur a Face: In this video tutorial, you're going to learn two different ways to blur a face and track it in Premier Pro, knowing how to do this comes in really handy if you need to hide someone's identity in your video and knowing how to motion track and Premier in general is just a great technique to learn. We're in Premier Pro and we have this clip of three people doing yoga. We need to hide the woman on the left space. So let's hop into our effect panel. And the first effect will test out is the mosaic effect in the video effects stylized folder. Drag it onto the clip. Let's go to Effect Controls. And under the mosaic effect, change Horizontal Box to 50 and same goes with vertical blocks. Great. Next click on the ellipse mask. Let's bring our cursor over top of it. And when we do this, a hand icon appears that lets us hold down and drag them ask forever with Lake on our clip will position it over her face and click and drag these points inward to decrease the size of our mask. So that's just a little larger than her head. Let's quit the program monitors drop-down menu and zoom into the shop by 200% to get a closer look at our mask k and when to reposition it slightly. Currently we have a fairly sharp edge or under mass. So what I'm gonna do is increase the feather Turin 70 souls of the masks edge is a little A-sharp, a little less abrupt. We'll go back to fit view. And now we need to track this mask as the woman moves so that it continues to cover her phrase under the mass drop-down menu to the left of mass path, Click on the circular toggle button to place your first keyframe. This is the keyframe here, and it will hold the position of the mask on the area of the frame, the play heads over. Next click on the mask path. Play buttons have Premier Pro track the mask with the movement of the woman's face. It's gonna take a few seconds. Awesome. As you can see, keyframes had been placed following the position of this woman's face over every single frame of the clip that we tracked. And let's check this out. Okay, and it looks like primers on an awesome job of tracking. Now lets, after doing all this work with the mosaic style mask, you decide you prefer a more subtle blur. Go back to the effect controls panel search for Gaussian blur, which is in the video effects blur in sharpen folder, drag it onto our clip, pop back over the effect controls, turned our mosaic effect off by clicking the effects icon. And now under Gaussian blur, let's increase the blurriness to 70. Yeah, that's looking good. Now, under the mosaic effect, Click on the mask dropdown menu, select the mask and press command or control C on your keyboard to copy it, select the Gaussian blur effect, press command or control V to paste. This has allowed us to paste the attributes from the mosaic effect onto our Gaussian blur effect. 36. BONUS How to Reduce Moire in Premiere Pro: in this tutorial, I'm gonna show you how to reduce or remove, depending on your footage. The moray effect, those wavy lines that you just don't want to see on your clients are on your own. Closed. Okay, so we're in Premiere Pro with a clip that suffering from some major mori issues that we're gonna reduce in just a second. First, it's useful to know that when you're editing, depending on the size you've set the frame in your program monitor or the size of your computer monitor. The more Ian footage may show up more or less so it's important to review your final exported file at different screen sizes. If you suspect more Maury might show up. This is because different frame sizes will cause the very thin patterns on the shirt to move closer together or farther apart, as the pixels in the footage will have more or less compression. Mori typically happens when the camera has sharp focus on tiny, thin patterns where there's repeating pattern of a thin, opaque line, followed by a transparent gap. Okay, so let's go to our effect window and type in Gazi and blur. There it is in the video effects Blur and Sharpen folder will drag that onto our clip and go to effect controls where we can adjust this effect. Let's try bringing it to eight. Depending on your clip, you may need to increase or decrease the amount of Gazi Ambler okay, and that creates a subtle blur over the entire clip, and we can no longer see Moray. I'll turn the effect off for a second. And yep, that's definitely made a difference. Turn it back on next. Under the effect, we can click on this pen tool so that we can create a mask around just the clothing. So just the shirt will be affected by this blur effect rather than the entire clip. Now let's bring our cursor to the very beginning of the clip so that we're creating our mask over the first frame. I'm going to track this mask to follow the movement of the shirt as the clip plays through , and I want to extend the mask a little bit beyond the frame just to ensure that it does still cover the shirt as it tracks with the movement. Let's zoom out of this clip on the program monitor by clicking this drop down menu and choosing 25% so that we can extend our mask beyond the frame itself in case we need to make any adjustments to the mass later, so I'll draw a mask around the shirt. If you needed to adjust the mascot all, you could grab any of these points and moved them accordingly. Now, under the effect where the mask is, let's click on the toggle to place our first key frame toe. Hold the position of this mask and press this play button to track the position of the mask as the shirt moves throughout the clip. This will take a few moments, and when it's complete