Premiere Pro CC Video Editing For Beginners: Learn Video Editing In Adobe Premiere Pro CC | Will Bartlett | Skillshare

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Premiere Pro CC Video Editing For Beginners: Learn Video Editing In Adobe Premiere Pro CC

teacher avatar Will Bartlett, Video Creator & Entrepreneur

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.

      Adobe Premiere Pro CC For Beginners: Learn Premiere Pro CC Video Editing PROMO


    • 2.



    • 3.

      Starting A New Project


    • 4.

      Introduction To Premiere Pro Panels


    • 5.

      Workspaces In Premiere Pro


    • 6.

      Optimizing Premiere Pro


    • 7.

      4b Backing Up Footage


    • 8.

      Hard Drive Folder Structure


    • 9.



    • 10.

      What Is A Sequence


    • 11.

      Sequence Presets


    • 12.

      Importing Content and Premiere Pro Folder Structure


    • 13.

      Adding Clips To Sequence


    • 14.

      Track Layers


    • 15.

      Working With Audio


    • 16.

      Playback Quality


    • 17.

      Picking Selects


    • 18.

      Source Panel Window


    • 19.

      Moving Clips and Trimming


    • 20.

      Editing To Music Using Markers


    • 21.

      Effect Controls


    • 22.

      Rate Stretch


    • 23.



    • 24.

      Rendering Previews


    • 25.

      Creating Text Titles (Continue to next videos for updated Lesson on titles)


    • 26.

      Working With Titles In Your Sequence


    • 27.

      NEW LESSON: Graphics Panel for creating text


    • 28.

      Color Mattes


    • 29.

      Audio Keyframes


    • 30.

      Dipping Audio For Dialogue


    • 31.

      Audio Track Mixer


    • 32.

      Audio Plugins In Premiere Pro


    • 33.

      Color Labels


    • 34.



    • 35.

      Lower Third Titles


    • 36.

      Frame Hold


    • 37.

      Keyboard Shortcuts and Tools


    • 38.

      Color Correction


    • 39.

      Color Grading


    • 40.

      Final Touches To Your Edit


    • 41.

      In and Out Points and Exporting Media


    • 42.

      Creating Export Presets


    • 43.

      Batch Exporting


    • 44.

      Create A Client Reference Preset


    • 45.

      How To Fix Laggy Footage With Proxies In Premiere Pro CC


    • 46.

      How To Create A Seemless Mask Wipe Transition in Premiere Pro


    • 47.

      How To Get Smooth Slow Motion In Premiere Pro CC


    • 48.

      How To Smooth Skin in Premiere Pro CC


    • 49.

      Auto ReFrame New Feature In Premiere Pro Saves A Lot Of Time


    • 50.

      How To Stabilize Footage In Premiere Pro CC


    • 51.

      How To Slow Motion Speed Ramp In Premiere Pro CC


    • 52.

      How To Get Perfect Skin Tones In Premiere Pro CC


    • 53.

      Edit Fast with Keyboard Shortcuts In Premiere Pro CC


    • 54.

      Best Export Settings in Premiere Pro CC Export FAST With Hardware Encoding


    • 55.

      How To export alpha channels


    • 56.

      How To Consolidate Duplicates FAST


    • 57.

      How To Level Audio Using A Compressor In Premiere Pro CC


    • 58.

      Final Thoughts


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About This Class

Get started with Adobe Premiere Pro CC today and learn how to video edit!

This multi-hour Premiere Pro CC For Beginners training class is an introduction into video editing using Premiere Pro CC. It will take you from the very beginning of opening Premiere Pro CC and learning the various panel windows to editing clips together, audio work, color correction, creating sequence presets, titles, keyboard shortcuts, exporting and much more!

This Adobe Premiere Pro CC For Beginners class Includes:

  • Over 3.5 hours of content covering a wide range of functions within Adobe Premiere Pro CC

  • Learn how to import, create sequences, edit, color correct, add titles, adjust audio and music, and export
  • PDF attachments to learn from

  • Downloadable footage and music to practice with

  • A comments section where you can ask any questions you have

and more!

Your instructor for this class is Will Bartlett. He has been editing since 2004. He is the founder of an established video production company in Toronto and has edited well over 1000 projects.

I will be available to answer any questions as well as help you with any issues you may come across while making your way through the class. Just reach out in the comment section.

*Even if you don’t have Adobe Premiere Pro CC you can still take advantage of this course by downloading a free trial from Adobe, on their website to follow along with this class.*

Meet Your Teacher

Teacher Profile Image

Will Bartlett

Video Creator & Entrepreneur


Connect with me:

SUBSCRIBE on YouTube FOLLOW on Insta

About me:

I've been a professional Cinematographer & Editor for 10+ years and a Content Creator for 15. Over the years, I've worked with dozens of production companies and hundreds of clients from Canada and the United States. I run several media businesses including a Toronto based video production company, an online brand that's trained over 350,000 students, and a Filmmaking YouTube channel called Alli and Will.

Categories I specialize in: Video Production (Filming, Editing, Visual Effects), Entrepreneurship/Business, Investing, Marketing and Branding.