with every frame of this clip, a key frame has been created. Toe hold the position off the mask as it moves over each frame. Awesome! We'll go back to fit view, and as a scrub over this clip, you can see that using premieres, tracking has done a pretty great drop of following the shirt, and there you go. That's how to reduce the Mori effect in free, more pro 37. Bonus Premiere Pro Production Panel for Solo Editors: a lot of us. Premiere pro editors need to reuse logo, social media tags and other assets from older primer pro projects. When we work on new projects, Productions was designed toe work with multiple projects in one workspace and the ability to easily take clips or assets from one project and bring them into another project with out, creating duplicate clips longer, save times or disorganization. So let's take a look at how to create and use a production as a solo editor. Let's open up prima pro. Go to file new production and give your production a name. Since I edit YouTube videos fairly regularly, I'll be creating a production where all of my future, you two projects and any other you to project I choose will live. So I'll call this YouTube production. Next. Let's click on where and when you're choosing where to save your production folder. Store it in a place that you plan to keep it, because if you move your production folder around, Premier won't easily recognize your production as a production anymore, and it will just cause you a lot of hassle. I have a YouTube's video folder with a few of my more recent YouTube videos, so I'll create a new folder in here and call it you two productions. And this will be the folder that any of the projects I work on in this production will be saved. Teoh. So I'll click Select folder, which brings us back into premiere and Press create. Now we're in our premiere pro production, and you'll notice the layout has a similar look to your regular premiere pro projects, but it also has a production panel on the left side. And if you don't see this production panel for some reason, you can go up and click on window and production to bring it up. The production panel is where your various projects will live. When you create a production by default, Primer Pro will create an untitled project, which you can see here. We can create new projects in this Panelists Well, but first, I'm gonna add a YouTube project I previously had started working on before productions existed into this YouTube production. So I can continue working on it here to add a project right click in the production panel and select add project to production. I'm gonna add my had to change colors and Premier Pro Project into this you to production. So I'll select it and press open and this pop up window shows saying a new copy of the chosen projects will be added to the selected folder inside the production. Would you like to continue? So, yes, I would like to continue press copy. And now any work with you on this project within our production will be saved on this project file that's been copied into our productions folder here. Here's my imported project in the production panel and noticed that the little box to the left of its great out this means that it's currently inactive. Whereas the untitled project shows a green diagonal line indicating it is active. Let's double click on our inactive project to open it up, and doing so has opened up this project in our production, and we can easily go about editing it the way we would in a regular project. Next, I'd like to create a project that contains all the social media tags and assets I tend to use in every single one of my YouTube videos. So I'll do that using this untitled project, which I'll rename by right clicking on it, choosing rename, and I'll call it YouTube tags. And as you can see, the correlating project panel has also been updated with the name YouTube tags. All right, click in the YouTube Tags Project panel press import hopping to my YouTube Assets folder. Select all of the tags that irregularly use and open them. Create a new YouTube tag sequence and drag all those assets onto my new sequence. And now I have this YouTube tag project and sequence easily accessible to copy any of these assets over toe. Any of the YouTube videos I edit like I'll do so now by selecting these tags, pressing command see on my keyboard to copy them, going over to my coat color change sequence from another YouTube project. Just gonna close this limit tree panel to make more space great and paste all those assets . I recently shot some talking head footage for a new YouTube video I'm going to create. So let's create this new project within our production by right clicking in our production panel, choosing new project, all name and how to use adobe addition. Okay, and in the correlating project panel right click import. I'll go into my honey's. It'll be addition Folder that contains that footage selected and press import folder again . I'll create new sequence. Name it, drag that footage onto it, and again, I can go into my YouTube tag sequence. Select all the tags, copy them and paste them into this new project. As you start to work on and open up more projects in your production. I currently have three projects open your workspace may start to feel a little cluttered, so as you're working, just pay attention to which project panel and sequence you're working in. You can also flow some of the projects that you might not be using, like All right, click on my How to Change Color and Creamer Pro Project and Jews Close Project. It's now closed, which is indicated by that empty gray box to the left of the project. And the project panel, and sequences associated with that project are now closed as well. Because I just close this project. Prima pros no longer using processing power to reference files from it. If you want to save all of the projects you've been working on in your production at once, I highly recommend you create a keyboard shortcut to do so. You can do that by going upto edit keyboard shortcuts in the search bar, typing and save all there is, and you can choose whichever short cut you like by clicking on the empty space beside Save All under shortcut. You obviously want to make sure you're not already using that shortcut. I'm going to choose shift plus ass and press OK, And now when I use that keyboard shortcut, any changes I've made to any of the projects with in productions will all be saved. If you exit out of your premiere production and then want to open it back up, you can do so by opening premier and at the home screen. You can either choose a specific recently safety project you worked on in your production and click on it to open it up. Or you could find your safe production and click on it, which will open it with each of the projects and it closed, and you can double click on any of these projects toe open them back up as well. So there you go. That's how to work in productions as a solo editor. If you're working on a video, Siri's or you regularly create YouTube videos or work on more than one video project for a client, Productions makes editing much faster and more efficient. 38. BONUS How to Put Footage Inside Text in Premiere Pro: Hey, what's happening? I'm Allie, and I want to show you a super quick way to put footage in text. This used to be more time-consuming, but using the essential graphics panel makes it super easy. So first, using our text tool and using caps locks because I find all capital letters looks best for this effect. Let's type a word on her program monitor. Next, let's change that font by selecting the text. And if you don't have your essential graphics panel visible, go up to window and select essential graphics. Here it is, will go into the Edit tab. You can see we have our text selected here. Let's scroll down so we can change our font and you want to use a thicker font so you can see more of the footage within your text. I find BBS a great font to use, and it's free for personal and commercial use, which is awesome. So I'll choose that and we can use the slider to increase the font size. Let's try 400, which is as far as this slider allows you to go. I want this work to be even bigger so we can click on the text size number here, and I'll type Pete 50. Nice. Okay, next, under aligning transform, we can use the vertical and horizontal center tools to center this text. I'm happy with that. Now, let's get some footage in this text To do this, scroll up to the top of the essential graphics panel on the right hand side, click on the New Layer icon and choose from file. Choose the video file you'd like to have showing your text, Press Open to import it. And now that clip shows as a separate layer above our text layer, let's try and get underneath the text layer so we can see our text again. Cool, but how do we get our footage inside the text? Ok, this is how easy it is. Select your text layer and scroll down in the essential graphics panel to the bottom where the appearance tab is and check mark mask with text. And there you go. There are few more things you can do here. I'll just extend the duration of this clip by dragging it out on my timeline. Scrub through the clip to show you how cool this they can serve. Just kidding, that's not me. I'm not that cool. And okay. So we can see more of the surfer scroll up selective video clip because we are going to be changing its position and we can adjust our y-axis by clicking on it and scrolling up or down. And we can do the same with the x axis. We can adjust the scale of the video if we want to know. I don't usually like to increase the size of my clips because doing this reduces the quality of the clip. But I want to show you that it's there as an option. Let's increase the size to 120 and we can rotate or clip if we want to, by clicking on the rotation degree in moving it left or right. Okay, let's check this out. And yep, that looks good, but I just want to do some light color adjustments. So using luminous recolor, I'll add a little more warm-ups to the clip by bringing the temperature to around 25, I'll reduce the Black a bit to make it a little bit lighter. And if you want to change the color or round your text, you can do so by going to your project panel, new item, colormap, okay? And I'll choose white. I'll drag the colorRamp onto my timeline, making sure it's underneath the text layer. And that brightens this up. Awesome. So there you go. That's headed book footage inside your texts. 