See full profile

Level: Beginner

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1. Adobe Premiere Pro CC For Beginners: Learn Premiere Pro CC Video Editing PROMO: welcome to our premiere Pro Sisi video editing for beginners course. This multi our in depth course has helped over 10,000 students learn how to video edit Inside Premiere Pro. It will teach you the necessary skills as well as some tips and tricks along the way to help you become an experienced video editor. My name is Will and throw my career. I've edited well over 1000 video editing projects, has been a cinematographer and editor for over 10 years and a content creator for over 15. This course was designed for people who have no prior video editing knowledge and want to learn how to edit from the beginning. For if you know how to read it in a different program, this course will help you transition into knowing how to video edit Inside Premiere Pro Sisi. We'll cover everything from folder structure, creating sequence presets, basic editing work flows all the way to more intermediate skills at creating titles utilizing audio plug ins. Taken advantage of keyboard shortcuts, exporting presets and much more beyond that, I've included several lessons on video editing terms and definitions so that you can have a better understanding of professional video editing. My intentions with this course are to teach you all of the necessary functions within Premiere Pro and all of the various concepts behind video editing. These are very important and required in order to get yourself eventually to an advanced level. Throughout this course, you'll receive valuable knowledge in every lesson to jump start your video editing interest and maybe even a video editing career. If you don't have Premiere Pro, you can download a 30 day free trial off adobes website. Thanks for checking this course out, and I hope to see you in there. 2. Introduction: welcome to our premiere pro Sisi video editing for beginners course. And thanks for enrolling. This course will take you from the very beginning of opening Premiere Pro all the way to completing an edit. In exporting your final video, we will cover everything from the various panel Windows File Organisation sequence presets , editing clips together, working with audio and titles, color correction, keyboard, shortcuts, exporting and much more. Beyond that, I've included several lessons on video editing terms and definitions so that you can have a better understanding of professional video editing. My intentions with this course are to teach you all of the necessary functions within Premiere Pro and all of the various concepts behind video editing. These are very important and required in order to get yourself eventually to an advanced level. While you make your way through this course, I'll be available to answer any questions you have. So just reach out in the comments section with any questions. And again, if you don't have Premiere Pro, you can download a free 30 day trial off adobes website. Thanks again for enrolling and let's get started 3. Starting A New Project: Okay, so let's start creating a new project. This is our welcome screen. When you click on Premiere Pro, we're going to be creating a new project, or you can open a recent project. If you started one in the past, you can check out new features and so on. So for us, we will go to new project and a new window opens up. So we have our name here we will title it video editing course. Our location is set to the folder recreated in a previous lesson. So inside projects Inside Premiere Pro We're going to choose, and this is where the project will be saved. Video rendering and playback. Right now, I have it set up to open CL if you have a graphics card that can utilize the mercury playback engine and you have what's called CUDA installed, this is from NVIDIA. It's a free download, and if your graphics card can support it, I would highly recommend using it and selecting your playback engine. Teoh Mercury playback Cuda for us. We'll just stick with open CEO video audio capture. That's all fine. Let's go to scratch disks. Any captured video from tape, which most likely you won't be doing. But any captured video will be set to the same. His project captured audio. The exact same video previews Samos Project audio previews, Project Auto Save and the CC Libraries. So these air all defaulted to Samos project and I would highly recommend keeping them always to Samos project. You can change them if you'd like, but basically what this means is all of these things will go and be saved in your same as project location so that everything is organized efficiently in one spot. 4. Introduction To Premiere Pro Panels: This is the default Windows layout panels. When you first start up, this is probably what it will look like. I like to customise it a little bit, so we're gonna move some things around. The bottom left. Here we have our project window. This is our main window. This is where footage gets imported. We have our tools section. We have our timeline. This is otherwise known as a sequence. This is where are clips will be placed after a sequence has been created. And then we can start moving some footage or audio around to start creating an edit. Over here is our meters, showing our audio once we're playing back, a sequence that has audio in it. Here's our program monitor. This is our main visual representation of what's happening in the sequence. We have our source panel. If we were to import a file and then double click it, it would open up in source for us to view. We have in another tab here effect controls. If we were to import footage dropping in our timeline and then add in effect to it, he would show up here. Okay, let's go down to our effects right here. This is where we can browse through and go through different effects. We can apply video effects, transitions and the exact same for audio. For now, I think we'll leave it at that. And in the next one, I will start moving some panels around to create our own custom work space. 5. Workspaces In Premiere Pro: Okay, guys, welcome back. And this one, we're going to be moving around different panel windows in order to create our own custom workspaces. I'll set it up. How I like to it. So let's get started. I like to keep the timeline at the bottom. This is pretty standard in most editing programs. I like to bring the project window up to the top left. So in order to do that, we click and hold and drag it. Now, before we let go, you'll notice that depending on worry places, it will be highlighting different areas. If I wanted to sit on the right, it would be here. If I wanted to place it below the top windows, then I would place it here. So, for example, I want it on the top left and beside all the windows, so I'll place it right here. So it's tried again. Click and hold. So if I wanted it below all of these, we would leave it right here and now it's place the window below all of these. If I wanted it on the right side of all of those, I would place it here. Now it's aligned. The project panel window to the right side of all of the other panels. Same thing. Let's click and hold. Let's bring it to the right side. Now it's on the right side. Let's click and hold, and most set it up right there in order to expand the panel to see a little more. If you go to be just on the edge, you'll see it changes from a narrow into the left and right arrow. And if you click and hold, you can actually drag it and make it as large as you want. Let's leave it it around there. Okay, let's go to our tool section. When it highlights. We know that that is what we're working with. I like to place my tools at the top and we'll click here. We'll wait until we get the two arrows, click and hold and drag. So now, on the right side, we have our tools and we have our audio below it for a media browser. I tend to not use this as I prefer to import and locate footage in a different way. So we're gonna close this panel. Our info tab we don't need to worry about. Okay, and now we have our effects tab. So we're going to click and hold this, and we're going to bring it up and keep it right beside our project panel window. We will open it up just a little bit. Now. I like to keep my program monitor to the right side of my effects panel, and I have my effect controls on the far right side. So it's click and hold, and we will place it on the left side of the Effect Controls panel, which brings all of these tabs to the right side. The reason why I like the program window in the center is because this is our main playback . And instead of turning my head or eyes always trying to view the playback, if it was on the left, I'd be turning to left to try to view the playback. Always this way, it's right in front of me, and it's easy to see. We can go over to metadata. We can close that as well. We do not need that we have our source, which actually like to place in the program window, and to do that instead of here, you go right to the top where it forms a line as if it was a part of the tabs. And then you can see now it has a tab. So let's bring our program to the front of it. So that's our first tab. And then we have source as the second we have our effect controls beside it, and then we have audio clip mixer beside that. Go down to the bottom left again, we can close markers. We don't need that. And we can close the history as I do not like to work with history as well. So now we have our timeline panel that stretches the whole length. We can click and drag this so it fits a little more nice. Now, this is generally the set up I like to edit with. You can change it to whatever you'd like, but for our purposes, this is what we will be working with for the rest of the video course. Let's go to window workspaces and we will save changes to this work space that is listed as the editing tab. Okay, to open up different windows if, for example, you do need the meta data tab or the media browser tab. Then you can go into window and you can find which everyone you want to open up the info, history and so on. 6. Optimizing Premiere Pro: okay, The next thing we're going to do is set up Premiere Pro In order for it to be optimized for your system, Let's go up to Premier Pro Sisi preferences and general. So let's go to the general tab. Inside the general tab, we have several different options that we can change. I've already optimized my set up, so I will show you which ones I've changed. I've changed timeline most scrolling from vertical to horizontal. That means when you're working in your time line or sequence, you can use the mouse scroll wheel to move from left to right throughout your timeline, instead of it's set up to vertical, where if you use the most scroll wheel, it will go up and down through the layers. I find it to be a little more efficient to use a horizontal, so let's keep it at that. The next thing is, if you have any of these checked, you can remove them. I believe this is normally checked. This is normally checked, and I believe defaults scale to frame sizes also normally checked. The reason why I do not like to have these selected is because it can get annoying when you're rendering previews and it immediately jumps your cursor to the beginning of your timeline. And most of the time you do not want to do that, or once you've finished playing the end of a timeline, it jumps to the start as well. Default scale to frame size you can leave on if you'd like. This basically means that any footage that you bring down into the timeline will default to the size of your frame, meaning the resolution will auto scale to Philip your frame. Okay, so the next thing I believe I changed is the still image DIF alteration. I like to set mind to like five or 10 so we'll change it to 10 seconds. That is the length of a photo or still image that is imported into your sequence. It'll appear as 10 seconds long Now you can stretch it to whatever size you want, but this will save a little bit of time down the road as it'll always default to 10 seconds . Okay, let's go to appearance. Now I like to edit on the far left side words. The layout is the darkest. I find this easiest on the eyes. Once you're editing for several hours, so we'll leave it at that. Let's go to audio now, I said All my default audio tracks to mano the reason being. Sometimes you import audio from a camera into your timeline. Sometimes it's frustrating having to figure out how to separate the audio from a stereo track in order to get to separate channels. So this way, everything you bring in, even music you'll it'll show up as two