39. BONUS Premiere Pro How to Relink Offline Media FAST: Have you ever seen this show up when you open up a project in Premiere Pro me off line? What the heck is that? Well, don't worry. There's an easy solution to relinking your media. I'm going to show you in, like, 17 seconds first. Why does this happen? There are several reasons that your media could go off line. Like if you have files important Inter Brimmer Pro Project and outside of your projects where the original source file live, you moved the location of it around or you rename it or you delete the original file. Well, if you do any of those things, primer can't link back to the original source file. So you've got a real ink yourself. Let's look at how to do that. So we're in primer, and we've got some clips that are offline, scattered throughout her project. Let's make these offline clips a little easier to spot by right clicking on the top of our project panel and choosing metadata display in the search bar type in status and under premier pro project metadata, check mark status. Okay, Now we can click on the status part to organize all of the offline media, so we can easily select it. All right, click on that selected media and choose Link Media, and you can see the file path where the original files lived. The top files already selected. So now let's click Locate. And since all of the offline files were in the same folder on My hard Drive when I click OK , all of these files will also re link. That's pretty easy, but let's say we went over to our folder that the video files Aaron and moved one of these files. End of the folder. I'm just gonna move this clip onto my desktop now. When we go back to premier, this pop up window shows that the file is off line again. So let's click locate and the clips still not showing up if this happens and you know that file of somewhere on your computer or your connected hard drive click search and now Creamer searching my entire computer for that file, which is gonna take a little bit longer because it is going through so many files on my computer, and there we go. The files been located. Click OK, so well, that's had a real ink offline media in a few different situations. Keep in mind that relinking footage that's located in a random location isn't a very professional workflow. To stay organized, you want to have any project assets existing in one folder and then re link them to that location rather than having them located in multiple locations. 40. BONUS 4 Secret Premiere Pro Hacks: In this perimeter Pro video tutorial, I'm going to share four Premier Pro secrets you gotta know. Let's start with a new Premier Pro feature that helps a ton with organization and that is changing your marker colors. To do this on your timeline, place your play head in the area you'd like your marker. Press M on your keyboard to create a marker, bears the marker, double-click on it, and let's select the color red. And you can also see we have lots of other marker color options. I'll name this marker Vancouver. Okay, great. To extend the length of this marker in case you don't know, hold down the altar Option key on your keyboard, click the marker and now you can drag on either side of it to better see it on your timeline. Cool. Okay, so next, when you've got lots of clips with effects on them, on your timeline, they may be slowing down your playback and you may want to easily turn them off while you continue editing. To do this, go up to your program window and click on this little plus symbol on the right, which is the button. Edgar grabbed the global effects mute button, drag it to where the other tools are in your program monitor, OK. And click on it to activate it, which is indicated by it turning blue with the global effects mute button turned on. All of your effects will remain on all of your clips. They just won't show or use processing power, which will make editing more efficient. Just to remember to turn global effects mu off when you're ready to export your final video, when you've got your project picture locked and pretty much ready to export if you have tons of footage in your project panel like I do, that, it didn't end up using and you want to get rid of all those unused clips. There's a quick and easy way to do so. We can go up to Edit and select, Remove on used. And now all of the clips that weren't used in my edit are gone. They're out of this Premier Pro project. And here's the fourth Premier Pro secret. You know, when you're ready to export your project while you probably press the home key on your keyboard to go to the beginning of it. Press i to create an important man. You probably press enter on your keyboard toward the end of your video, press o to create note point. And doing this gives you this extra empty frame here at the very end of your video project. Which means if you export like this, that last frame in your video is going to be a black screen. But guess what? There's a quick way to solve this. So I'll just undo that. And instead, you one select your entire video edit and press the forward slash key on your keyboard, which will place that in point at the beginning of your selection. And you're out point right at the end of your selection where you want it, excluding that last empty frame. So your video will end on the last frame of your last clip, like it should instead. And there you go. Those are my four Premier Pro secrets you can start using right now to make your editing life easier and just better. 