different channels. Okay, And if you have any audio plug ins that you prefer to work with from, let's say, pro tools or another audio program, you can find them in here and then they will show up inside Premiere Pro use. Okay, let's go to audio hardware. I don't think I change anything in this. I leave it as is. If your audio isn't working, then you can troubleshoot by going to the device class and changing the setting here. If you have others, you can also go to default input or default output and change those. Okay, let's go to auto Save. I highly recommend that you keep this checked and you increase the versions to 40 and reduce the automatically save every a certain amount of minutes to five. This means it saves more often and backs up more files in an editing project. In a five minute period, you could probably do a few 100 clicks, and that is a lot of changes you've made to your project. So if more than five minutes goes by, you could be losing a lot of time. If something were Teoh like your system crashes or the power goes out. So save more often, make more backups and this is great. Okay, the next thing is our capture window. This is if you're capturing any footage from a tape, this will probably be removed at some point in the future as tapes aren't really used any more, Such as like mini DV tapes or HD tapes. Okay, control surface again. You don't need to worry about this. This is similar to this device control. Same idea label colors. We can get into this a little later, but basically you can rename all of these and create custom, very vibrant colors to help you edit to go to label defaults. I would keep this the same. When you change the names here. Those will auto update. Okay, let's go to media in here. We have a thing called media Cache files. Those are temporary files that Premier automatically creates and stores in this location. You can change it if you'd like, and what they do is they help Premier pro playback more efficiently by saving temporary files called cache files. If you'd like to save your temporary files beside the originals, check this box. However, I don't think that makes much sense, so I keep it unchecked. Media Cash Database So this is where it is saved. From time to time. I would highly recommend cleaning this up as the our temporary files and the next time you open your project. If you did clean it, it'll just create them again. So if you know you've finished a project or several projects and you won't be opening them anytime soon, then I would highly suggest cleaning them because it will free up space on your hard drive and thes files do get pretty large. So let's clean now. Everything else I would keep the same memory. Now this is your ram, your random access memory in sold on your computer. So on my Mac pro. I have 26 gigabytes installed. I have it set up right now to five gigabytes reserved for other applications. That means that 21 gigabytes are free for all of the other premier pro programs. Right now, my system is optimized for performance instead of memory, I would recommend keeping at least 2 to 3 gigabytes free for other applications. This is when you're changing to a different program or your browsing the Internet while editing. It leaves a little bit of memory so that you can use the other programs and they won't be sluggish. Okay, lets go to play back in here. If you have external monitors set up, you can set it to automatically default the playback to that monitor. And it will be full screen a lot of professional editing places. Set it up like that to their color correcting monitor. Okay, we don't need to wear but sync settings or a title er or trip. Okay, so that is all of the options we have in our preferences window inside. Premiere Pro. Let's go to Okay, 7. 4b Backing Up Footage: backing up footage is incredibly important, as that's why the term to is one and one is none came to be a term that everyone in the film industry knows. You can bet that any successful or established production company will have backups of all of their media on separate hard drives, raid systems or even backed up on an all nine cloud service. All it takes is one fire, a car accident, a spilled drink or simply a malfunctioning hard drive. And all of your company's media could be gone forever if it's not backed up. Every time you capture new media content, immediately make a copy of it to another hard drive. To avoid the potential of your media being lost or damaged. It can cost thousands and thousands to fix or to retrieve digital content from a damaged hard drive. And most of the time you'll only be able to save 80 to 90% of the content, which could ultimately leave you with gaps in your finished video 8. Hard Drive Folder Structure: Okay, so let's command tab out of Premier Pro. In this folder, I have some stock footage, clips that I filmed, as well as some music that I created in our bottom window. We have our folder where I'm recording this video course in in order to edit efficiently. It's very important to have an organized folder structure, so I will walk you through how I was trained in the film industry with how my folder structure should be. And if you prefer to use a different way, that's totally fine. But this is the way I was trained. The way I do it is we have a main folder, which is called the Project, that you're working on cell video editing Course. You can ignore the recordings window, so I'll just great that out for now. Now, inside of Created, a premiere pro folder. That is where I've saved this premiere Pro project. Now I'll show you how to do that in a minute. Okay, so inside this folder, we will have a music folder. We will have a footage folder. We will have a Projects folder. Insider Projects folder will be our Premiere Pro folder, which is where a premiere pro project exists. Inside footage will be all of our footage, so let's highlight them all so we can click and drag them all. Or click, hold, shift, click the top, then either right click and go to copy or command See and then inside footage double quick and either right click and paste or command V. Okay, so now we're copping over all of the stock footage clips that I filmed. The reason we are duplicating the clips into this folder is so that if you ever need to pass on this project to somebody else, everything exists in one folder. It is very easy. Once you're starting the project to have everything collected and placed in the appropriate folder. It is very difficult six months later, a year later, to try to find where all the assets are to your project. Okay, so let's go back inside music. We will do the same thing. We will click and hold copy it, go into music and paste all of our music. Okay, now, insider projects window. We have our premiere pro. We can also create after effects if we're doing anything in after effects or photo shop If we're doing anything in photo shop now, any files that we created, aftereffects or any project files themselves will be placed in there. And the same goes for photo shop saying Goes with Premier. So right now, in our premiere Pro folder, we have our video editing course project and our auto say folder. If you have any other files, such as images, we can create an Images folder. Essentially, the goal is to have everything nicely organized. And once we're in Premiere Pro, we will actually create the exact same folder structure so that in Premiere Pro, you'll be able to know exactly where files are because it has the exact same set up as on your hard drive. 9. Resolutions: resolutions congee any size. However, there is a standard when it comes to resolutions that the world has adopted. For example, on YouTube, when selecting the quality of the video, you can see various options that the video can be played in these air all different resolutions. If the up loader added a video to their channel in full HD resolution, then in the quality settings you would be able to choose 1920 by 10 80 or 10 80 p. YouTube will automatically create all of the smaller standard resolutions, such as 7 20 p for 80 p and so on. 1920 by 10 80 Resolutions have an aspect ratio of 16 by nine, where 16 represents the width that ratio 1920 compared to nine the height ratio 10 80. So each D footage has a width of 1920 pixels and a height of 1000 and 80 pixels going higher than HD resolution. You will have you H D and D. C. I. Four k uhd ultra high definition is intended for television viewing and has a frame size of 38 40 by 2160. This resolution is a direct multiple of 1920 by 10 80 therefore has a 16 by nine aspect ratio. D. C. I four k, which is known as digital cinema initiatives. Four k has Bean. The film industry's standard resolution D. C. I four K has a resolution of 40 96 by 2160 making it have an aspect ratio of 256 by 1 35 which is a little wider than you HD. 10. What Is A Sequence: a sequence refers to the area in an editing program where the editing will take place, such as the trimming of clips, the clip order and how the footage, audio and music will be organized. Different programs have different names for a sequence. For example, in adobe after effects, they refer to a sequence as being a composition. In other programs, it may be called a timeline. In any case, it means the same thing. It is a panel window in the program where the actual editing is completed. A sequence will have several different layers, or tracks that are the placeholders for your footage or audio and as needed, you can add or remove the tracks. Typically, when a new sequences created there will be 12 or three video trucks, as well as a few audio tracks, so that you can immediately start inserting clips or audio into your secrets to begin your edit. 11. Sequence Presets: Okay, So the next thing we need to do is create a sequence that sits in our timeline panel. To do that, we go to file new sequence. We can pretty much to select anyone we want here. These will work fine. They're just presets. But I like to create my own presets and I will show you how to do that. Right now we have this selected will go into settings editing mode. HTV 10 80 p. Now this is a precept that has been created. Let's go to custom our time base. This is dependent on the footage you have. So I will be working with 23.976 footage. So that is what I will create the sequence with. Now we don't want that. We want to create a 1920 by 10 80 with a regular pixel aspect ratio. So let's change our frame size here 2 1920 and then we'll change your pixel aspect ratio to square, which is 1.0, which means each pixel is as wide as it is tall. So it's square that creates our 16 9 ratio, which is what we want for high definition footage we want a progressive scan display format . 23.976 That's great. Audio 48 is fine Video previews. Now, this depends on your system. I like to use quick time and then I like to use H 264 and the width is 1928 by 10 ut. Now, you don't need to select maximum bit death or maximum render quality. You can do that. But this is all previews, so it won't affect the actual export of your project to save our 1920 by 10. 80 preset we go to save preset. We'll call it 10. 80 p for progressive and then we will call it 23.976 Now we can add some more details if we'd like, but for now, it's fine. We will go to okay. And now, once it loads, you will notice that at the bottom it creates a custom folder with our new preset created. From here, we can create new presets if we want. So for our purposes, let's just create them. All right. Now let's go. To click on this will go to settings. Everything will be the same. We could just work off this so frame size right now will create a 7 20 p one, which is higher than standard definition quality but lower than full HD. So frame size will be 12 80 and this will be 7 20 So we have 1280 pixels wide by 720 tall aspect ratio will be the same, and you notice because it's we've changed this. This has also been changed. So let's go to save preset, we'll call this 17 20 p 23.976 And once again, once it loads in the custom folder, you will see the 7 20 p preset. Okay, so now all of these will stay the same for four K, except for the frame size, which will be changed to 2160 by 38 40 and you'll notice that this hasn't been changed to the full four K resolution. It's because we have a 264 selected. We need to have something else selected because this is the maximum that we can use with a shoe 64 in our video previous. So in order to change it, let's go to animation or Apple pro red, so we'll go. Apple Pro is for two to H Q. And then we'll be able to enter in what we'd like 38 40 by 2160. Okay, let's say the preset will call this week another. Call it four k HD or 2160 p. So I like to use four K HD 23.976 Okay, now we will create a standard definition preset. Okay, so let's change our vertical two for 80. And now with square pixel aspect ratio, we can set this to 6 40 Now. Some people like to set it up as NTSC 0.9. If you do that, then you'll need to change this to 7 20 To maintain this. It does the exact same thing. It's just using a different pixel aspect ratio. So I like to keep things always square so 6 40 Let's go to save preset. We'll call it for 80 p two and 3.976 If you're footage is a different frame, rates are just 29 or 30 then it's a simple is going to settings and changing your time base to whichever for him right and you'd like to work with for us. We will be working with HD footage, so we will click on 10. 80 p. Click OK. And now you'll see that at the inner timeline Are sequence has being created. Okay. We can go into our project window, click on our sequence that we just created, press enter and then give it a name. You can call it whatever you like. For our purposes. We'll just call it 10. 80 p at it. And you've noticed that the change here has happened? 12. Importing Content and Premiere Pro Folder Structure: in this lesson, we will talk about importing footage and maintaining an organized fold of structure inside Premiere Pro exactly the same as what we created in an earlier lesson in our finder window up here in our project panel window. This is where we will be importing all of our footage. There are several different ways of importing footage, so I'll walk you through a few of them, the first being file important. The next we can go, right Click import or what I like to do is simply double click here. So you left click twice and are important. Window will open up. Then we can navigate to our video editing course into our footage and we can bring in all of our footage. We'll click the top hold shift, click the bottom and then all at once we can import all of our footage. Premiere Pro will analyze all the content and begin importing it into our project panel window. Now, Premiere Pro has loaded everything inside the project panel window. Now we can begin to organize, and down here there is a new been This just means ah folder just like in your finder window on your desktop. So let's click on the icon and drag into the new Been. Now it's ready for us to start typing a name. So this is our Footage folder and on our desktop we named it footage, so we will do the exact same thing footage. Let's close that up. We can create a new folder. We'll call this one music. Another way of importing is you can go to command tab over to our finder window. We can select all the music that we want to import. We can click and hold and then command tab back into Premiere Pro while holding and then let go into the music folder. Now we have music inside here. We have footage inside here. If we go to our finder folder, you'll see that we have images, projects, music in footage. Now, because we don't have any images, we won't create that folder. And we don't need to create a Projects folder because this is just our project filed for premier things that we need to import our music and footage because we will be working with those. Okay, let's go to Premiere, which is command tab. If we open up our footage folder and leave the mouse on one of the items. We can see a few other details. If we click and drag here to expand that panel window, you can see a few other details here. And if we use the scroll bar here, we can find a lot of other information such as Media Start Media and Duration in Point Out Point and some more video information over here. Right now, we have enlisted as list view. We can also use the icon view this way. If you're inside the footage holder, for example, it will show you thumbnails of the footage. If you leave your mouse over one and drag without clicking, you can actually watch a preview of the footage, which is nice. If you know the specific name of your footage, you can click and find it, such as Let's try wide view wide view and then this. It finds it very quickly for you. Let's close that. Open that up. We see the audio picture showing the way form, which is a visual presentation that these air audio files that do not have video. We can search by name if we'd like. We can create more bins. So you understand. If we created been in here and close it, it's still and go back to the list view. It still gets created in here. It's just when you double click, it just opens up another window so that it's easier to see what you're doing rather than doing everything in the one window. We don't need this. So we can do is either present delete on the keyboard or weaken. Press this button here. Okay, so there's a few other options. We can make everything larger if we'd like. Same goes with this. Okay, So if we wanted to create a new item, for example, we could click here and then we can create a new sequence and a whole bunch of other options. That is the same thing as if we write cooked. He went to new items. Having all the assets in your project imported and organized into folders is a very, very efficient way of editing, and I would highly recommend always creating your footage folders that match how you have it set up on your desktop or on your hard drive. If you have a project you're working on and six months later you need to hand it off to somebody else. It makes it very easy. If everything is already organized inside one folder and then inside premiere, it's the exact same way. Another reason why it's important to have everything organized into folders is if you're working with multiple different cameras and cards inside your Footage folder, you would have card one you could have card to. If you have multiple days, you could have Day One and inside Day one, you'd have card one card to card three and so on. And then inside Premiere Pro, it would look exactly the same. You'd have a footage folder you'd have day one day, two inside Day one, you'd have card one cards you and so on. Having this match how it is set up on your desktop or on your hard drive is extremely important. For example, let's click this clip and move holds command will click this clip in this clip. We will right click, and we will make offline. That means that this footage isn't inside Premiere Pro and Premier Pro does not know where it is in order to find those weaken because it's in the same folder on our desktop or in our hard drive we can right click. We will link media. We will click and drag to make it a little larger. We will locate the footage display only exactly matches to just finding the one we will click. OK, and in this footage has been found. Now for the other ones. Simply click that click on this right click, go to link Media, locate it, found one of them. You click OK, and then now both their online because it's in the same folder. It found both of them very easily. Okay, so let's bring this panel back and make our program monitor a little larger. 13. Adding Clips To Sequence: The next thing we will do is start adding footage and music to our 10 80 p edit sequence. So let's go to our project panel window. You can see that we are working inside this project panel window because it's highlighted in blue. If we would work down here now it's blue. This is blue. This is very important. Sometimes when you're not in the right panel window and you're trying to do something, it will not work. So okay, now we have selected this panel window. We go into footage. It's making a little larger. Now we can click this one or this one, and this one would say, and we will click and hold and drag them down. Now, all of these files do not have audio. So on the video V one, this is where have placed them. And because there's no audio files, no audio has been added. If you imported a clip that does have audio when you drag it down, you will also be adding audio. Okay, so now let's go to music. And just like the same thing, we can actually remove that. Okay, so let's use the song discover we will click and drag it and you can see because in our preferences we set it up as bring all audio in his mono. It has taken this stereo track and split it up into two model tracks. It still sounds and works exactly the same, but now we can easily if we wanted hold, alter, option and click and just get one of them if we wanted. But together without holding alter option, we can select both channels at once because they're joined together. If we right click, we can go to unlinked if we want them separate. Okay, so let's bring our files down rate to the beginning of our timeline rate at zero. Okay, so now that we have audio, if we scrub, you'll hear the song. Okay, So, depending on how fast you scrub through, that's how fast it will play the audio. If you want to displayed in real time, then you hit space bar or going to a program window and hit play. You will also notice that now we see the footage because it's in our timeline on video Track one and the eyeball is on. If we turn the eyeball off, then we no longer can see it. Let's go to the beginning of our timeline and hit play. Okay, let's go a little further so we can see a cut. This is just clicking and dragging this timeline person or reading Simply click where we wanted to show up. So for now, place it right there. Well, hit. Play again. Okay, okay. And that is the basics of creating and edit. We have music, and we have three video clips playing one after another and together and makes the video much more interesting because we have music in our edit. Okay, lets go back up to our footage folder. Now, if you want to just have this, we can close it here. Let's click and hold. It will highlight all three those clips, and then we can press a delete on our keyboard and remove those those do not delete from your hard drive for from your project window. Those only get removed from your timeline sequence. Okay, so let's add all of our clips into our footage by clicking and holding all of them. Or we can simply click and drag the footage folder and it will bring all of them in. We have now placed all our footage one after another into our sequence. Click and drag and delete all of those and again, that only do. It's the clips from the sequence they still exist up here. 14. Track Layers: in this lesson, we will talk about the different layers inside Premiere Pro in your sequence. Right now we have a bunch of clips in a row as well as one song that is showing up as to model tracks. We have this line here, which separates our video tracks from our audio tracks. And we have our master audio, which is all of the audio tracks being fed to a stereo track, which is our master. The master track audio is represented here on the right side when we play back in our sequence. So let's bring our timeline cursor to the beginning We have on video track one. This is selected as Blue Weaken. Enable all the tracks if we want or just keep this one selected. This is important when you're copying and pasting clips into your edit, because if this is just selected than when you copy command, see, let's say over here it'll paste it on that track because that's what's highlighted. If it's the three envy, one isn't selected and you command V paste the footage. Then it gets pasted to the top. So, for example, let's I like those and delete them. If we wanted this clip command. See to copy it. If we wanted that to show up right here, then we can go to V two and then it pasted on that track above this track in video editing your top layer much like photo shop or after effects or any other editing program. Your top layer is a layer that is seen and anything below it will be hidden by the item above it. So, for example, this clip here is on top of these clips. So what we see is this clip. If we were to turn that clip off so we can't see it, then we see now what's below it. So once again, if we turn now, this layer off, then we have nothing because both layers air turned off. If we turn this one on, we see this layer and because this is above it, if we turn it on, then we see this layer and the same thing goes with right here we have this layer which is above this next clip. So if we were to turn this one off, we see this clip below it. Now the same thing works with as many layers as you want to go. So if we, for example, want to take this clip and click and drag it and place it right there, then now we see this clip. If we hide it, we see this clip. If we hide that clip, we see this. It's all stacked and whatever is on the top is what we see. So let's turn those back on in our