41. BONUS Mistakes New Editors Make and How to Fix Them: were in Premiere Pro, and the first thing we're gonna look at that a lot of new be editors make the mistake of doing is not trimming their clips before they add a dissolved. So let's look at what a bad dissolved transition looks like. We have this nice, pretty smooth handheld shot of a sunset, and at the end of the shots, the cameras sort of moves abruptly. Next we have a shot of me and my buddy Adam hiking, so we'll bring our play head. In between. These two clips used the keyboard shortcut commands D or Control DE to create a dissolve transition in between them. This notification pops up saying insufficient media. This transition will contain repeated frames. Now, because we haven't trimmed either of these clips, we'll have any handles toe work with and handles are the few seconds or few frames of your clip before and or after the part of the clip that you actually want to use in your edit. Let's press OK and see what happens here whenever you see diagonal lines improver pro on an effect during your footage. That's generally not a good sign. So between this dissolve, having to create repeat frames in orderto work and not trimming that camera shake at the end of the first clip. This dissolve is not going toe look very good, and this shows an example of where a lot of new editors make mistakes. They don't trim their clips to remove bad camera moves or a clip kind of abruptly ending within their dissolve transition to make this transition look a lot more pro will just delete that. First dissolve. You want to make sure the IV trimmed the part of your clip. That doesn't look good, so we're gonna trim this first clip to remove that abrupt camera move. We're gonna trim the beginning of our second clip as well, so that we can see Adams left foot just about stepping on the ground Press Command D or control the on your keyboard to add a dissolve. And let's check this out. There you go. That dissolves looking a lot better because we can no longer see those repeated frames or the abrupt camera shake from the end of the first clip in your transition. Next, let's take a look at this clip as you can see the horizon line is a little crooked now. You may or may not know how to correct that. If you don't know how to correct it, you can go over to affect controls, and you can adjust the rotation of your clip, so I'll bring this clip to minus 2.5. Great in doing that, we have straightened the horizon line, but we can now also see the empty black space behind our quip. To solve that problem will skill into this clip just a little bit. Let's see how 107 looks now Here's the mistake that new editors make after fixing a quick and horizon line and Skilling into the clip of it, they don't double check to make sure about empty space behind the clip is still showing. If we take a closer look here, you can still see that clip hasn't covered the entire frame were working with. So whenever you are rotating or moving around the position of a clip, it's always good to double check that. That clip is completely taking up the space of the frame. A quick and easy way to do that is to create a color Matt by going over the project window . New item color Matt Press Okay, for your color, Matt, you want to pick a color that will stand out against the colors in your clip so they can really quickly spot it. So let's pick red. OK, we'll raise the clip onto the V to track and drag this color mat underneath the clip, and now you can see that little bit of red showing behind our clip, which indicates we need to make a few more adjustments, will adjust the position of her clip and skill in tow 108 So that red color mat underneath her clip is no longer visible. Okay, so the next video editing mistake we're going to take a look at I was definitely guilty of when I was starting out as an editor, and that is pushing the parameters of your color correction too far so that grain is introduced onto your clip. Okay, now, let's take a look at this clip. Let's go up to window and click on Loom ITRI color toe, open it up and start doing some color. Correcting will bring. The exposure to two will decrease the shadows by bringing the slider to around 57 will bring the highlights and down to around minus 49 and push the saturation as far as we can to 200. Let's just go up to the program window. I'll press the tilde key on my keyboard tow, watch this back in a larger screen and has even seen the darker areas of this clip as well as the jacket. There's a lot of brain that we introduced onto this clip because we push the parameters of her color correction too far. Depending on the camera that was used to record your footage and the settings that were used to record your footage, you may be able to push your color correction farther than I did in the example here. Or not even as far generally, when I'm color correcting clips that aren't rotten log. I won't push any of the parameters more than by plus 25 or minus 25 I definitely don't push the exposure too far because that's a really quick way to introduce grain onto your clip. What you want to take away from this is that you want to review your color correction. Zoom in on your program window and make sure that you haven't introduced grain onto your footage by pushing the colors too far. Back when I was in film school and I was getting super into video editing, I read a book called In the Blink of an Eye by Walter Murch. He edited Apocalypse Now. He worked on The Godfather. He's just a genius editor. Well, I really loved the book, the one thing that stood out to me the most waas the rule that you never want to cut on a blink. So let's take a look at a talking head clip with a B roll clip and what cutting on a blink looks like and why you shouldn't do it. All right, so we have two clips on their timeline. We have a talking head clip, and we also have a B roll clip. First, I'm gonna show you what it looks like when you cut on a blink. OK, we've got a blink right there. I'll drag my B roll to where the play head is and let's watch this back, okay? And although this is more subtle when you cut on a blink when the B roll clip shows up, it's a little jarring, and it kind of takes yet of the video for a second. Let's find a point. Are talking head clip where I am looking at camera and we'll move our beer. Oh, clip