edit. We now have three clips. It will play from here to here, and then it'll start playing this clip from here to here, and it'll start playing this clip from here to here. Then there will be a black spot here, and then it will play again. So to show you what that does, let's click their play it. - Okay , so now you can understand kind of if there's no clip than you're not gonna see anything. And if there's clips on top, it'll change to the next clip that is seen. Okay, so let's take this clip. We could move it back into the spot, and this is a duplicate, so we will delete it. 15. Working With Audio: Okay, so the next thing is audio now in the layer system of the audio tracks, it does not work the same in the sense of If there's on audio clip here and another one under it, it'll only have this one hurt in the audio sections below the video, any audio clip that is present will be heard. For example, if we take a different music track, let's try this. One will click and hold, and we will drag it down here, which means it's going to create a new track by itself. So now we have four audio tracks, a one through a four, and we have video tracks one through three. So now that we have this song on a one and a two, we have this song on a three day four. Now you're gonna hear two songs at once, even though this one's above it. So, in other words, in the audio sections, it acts differently than the video. In the video, the top layer will only be seen, but because it's audio, you'll hear everything even if it's stacked. Okay, so let's delete that, and that is a basic understanding of the layer systems If we wanted to add more tracks, we can simply click and bring it up and let go. And then we'll add another truck automatically. All recon, right click add tracks or Dewey tracks, and in this one we have video tracks. At one. We do not want to add any audio track, so click and drag that or change it to zero. And we want to add, Let's say, four video tracks and it'll be placed after video for meaning right here. So now we have be 567 and if we scroll up on the right side here, we can see the eight track that it created in a previous lesson, I was talking about the horizontal scroll in the preferences window, which is right here. If you set this to vertical, you can use the scroll on your mouse to go up and down. However, I find it much easier to use the to use that function as the horizontal squirrel because let's just change it back because when you zoom in, which is the plus on your keyboard, and it'll zoom in right to where your cursor is. So if we're zoomed in very far, here to make fine edits. It's nice to be able to use the scroll wheel to scroll along toe wherever you like to edit . It makes things a lot faster. Let's press the minus on our keyboard a few times to go all the way back out. Another way to zoom is by clicking the bottom here and holding and stretching it to where you want it to be. 16. Playback Quality: okay. In this lesson, we will talk about the playback resolution quality and why it's important to understand it . Now there's two things we have are exported final video quality, which should be as high as possible. And we have our playback, which is our preview resolution quality. This is represented in this area right here, which is select playback resolution. This is all dependent on what footage you're working on and how powerful your system is. If you're working with a newer system with a lot of memory and a lot of processing power, then you might be able to get away with using full, which will change the resolution and quality when you're editing. However, if you have an older system or if you're working on a less powerful laptop than I would suggest keeping it at 1/4 out of quarter resolution, it still is very easy to see what's going on. And it actually doesn't make that much of a difference. So I tend to always just keep it at 1/4. From what I can tell, I don't see any difference between half and full. So to save some processing power, even on a powerful system, it might make sense to just keep it on half. So for our purposes will keep it on 1/4 always. Sometimes when you have text created in your project, the resolution of the text while you're editing doesn't look that great. If you don't like the way it looks, you can always improve the quality. However, then you will need more processing power on a stronger system. 17. Picking Selects: in this lesson. We will talk about picking, selects or choosing selects, and we will talk about what that is and why it's important. Okay, so let's open our footage folder. And if we double click on one of these clips in our project window, it'll open up the preview of it in our source panel. Now, this is different than our main editing program Monitor program Monitor its black right now because we have nothing in our timeline. But in our source panel, this represents clips that we have selected in our project panel window. For example, if we double click on another clip, it changes here. But this is still blocked because there's nothing down here. Same thing with music. If we were to double click on this clip, it shows our stereo song that we have important. Okay, so let's go to this clip, for example. Now the idea in editing is not every piece of footage is your film will be perfect. So the idea of choosing selects means that you will be selecting the best clips you have so that in your sequence in your edit, you are working with only the best of the best. You're not going to be confused by parts of your footage that are at the beginning of the end that are not useful. And once you can organize and kind of filter out all of the unwanted parts of your footage , you will be left with just your selects. Okay, so you start picking, selects weaken, do a few different things. My work flow is I typically create another sequence. So go file new sequence. We will create another 10. 80 p sequence because we are working with 10 80 p footage. We will call the sequence name all footage we'll go to okay. And then inside here, we will drag down all of our footage. Then we have our original sequence, which is our edit in our ed. It will be where replace all of our selects that we collected from our footage. All footage sequence. In other words, as we're going through in watching all of these, if there's parts of the clips that we don't like, we will make a cut in the clip and then we will Onley copy over the good parts that we want in our actual edit. So let's get started with that. So it's zoom in a bit. We have our footage folder selected and our timeline highlighted in blue. We can click on the plus on her keyboard a few times until we're as close as we want. We get the space bar and he looks like around, I'd say there, when this part starts to becoming closer to the right side of screen. That's where I'd like to start on this clip. So we don't want anything on the left to be brought over to our edit. So we need to make a cut point to split this clip into two clips. So how we do that is we need a cut tool or are razor tool depending on the version you are in, it might be called cut. So if we go over here to our tool section we see are Razor Tool here, which has the keyboard command of C. So we can either click that, and then we can see that we have a different cursor type. If we go back to original one. Now we have the original cursor, or if we press see owner keyboard, it changes it to the razor tool as well so if we click on the clip in this spot, it will cut the footage in that area. Now we could do it. It's many different cuts is we want. And basically, that's how you cut footage, let's commands. And to undo those just leaving, the one will press V, which is our selection tool to bring back our original cursor. Now we will zoom out just a bit and now we will play and we're looking for the end of the clip. So that's good for that. It's I'm just kind of picking it randomly here just for the purposes of what we're learning here. So let's go see. Cut there, Go back to V. Click there and now we're going to copy it so we can either right click and go to copy or recon Wild selected Press command. See, then we go over to our edit. And because this is at the beginning of our timeline and we have V one selected, it'll paste right here so we can press command V or we can simply paste the item. Now we can paces many times we want because it's a copied item. So we could if we wanted the same clip back to back. We can do that. We don't want that, however, so we will do it. Those four. And then if we watch this back, we can see the trimmed clip that we brought over from the all footage sequence that is now part of our selected clips. So now let's go back to all footage. Let's continue going through this. That's the same clip so we can. We don't want any of that would scroll over. Well, click and drag on the timeline cursor to scrub through the clips, or we can simply press, play and watch in real time. Sometimes it's a little faster to just scroll through to cook me find a spot in the clip. So whatever works for you. So I think this section is fine. So what we'll do is press see. We'll cut there and we will come and see and because the time, like cursors at the end, now weakened copy and paste it into this section. If your cursor was here and you tried the pace, it, for example, it will trim the clip where you paste it, which is not what we want. So if you have moved the timeline cursor and it's not at the end. You can simply press the down arrow on your key to go to the end or the up arrow key if you want to go to the beginning. So for us, we want to paste this after this clip, so will press the down arrow that will bring us to the end of this clip our next edit point , and we will press command V. And now we have this clip returns into this clip. Now the idea for select is we would go through all over footage. It takes a little bit of time, but it ends up being a lot more organized. And this is a very nondestructive way of editing because all of your footage still exists on this sequence and can be referenced at any time. If you were to Onley edit with your footage here, you could go back and bring all your footage back again. But then, every single time you need to get an extra clip, you'd have to go back to your footage folder, open up a new sequence or drag all this stuff down into this sequence at the very end. It's just a lot more efficient if you have all of your footage here. As I said before, this is what's known as non destructive. So once we have all of our selects picked, I'll just do this quickly. Pick this one, copy it over. And the more you do this, the faster you will get. So I like the reveal kind of right there, and I like it until shows that so copy it. Okay. I like the reveal of the background past the green leaves. You take that clip from there to right there, you can copy it over. We'll take that one from right there. Command C Command V. We'll go to the sea tool and cut it and then take it to write their selected command C Command V. Sometimes, as you'll notice, it'll auto saved by itself every five minutes, like the beginning of that. So take that clip and we'll end with the wide shot revealing the whole tree. Command C Command V. Okay, so in our all footage sequence, you can see that when we move the timeline cursor. This number changes because we have our forage set to at the very beginning. Wherever remove. This will tell you how long vis duration is. So right now it's three minutes, four seconds and seven frames. You'll notice that our selects are only 57 seconds. So we've trimmed about two minutes off of all our footage, and now we have our selects, which is a lot more organized. It's a lot more efficient this way, because now we're only working in our edit with this footage. So when we start making creative decisions on when the next clip will show, it makes it a lot easier than having to on every single clip at this point, delete the parts we don't want. 18. Source Panel Window: in this lesson, we will talk about utilizing the source panel window to start. Let's go into the project panel window. Double click on one of the clips. This will open up the source panel window using the timeline cursor in the source panel window. We can scrub through and watch this clip or we can play it. We can use the different buttons below, such as Adam Marker, to place a marker on this clip that's separate from in the timeline, where we can also add markers we can select are in a no points. We can go to the in, go to the out or move one frame at a time at the end. Here we have export