To that point in our timeline, let's check out how this is looking. And there you go. That feels better. It's more engaging because it feels like the person cameras talking to you as the viewer and remaining engaged with you as the B roll clip shows. Okay, so the last thing that we're gonna talk about is a bit confusing. Bear with me. I'm going to do my best to explain it for beginners perspective. And that is talking about working with slo mo. For the case of keeping this simple, let's assume that you're gonna be editing in a 24 frames per second sequence if you're working with a clip that was shot at 24 frames per second on a 24 FPs timeline, you don't want to try and slow mo that clip because the end result will look choppy. Your footage needs to be shot at a higher frame rate. If you want a slo mo, it the frame rate each used to shoot in will determine whether or not you're capturing slo mo footage. If you shoot in 60 frames per second or higher, camera will capture that footage and play it back as slow mo. You won't have to adjust the speed of it when you go to edit it, because it will already played back in slow motion. If your camera has the option to shoot in 60 p, that footage will also play back at 60 frames per second, so it won't look slo mo and less You interpret your footage and work with it in a 24 frames per second sequence. OK, so now let's take a look at this clip that was shot at 60 p. I have it on my 24 frames per second timeline, and when we play this back, it plays back at regular speed. So it currently looks like it was shot at 24 frames per second. That's because Premiere Pro is dropping frames from it so that it plays back at a regular speed. The thing I really like about working with 60 p footage is we can still slow mo it by going up to the project window, right, clicking on the footage, clicking on modify, interpret footage and changing the assumed this frame rate from 1 to 24. Okay, and let's drive this interpreted footage onto our timeline and play it back, and, as you can see it now, place back in slow mo. 42. BONUS How to Remove Background Noise in Premiere Pro: In this Premier Pro tutorial, I'm gonna show you how to use an effect that we'll quickly and easily remove annoying background noise in your audio. This effect works best at reducing and removing consistent background noise like the hum or buzzing of your computer or the air conditioner. But this effect won't work so well for you if you have a lot of random inconsistent background noises, just keep that in mind. So it whenever you're recording audio, you want to make sure you give yourself at least ten seconds of recorded room tone, which you can see I have here at the beginning of before I start speaking. And I have it at the end of my clip. Having that recorded room tone in your audio recording makes working with this effect a lot easier. And it's a general rule of thumb to just always make sure you have a good chunk of recorded room tone to work with in your edit. So let's take a listen to this clip and see what we're working with. And side note, it will be easier to hear the background noise if you're wearing headphones while you're watching this. Okay, so let's take a listen. Those wavy, sort of distorted lines that will, Alright, so let's reduce and see if we can even remove that background noise. To do that, we want to work in the audio track mixer window to bring it up Gupta window and select audio track mixer. Here we go. So we have the A1 track here that we're gonna be working on. And this will affect the A1 track with our audio on it. Let's click on this little drop-down menu here and choose noise reduction, restoration, and de-noise. Let's double-click on it to bring up our track effects editor. By default, the amount this effect is set to is at 40%. Let's bring the slider all the way to 100% and have a listen, hear those wavy, sort of distorted lines that will, ok. So at 100%, background noise is almost completely gone. But this has also made my voice sounds certain, nasally, sort of robotic. And that's because as we've removed the frequencies and the background noise, we've also removed some of the frequencies of my voice. So 100% is too much. Let's try 50%. Those wavy, sort of distorted lines that will appear over people's clothes. Okay, so 50% sounding really good. Now, I don't like to push this effect really too much past 50% because I find pushing it any further does make my voice starts to sound robotic. But depending on the audio you're working with and the background noise you're trying to remove. You might want to push it a little bit further or not even as far as 50%. These little icons here are where you can choose to have this effect focus on. I tend to be happy with the results of the focus on all frequencies, but you do have several different options here, you can focus on de-noising the lower frequencies, mid-frequencies, lower and higher frequencies, or the higher frequencies. And overall I like to focus on all frequencies, so I will select that again. And if you want to quickly here the before and after, you can turn the effect on and off by clicking this bypass, the effect icon here. So here's what this audio clip sounded like before. Those wavy, sort of distorted lines that will appear over people's clothes. And here's what it sounds like with the denoise effect. Those wavy, sort of distorted lines that will appear over people's awesome. So the denoise effect did a great job of removing that background noise. I'll just exit the that ends in the audio tracks mixer if you want this effect that you just customize on the A2 track, for example, you can just click on it and drag it over like so. You can also quickly turn the effect on and off by clicking on this effects button here, those wavy, distorted sorta lines that will appear in your footage when people do. Ok. Now let's say you have several different audio files and you want to put the denoise effect on just one of them. First, what you wanted to do is in the audio track mixer, click on the drop-down menu that says denoise and choose none to remove that effect on that track. Next, we can go into our effects window, type in de-noise, end in the audio effects, noise reduction restoration folder, grab de-noise and drag it onto whichever audio clip you'd like. And to make adjustments, you can go into effect controls. There's the D noise effect, choose Edit. And just like when we put d noise on the entire A1 track, you would adjust the amount to your liking. And there you go. Those are two different ways to use the de-noise affect him primer probe to reduce M, remove background noise in your audio. 43. BONUS How to Use Photoshop Files in Premiere Pro: Hey, what's going on? I'm Allie, in this tutorial, we're gonna work with a layered photoshopped logo in both Photoshop and Premiere Pro. Lets happen to Premier and get started. Ok, so we're imprimatur pro. We have this mountain time-lapse clipped here and we're going to be placing a client logo over top of it. I'll hop over to Photoshop. And here we have our multilayered logo. We have the sun here, the mountain, the client's name, and their slogan for different layers. Let's hop back into Premier Pro and import this logo. I'll go up to my project panel and selecting import. I'll select the logo PST file open. Okay, and here we have a few different importing options for this logo. We could import it as merge all layers. So that would merge all four layers. Click the drop-down menu. We also have the option for merge player's individual layers and a sequence. So let's look at what each of these does. If we were to choose merge All Layers, press OK, drag this logo down onto the V2 track here. And side-note this logos currently too big and the dark blue if the local interferes with the Dark Mountain that sits behind it, we're gonna fix that coming up, okay, and we have this one layer that contains this entire logo with the client name and slogan. So that option certainly works fine. I prefer different option. I'm going to show you in just a second. I'll just Command C on my keyboard to undo importing that logo will just import the logo again. So I want to show you what import as merged layers does here. So this gives you the option to checkmark or uncheck any of the individual layer. So let's say we don't want to include both slogan. We will uncheck that and press OK, drag that logo onto the timeline. This gives us the logo with the client name and no slogan all on one layer, having all of the elements of your logo in one layer reduces the clutter. But most of the time I do prefer we'll just import the logo again, import as individual layers. So again here we could deselect any of these individual layers if we wanted to. I want them all selected. Press, okay? And here we have a bin that contains each one of these layers here. We'll just select them all and drag them onto a timeline. And as you can see, they definitely need to be stacked on top of each other. So I'll just zoom into the timeline here. I'll drag each of these layers on top of each other and extend the duration of them. Ok, so the reason that I like each of these to be on its own layer is because this allows me to manipulate each layer on its own. And I know the size is little bit grey now we're gonna deal with that coming up first. Drag the timeline up little bit here. Okay, so let's say that I want the sunshine layer to have a cross dissolve on it, making sure that my cursor is at the beginning of this layer, I will select it and press Command D on my keyboard, or Control D if you're on a Windows. And there we go. We have a cross dissolve, going to select the cross dissolve on the end there and delete it because I only want it starting at the beginning. And side note just so you know, the reason that my cross dissolve didn't affect every single one of these layers is because I don't have the v2, v3, v4, and v5 track selected. If I did and I added a cross dissolve, it would affect every single one of those layers. I'll just Undo that and deselect those tracks. Ok, scrub through their cool. Okay, so I like to some part of that logo dissolving in like that. Next I'll select the client name logo. And on my keyboard I'm going to hit the right arrow ten times. Go over to effect controls and under motion where it says position quick on the toggle animation to add a keyframe, I'll bring my play head to the beginning of that layer. Move this overbite and drag the x-axis position all the way to the left. I've got mine now at like minus six 96 so that we can't see it anymore. And this has created a second position. You can see the keyframe. You can sort of see the keyframe right there. So if you haven't worked with keyframes before, we have the first position set where we dragged our client name off screen and we have the second position here where it originally was. So i'm going to click the spacebar to play this through and the client name swipes in there. I'm like Melissa, that I'll select the client name again, go up to these keyframes, select them both. Right-click, choose temporal interpolation and select ease in play that