frame. This is how to save a picture from inside Premiere Pro, and then we can name it. Choose a format such as J. Peg or PNG. Choose the path where it's going to be saved and whether or not we want to import it into the project. Click OK, and then this image will be saved to your computer. Okay, so what we can do is go to the beginning and scrub through the clip, and I like that as the starting point, so we can either hit this button here or press I on our keyboard to mark the in point. You'll notice that now the in point starts here. Then we can click, play or scrub through, and I like that a zero point, maybe a couple frames earlier. Then we can either click this Tomarchio point or click Oh on our keyboard. Once we've marked our in and out point, we can click anywhere on the image and hold and then dragged down into the timeline such as . And it will bring just the in a note portion that we've selected, and we can click and drop it on any layer we want. It's to eat that, or we can simply bring down the drag video only, and then it's the exact same result. If this footage did have audio attached to it, then we can choose to simply just bring the video portion alone, just the audio portion, Or, if we do here, it'll bring both. There are a couple other options, which are little more advanced, but basically you can insert or overwrite footage into your timeline directly, such as my time on cursor exists right here in the middle of this clip. So with our in and out selected, if we were to insert it, you can see that it placed the clip in the middle of those two clips. It actually cut it and inserted in between. The other option is the overwrite feature, with our in a note selected. If we press this button, depending on where Timeline cursor is in our edit, it will place the clip that we've selected and remove any part after this section for the duration of this clip. For example, our timeline cursor used to be right here, and we used to have the second portion of the clip here. However overriding the clip deleted what used to be there and pasted the new portion. The source panel window is just another way of selecting clips and bring them into your timeline. I tend to use the old footage method of choosing my selects. However, a lot of editors choose to highlight their clips in the source panel shoes or select from here, and Bert dragged them into their edit. Other one works. Another thing you'll notice in the source panel as well as the program monitor that there was an area here that says Fit. This is the select zoom level of this window. So, for example, if we go into source, select here and go to 150% it will zoom in on our footage and we can use the scrolling areas to move around in the clip. Let's go back to fit. The same thing works within our program. Monitor for any foot is that we have down here. So it's part of this clip here. Fit. Change that to 400%. And then it zooms in quite a bit and weaken. Move around and see where we need to go. Let's set that back to fit. You can also see a representation that are timecode. Cursor is at 26 16 which is the same here. Those two numbers represent the same thing. This number on the right side is the total duration of all the footage or content we have in our edit. Okay, In the next lesson, we will go over some basic editing, such as trimming and moving clips around 19. Moving Clips and Trimming: Okay, welcome back. So in this one, we will go over trimming clips and moving clips around. Right now, we have several clips in our timeline, and if we press the plus tool on our keyboard, we can zoom in. And if we click the timeline cursor and drag it to the beginning, we have one clip here. If we click the down arrow, it'll bring us to the next edit point. And so on. If we click the up arrow, it'll go backwards and do the exact same thing. Change to the different edit point. If we select this clip, for example, we can click and hold it and move it to where we like. We can take this clip moving up there. If we want to take this clip movie here, we can highlight all of these clips and move it around, and we can basically move them anywhere we like at any point in time, and it will create a completely different result with the order of the clips. Just as quick is that the next thing we can do is further trim the clips, depending on if the edit calls for, for example, if we have a song that calls for faster edits, meaning it's more upbeat. It's a faster song than the video portion might want to have. Faster edits. Okay, so we go into the music folder, we will double click on Discover that opens it up into the source panel window. We can click play. Yeah, and that is a slower part of a song. So if we look in the way form, we can see a much louder part. So let's go to the second half here, too. Maybe right there will make our in point. - Okay , so that's the end of that. We will click on this mark out button. Now we've selected in and out, which is about the second half to about the 60% mark. Okay, then we want to bring this audio portion that we've selected down here so we can click here and move it right there. Now you'll see this portion that I've selected doesn't equal the length of all our footage . So let's say all we wanted was this In our final edit, we only wanted this part. So what we have to do is trim all of these clips or remove some clips so that all right, it is only this long now when we export the videos, we can just like this said in and out and Onley output this part. But for our purposes, we will move some clips around and clean up the edit. Okay, so let's bring our timeline person into the beginning that changes this back to the program monitor. We have our music in place. Now we want to listen to the music and fine points where it would be good to transition to the next clip. So let's play doing. I will show you how to search for those. Okay, Right where I stopped starts another bar of music. So what we can do is click and drag and select all of these and simply click and hold and drag rate to the point here, and then it will trim this clip. Another way we can do that is let's go back to prison, Command said. We can go down to this clip without selecting and eating and move the cursor over until we see this symbol mean click and hold and trim that clip by dragging. Then it makes a blank spot in our edit weaken, click in, highlight the blank spot and press delete on our keyboard, and it'll shift all of the other stuff after it over. Now, sometimes that doesn't work if you do have other edits after it or certain audiophiles after and in that case, you might have to do our original way, which is click and drag everything and then move it over. Let's listen to this and find our next point after this. So at this point, it's about where the full part of the song starts, and this would be a good point to transition into faster cutting. So what we can do is trim that clip, click there and do eat and then rewatch here. That would be another point. That's a bar of music so we can click that and drag it all the way to their And then, since now we have an open space, we actually can open that up because we know this point here is when all the music starts up 20. Editing To Music Using Markers: by selecting nothing. Just clicking here. You compress em on your keyboard or this button here and it'll set a marker right here. So we always know in the edit this is where that part of the song is now, if we wanted, we could also do it on this. We could also do it right here by selecting it, impressing him now that exists in there. So if we are moving our music around, then we know that's always where it is. So this is helpful if you need to move some clips around and still maintain where that changing music is for our purposes because we aren't going to be moving this audio clip further down the timeline, we can just referenced this. Okay, so let's watch this again. Okay, So in my opinion, I think at this point, the edit should start speeding up and the cuts should be a lot more frequent. So what we can do is throw the edit. We can just make other markers while listening quickly. And this is a very fast way in a great technique in order to find your edit points and make quick edits accordingly. So what we can do is we're gonna play the music and top em every time we wanted at a change to happen and it's gonna place a marker, and then we can use those markers as places to move clips, too. Okay, so that brings us to the end of the song. Now I am a drummer, so I find it pretty easy to press em at the right spot. If that doesn't work for you, you can always just nudge the clips over a little bit, select different parts and move them as you need to try to find. Yet it points. But if you are able to do that, then this is a really great time saver. So now we have our markers set up. We can zoom in and without even watching or edit, we can Actually, a simple is this. Just click this and you'll see the white spot that shows up right here. That means that this is snapped to place and the reason it snaps to places because we have the snap tool enabled right now, and that is enabled by pressing s. So if we press s, it turns it off. If you process again it turns it on. We can also click it on and off because the snap to was on. If we click and drag here, it'll snap to that spot. You can kind of see it snapping to the line here and also snaps to the marker in here. Okay, so what we can do is this is the left over from this clip. So we can do eat that. This is our next clip. So what we can do is take this and bring it right there. So it snaps to that then Now we have this part, so we can either trim it to that part, you know, snapper it in place. And then we just keep doing that until we have already points. So there's that. We'll bring that all the way to their click and drag. Bring the next one which is right here and then weaken. Drag this one. Make sure it's lined up. Drink this one. Okay. And just like I said before, you can select this area. The empty spot. If you have clips after it, press delete, and I'll just bring them all over. So that's also a fast free to do click that to eat, click that. Just make sure to eat. And there's our last one Now. We don't have enough clips right now to fill the rest of the song. So what we can do instead is we'll have 1234 clips that are shorter, and then we'll have these ones a little longer. So we can do is let's make this one two markers long and we'll do this one as well. Two markers long, two markers long, two markers long, two markers long and our last one to the end. Okay, so now that we feel they read it and our edit points match our markers, I can tell you without even watching it, that this will look pretty good because we've picked the best parts of the clips and we've edited them to markers without even watching it. Now the only thing that we can change is the clip order, and that obviously depends on watching it and making career decisions. So for our purposes, this is fine. So let's have a look at this will watch it from right here. Okay, so pretty good. And that was a very quick edit. And that was editing to music instead of visually editing. And I should note that we aren't working with interview footage or anything with dialogue. So this is just a straight kind of montage using some fall footage that I shot headed to some music I created in pro tools. 21. Effect Controls: all right, so in this lesson, we will start exploring the effects controls panel, as I showed you in an earlier lesson. If you click on a clip in your timeline, then you will get these options, and if you don't click, they go away. So if we, for example, let's go to a wide shot here, say we wanted this clip be zoomed in just a little bit. With this clip selected, you'll see that these show up. Now we can mess with the time remapping of the clip, which is the speed of the clip. We can change the opacity, which means if this clip was here and we had a different clip underneath, we can adjust the opacity of this clip, which will start revealing the clip underneath it. So to give you an example of that, let's move this clip underneath. We'll take this clip, we'll go to opacity and we can start lowering the opacity and the clip below. It will start the show until it's all the way. This is a very important tip now. It may be different in your version, but in this version, by default, it creates what's known as a key frame. That means that this point in time on that clip, it's locking in, ah, 100%. If we were to highlight that key frame and delete it, it's still highlighted. So in order for the entire clip to show up with the adjusted change, let's say of 20% shit. That means the bottom clip is showing through then because we never adjusted this. The key frame shows up and the whole clip will be 20%. However, if we were to come back to this clip later and forget we did that and adjusted this, then we've created a second key frame. So this is not a great thing because from this key frame, all ducky for amiable animate from 20 to 64%. And that's not what we want. So to get around that, let's undo so that we're right back to where we started. We can click on the clip goto opacity. It's defaulted to 100% and it has the stopwatch enabled. So to get around that we simply click it and then it goes away. So now, no matter what we do to this clip at any point in time, throughout the whole club. It'll always stay like that. Stopwatches are used in order to set key frames so that you can change the animation over time. So for the opacity the majority of the time, you will not need to change the opacity on this. Let's say your at the very end want to fade out. But if you want to do that, there are transitions inside Premiere already that you can just apply. And it will do that in a couple of clicks, as opposed to making a bunch of key frames and changing the percentages. Let's keep that 100%. Let's move this clip back here. Let's bring this clip to back down and re select the clip inside the motion tab. The default is set to 9 60 by 5 40 which is half of 1920 and half of 10 80. These represent the center points of the clip. So if we were to move the position the 9 60 which is the horizontal parts of your clip, we would move this and dependent on your center point of the clip, which is 9 60 half of 1920 it will start to move the clip. Okay, so we can click on the reset parameter button to bring us back to 9 60 Or we can do the vertical and move it wherever we would like. Lets reset that if we wanted to scale in on this clip, this is where we would do that. We would simply click and hold and drag writer left to scale in or scale out. Now, if we scale out, you can see that we are revealing the black parts around the clip now. So if we did have a clip below it, then we would see the clip now on the outside layer. This can be a cool way of creating some intermediate effects Inside Premiere Pro. Let's say that back to 100% and instead of clicking and dragging, you can also type in the number that you want. So that's at 110 which means if we position the clip, we have a little bit more to play with before the black is revealed. Lets reset this. So if you didn't like, let's say this grass area, then what we can do is you'd scale in about half of it. So because we went to about half. We can move the whole thing right by about half, which should bring us to about here. So let's bring the position to the right and let's go back on the left side there just until the block isn't shown and it's not enough. So we want to go to about here. Let's say if we were wanting to call a crop this off, so let's zoom in just a little more and bring it more to the right, and that's close enough. So if we wanted to lower this now, we can also do the exact same by clicking and holding on the horizontal and going down until just the black part isn't show. So now when we play this clip, it'll be cropped in a little bit. Now, keep in mind. This is a 10 80 p sequence, which is 1920 by 10 80. That's full HD. This clip is full HD, so when you scale in, you will lose a little bit of resolution. So, on an HD timeline, working with HD clips, I would never go more than maybe 151 120% Okay, so let's reset both of those. The next thing we have is the rotation. This is pretty straightforward. It's 0 to 3 60 in spending all the way up to 3 60 and then it starts becoming one full rotation, plus 24 degrees, two full rotations plus 22 +04 Let's reset that. Let's say you shot your footage slightly off balance. Then you can adjust it by working like that and then scaling in a little bit to make up for it. I rarely work with the anchor point, so I would leave that, as is, and the anti flicker is okay if you're trying to remove some flicker in your your footage, However, there are far better plug ins out there. So if you do need to remove some flicker, I would suggest spending between 50 and a couple $100 getting an actual plug in that is meant to do so. It performs much better 22. Rate Stretch: The next thing is your time Remapping Now I normally don't do anything up here in the effect controls instead, how I work with time. Remapping is I used the rate stretch tool, which is r on your keyboard. So you press are and then you have your rate stretch and if we zoom in a little bit, we can go to the end and trim the clip in the same way we would with a regular tool. However, because we're using the rate stretch tool, it actually is speeding up the clip. So if we go back to our regular tool, which is our pressing V on the keyboard, if we right click and then go to speed duration, you can see that the raid stretch tool By bringing it all the way to here, we've sped up the clip to 177.77%. If we wanted to bring that back, we go to 100 and then it will bring us right back to where we started. You can also slow down footage, but I wouldn't really do that. It tends to not look that great. I would go to about 92% at Max for 23.976 footage. So what we can do is right. Click go to speed, duration and change that to 92%. And then it makes the clip a little longer, which, if you need to fill in a little gap, that is the way to do it. So if we were to go to speed duration and then set it to, like 40% to show you, it makes a clip very long and that's because it's very slow now, so the playback will not look that great. It looks very jagged and it looks like your computer is having a hard time playing it. However, that's not the case. It's just because there's not enough frames in a second to make it play smoothly. Let's press commands ed to go back to original setting. We can confirm it by going to speed duration and that it's 100. We can also right click speed duration and we have a few other options. We can reverse the speed which will play the clip backwards. If there was audio, we can click this to maintain the audio pitch when changing the speed of the clip, and if we click this, it will ripple at it, and all of the clips after will move with it. So, for example, let's change this to 1 50 And because we have this selected, you can see all the rest of the clips move to where it was. Let's undo that. Go to speed, duration and do the exact same thing without that selected, and you'll see that now there's just a gap. Let's undo that. 23. Transitions: in this lesson, we will talk about transitions. Transitions are a great way to change from one clip to the other, and it adds a lot of production value because instead of just cutting to the next clip, you can have creative fades such as cross fades, dissolves. Or you can have a fade that dips to black toe white and then back to the new clip. Or you could have purchased transitions or ones that you've created in after effects that are meant as colorful animation designs that, when placed between two clips, creates a very cool look that transitions between one to the other in order to add a transition. There are a few different ways you can do it. You can simply right click and go apply default transitions and that right away created a cross dissolve in between these two clips, and this is what that looks like. Okay, without it looks like this, just straight cuts. Let's move this over. Another way we can do it is by going into our effects panel, go into video, transitions, dissolve and you can see the one that has the colored outline. That's the one that is set to default. In order to change that, you can right click another one and create it as the default transition. I would recommend keeping as cross dissolve as that is the one that is mostly used. Okay, so you can click on this and drag it down to where you like it, and that's the way it goes now. The reason why it's adding it on this clip and not this clip is because when we were picking this select, the clip actually starts here. So, for example, if we were to create it on this clip, if we move it up, we can see that there is more to play with on this side. Whereas on this clip there is no more. This club has some more to play with, so let's bring that down. Let's bring that back to how it was. And because this clip has more to play with on this side as well. When we add a transition, it'll balance in the middle of both. So let's go to cross dissolve, drank it down, and you can see that now it's directly in the middle, as opposed to on this clip, where it only goes on the right side. That's because this clip has more to play with on that expanding this way. But this clip doesn't have any more to play on this side now to further go into transitions . If we want it longer, we can put the most here until we get this symbol, click and drag, and then we can make a longer transition or a shorter transition. Now shorter transition will look like this, and a longer transition will look like this. Great. So that's just to taste. You could make it as long or short as you want. This one well, look like this. It's pretty much the same thing. It just happens earlier because it's showing MAWR frames before the clip actually starts because there's more clip toe work with and then simply click and drag or apply default transitions or because this is selected. We can also press command D, and then we'll add a cross dissolve. Okay, so if we zoom in a little bit and if we hold shift, we can affect one side of the transition without affecting the other. Let's hold, shift and move the cursor rate until we see the symbol change at the end and then we can move this and then you can see that the right side is longer than this side. So if we wanted to change this, if we did it without holding shift, it would extend the right side by the same amount. Let's undo that. So what we can do is hold, shift and drag it, then it only affects this side. If we only wanted a very fast one frame transition, we could do it the same way we can hold shift and bring it all the way down. Well, if we wanted to frames like that, we can do it that way as well. If we want to remove a transition, we can right click and go to clear, or we can select it and press delete. And just to clarify, with the command D approach, you have to have the cursor in the middle of the two clips in order for it to work. If you try to do it over here, it will just not work. You need to apply it. Command E just like that. Now you can without holding shift, just dragging from the beginning. If you want to get it to two frames. One on either side. Very fast. Okay, so right now it is highlighted. We can click away to verify that we can delete it. We don't want that there now. There are other transitions, such as dip to black. You just click that drug it there. And what that does is okay. We can go to tiptoe White. Some other transitions you can do arm or animated, such as slide, where it'll actually slide or split Example will do in this one. Now you can see it turned into red here. That means it takes more processing power, and it may not play back perfectly. The yellow line means that it was it should be able to play back. Ah, Green Line means it's fully been rendered, and it will have no problem playing back. Okay, Now, even though it's red, it is said to 1/4 so it had no problem playing that, However, sometimes with it being selected as read, the system will be a little sluggish, and it will start to look like it's skipping frames and lagging a bit. If that's the case, you'll just have to stop started over again and either render that selection, or you can simply just try to play through it again. 