through. And easing does what it says it does, it makes the position of the company named moving in 0s and a little smoother. Next I will select the slogan again, go over ten frames, go up to position, click the toggle, go to the beginning of that layer. And instead of starting the slogan off from the left side, I'm going to actually do the opposite. So we'll drag the position all the way to the right so we can no longer see it. Select both of those key frames. Right-click again, choose temporal interpolation and ease in. Okay, and let's check this out. Sweet and pretty happy with that. And I want this logo to be the length of the clip. So I'll just select all of those layers and increase the duration of some. Cool, okay, so once you're happy with the way that each of the layers of the logo shows up on screen. What I like to then do is nest my logo because I'm not a big fan of clutter when I'm editing and nesting allows you to easily access any of these individual layers of your love life need you. So let's select all of those local layers, right-click and choose nest, call it logo. Okay, there we go. Now, all of those individual layers are within that one nested layer. If we wanted to access any of those individual layers, we could double-click on the nest and there you go, we got them. All right there we'll go back to the other sequence. Ok. Next, making sure that our nested logo is selected on their timeline. Let's go up to effect controls and let's adjust this scale to 55. Unlike in the way that looks, I want the position of this logo to build a little bit higher up so we will adjust the positions y-axis just a little bit there. And I have my cursor sort of in the middle of this logo. So I'm going to press the toggle and emission button sites scale, bring my cursor to the beginning of the logo and bring the scale to around 50. Let's play this out. Okay, so now the logo scales in nicely. Now we could be done here, but I want to show you something that's super cool and super easy to do because all of the Adobe apps are dynamically linked. So Premier Pro and Photoshop work really well together. So let's say that your client wants to see their local in White. Let's double-click on our local nest. I'll right-click on the high glycaemic layer. Choose Edit and Adobe Photoshop. That brings us over to our logo with all four layers in it. And I'm going to quickly select each of these elements and make them white. I'll grab my text icon to select the hypoglycaemia text. Click on this double arrow sorta icon here where these colors are to flip them so that white is in front and that makes our first layer white, do the same thing to the second layer, and the other two layers aren't Text layers. So I'll grab my selection tool up here, select them, grabbed my paint bucket tool and select each of them to make this entire legal white. Now I'm going to press Command S on my keyboard. If you're with Windows, press control S to save what you've done, hop back over to Premier and look at that. That's how easy it is to make changes or adjustments to your Photoshop file and have those changes be applied back in Premier Pro, we'll go back over the clip with the logo and check this out. Awesome. Okay, and lastly, I'm going to show you what the last option does. So again, I'll right-click in the project panel and import the logo where it says import as click the drop-down menu, choose sequence. And again, we can de-select enable layers if we wanted to. I don't want to suppress. Okay, great. And this option has made a bin for us and it has each of the individual layers in it as well as a sequence. Let's double-click on the sequence here. So the sequence option is great as well because it creates a sequence with each of the layers already stacked. So you don't have to manually do it the way we did before. And if you're going to choose the sequence option, what you can do is just select all of those layers. Press command C or control C on your keyboard to copy them, go over to your clip. Just move that over, de-select the V1 tracts, let the V2 track so that the first layer shows up in the B2 track and above, press Command Z or Control V on your keyboard to paste a K. And we could drag these out again. And there you go. That's a you can easily work with a Photoshop multi-layered logo in Premier Pro. 44. Conclusion and Final Thoughts: congratulations on completing this course You have learned so much, not only the tools and effects and different techniques that I use when I edit any of my client projects, but you've also learned what to look for, what decisions to make to really tell a captivating story in your edit. Keep in mind. Although you've completed this course and you've gone over it, the best way to really retain and get the most of this information is toe playback, different lessons, anything that you feel you need to really get a better grasp of. Go back to look at the notes you've made. Go over the quizzes again and remember, you have access toe all the clips and the footage that we've provided so you can feel free now that you've taken this course toe, manipulate the edit and make it your own. As a premium instructor, we have a lot of other great media courses that would really take your editing skills to the next level. You confined these other great courses by going to our website or a profile page. Thank you again. So much for enrolling in this course and going through this editing journey with me. I'm so excited for you to take what you've learned and start creating your own awesome, amazing, engaging edits.