24. Rendering Previews: If you do find that your system is making a lot of red points because you've added a lot of transitions or a lot of layers, or you're working with very large footage like four K or higher, you might need to render more often humor. Pro should have no problem playing most footage again. If it does cause an issue, then which you'll need to do is render to do so. You can render it a few different ways. You could render by selecting everything and go render selection. You can render just the audio. The audio doesn't really take much power from your system, so it's most likely not needed. Rendering in and out is if we just wanted to render this one part so we can go right here. Press. I go right after it press Oh so that we set this as their in and out notice sequence and render into out. Now this is our rendering box that pops up. You can check out the details if we want and rendering the frames that's done now. Now you'll see that it's green. That means it has been rendered. It will have no problem playing that section 25. Creating Text Titles (Continue to next videos for updated Lesson on titles): in most of your edits, you will want to add some sort of title or opening graphic that adds production value and establishes what you're at. It is for this one. It's basically just a montage of some fall footage, so inappropriate name would be fall 2015. So in order to create a title, we can do it a few different ways. Let's make some room here in our project panel window because this is where the title will be created. Let's close down footage. It's closed down music. Let's create a folder called Titles. And because now we have two sequences, it might make sense to also create a sequences folder. And let's so both those and drag those into the sequences. If you do need the passes on to another editor, having it organized like this makes it very easy to find things. Okay, so inside titles we have nothing right now, so we need to create a title to create a title. You go up to title new title, then you have a few different options here, so we're just gonna want a default. Still, it won't be moving at all, so defaults still this new title window will open up. We wanted the width and height of our comp. So that's fine. 1920 by 10. 80 our time basis. Fine and pixel aspect ratio is 1.0, which is correct. We can the name. It will call this intro title. Okay, so this is our type window. We have some different presets at the bottom. We have the properties on the right side. We have some different tools in the left and some options to a line on the bottom left. Okay, so with our type tool selected, we can click and then stare taping if we go back to our selection tool on the right side. Here we have a few different options. We can change this too bold. We can increase the font size. We can change the aspect ratio. We can change the turning, the tracking, the small caps and a whole bunch of other stuff such as the fill color and so on. So for our purposes, we will leave this at 00 We don't need anything else at this moment. So with this selected, we can click and hold and move it wherever we would like. Whichever area of the frame feels good for the title. So for this one, we can move it to roughly the middle to about there and just to be safe and make sure that we are in the center, we can use the center alignment tool, which is the horizontal center, and that will snap it, read to the middle. If we did want to snap it as well to the vertical center, we can use that as well. But we do not want to do that in this case. So I'm going to click, hold, shift and bring it all the way down. And if you hold shift, if you try to move left to right, it will snap to the middle. Okay, so that's in the center. Now, this background is just showing you a preview work of where the timeline cursor is. If I lower this, then you can see that the timeline cursor is over this clip and that's the frame we see. So this is just a visual representation. If you don't want to see that, you can turn off the eyeball and it will look more like photo shop. So when that's done, you can click the X up here as you don't need to save it. It creates this title here and now you can save so command s and that will save your project with this new type. 26. Working With Titles In Your Sequence: Now let's place this new title in our titles folder, and if we go in here, we confined our title. I like to place titles on the three or V four, so let's place that on before. Let's bring our time on cursor to the beginning or press home on the keyboard and make our view a little larger, and we can also make it a little bit larger by dropping our effect controls to a smaller frame. We can also move this in a little bit more now that we have a title in here, it's defaulted to 10 seconds like we set it up in the preferences, which is right here. If we want it shorter than 10 seconds, we can make you whatever we want. Let's bring it to six seconds and drag it here. So now for six seconds, we will have this on screen. Now let's zoom in just a little bit now because are at a point to the music was right here . You see that right here? Let's trim our title just to that spot now, in order to have the title fade in at the beginning and fade out at the end we need to add to transitions. The quick way to do this is if you select the clip impress Command D. It will automatically create one at the beginning in one of the end at the default length. If you simply Onley wanted on the one side, let's undo that. And then, without it selected, you bring your cursor to the beginning and you make sure that track is selected here. You turn off this one because we don't want it to fade here and the new press Command D, and then it will only create it on this one because this one isn't highlighted. If you wanted to add a transition for the audio because both are selected, you can do the same thing you can right click at the beginning and go apply default transitions. And then there is your constant power fade in in Premiere Pro, it's called Constant Power. Essentially just means a fade. Okay, so if we undo that, we can also do the same thing. But having the cursor at the beginning and going command shift D, and then that'll do the audio. Adding shift makes it happen on the audio without shift. It'll happen on video, we can increase the length of this, and then our title isn't showing up because we have a cross fade. Let's enable that again. Let's turn that one off and let's see what it looks like so far. Okay, So when it changes to the new clip, the title disappears, which is a cool effect, and the transition happens at the beginning. Now you'll notice when we were playing, the quality of the letters was not that great, so we can increase it a little bit, but it'll act a little slower when we play. It should be okay, but you'll notice the letters do better. Let's say that command s let's increase the fade in. Go to the beginning and see what that looks like. Great. Now, if we wanted this a stand out a little more, we can add a drop shadow. So if we go up to the effects window, we could go to video effects and then we have a whole bunch of options here. Now we could go through one by one and try to find what we're looking for or weaken simply at the top here, Type in what we want Let's tie, pin drop for drop shadow, and then anything that has dropped in it shows up. So right now, drop shadow. That's great. We can see that it's under the perspective tab. Let's click and drag the drop shadow down to our intra title. And then it added a slight drop shadow. Now, because this is selected, we have some more options now, in our effect controls, we've added a drop shadow. Okay, so if we click here, nothing shows up. If we click here, here's our drop shadow so we can increase the capacity 200%. We increase the distance to a little bit, and we can softened up by about 20 pixels or so. Now, without it, that's what it looks like. And with it, that's it Looks like so just adds just a little bit of a black edge and makes the text pop off the screen a little more. The other options you could do shadow on Lee, which sometimes give, gives a cool effect depending on the the softness or the capacity or whatever the case is or if you have, or if you have other effects layered on this title 27. NEW LESSON: Graphics Panel for creating text: All right, Welcome back, guys. In new releases of Premier, they've changed a couple things, so I just wanted to give you guys an update on that. The first thing is earlier in the course we changed all the audio two important as mono, and now it has been moved down to timeline, so you'll see that here. There's also a few other tabs, like luminary color. This is like color grading. You can select a clip and then edit it in the Loom ITRI color panel, which is pretty cool. You have some creative choices here. You can add color lutz to it, which are basically grating presets. You can do secondary color correction curves, color wheels out of and yet so there's a lot of options here. This whole tab basically replaces the three way color corrector plugging that we talked about and you'll see here. It says obsolete so you can still use it. But I assume at a certain point they will remove it from premier, so this replaces it. You can do all your color correction in grading in this tab, and that can be found through windows luminary color. Second to that, there's a few other tabs, such as the essential graphics, which is where they have templates set up recon creates entitles using templates, which makes it pretty easy as well as essential sound. So if you had sounded here and you clicked it, you could categorize it as dialogue, music, special effects ambience. And when doing so, you'll get a few other options that's a little more advanced for this beginner score. So we'll do a follow up course for intermediate users that goes in depth with all of these things in the future. All right, so I wanted to focus on titles in this because they also change the way titles work in The new Premier has taught earlier in the course, you still have the old way of creating titles, which looks like this So you can still do it this way, however, so it's just remove that the new way of creating titles is by working within the essentials graphics. So you go to edit, and this is where the stuff will happen. But besides that depress command T on the Mac toe, pop this up on screen, it will just automatically create and because in our preferences we have still image dif alteration set toe one frame. You'll notice here that when we pressed command T on the Mac, it brought up one text file, and if we zoom all the way in, you'll see that it was just one frame size. So don't be alarmed if you do create a new title and it's only one frame size or if you're zoomed out, you can't see it just human and you'll build to see it. Okay, so let's do it. This one. Let's go to the 1st 1 here, and we can just stretch that out and you met a bit. So you'll notice when we click this and we're inside the essential graphics panel, which is also found right here that you only get a few options. That's because you actually need to click on the layer. Then you'll get a whole bunch of options. And this is just a different way of viewing all of the settings for the text compared to the legacy title that we showed you earlier. So this is kind of like the modern way of editing in Premiere Pro, so you have a lineman and transform even change the text and everything here You can, you know, make it bold. Change the size. But besides that, it's very interactive in this way. So just by clicking on the text, it will highlight the layer, and you can click and hold it and move it around and place it wherever you want, which makes it very easy. You can also drag it and make it whatever size you want, which is also very convenient. You can double click it and change the text, and when you're done, you can just hit V on your keyboard and we'll bring you back so that you're not in the type section. So that's one way of changing in making text. So if you go down here, you have appearance, even change the color. You can add a stroke, which is basically an outline, and you could make the outline color. You could make how thick the outline is, and you can add a drop shadow if you'd like. So, besides this, there are some other ways of editing the text, and you can do so right in the effect controls. Technically, this isn't effect. I like that. They added it conveniently within the effect controlled window. So down here, if you click on text, this highlights the layer and you can see here that has many similar options to what the essential graphics tab has now just assure you it is the same. If we were to move this over here, you'll see that the position is 8 36 by 500 you'll notice that that is 8 36 by 500 if we move it here 3 74 374 So it's the same area is just a different way of doing it. This was just a little more convenient, and I like editing this in the Effect controls panel. So if you want to create another text, you can move down the timeline again. Hit Command T In Juman, they open it up. If you have it, set the one frame and then on this one you can position it there. Get the layer there, and they have to. It just makes it much easier to create text. It's very similar to After Effects, which is the motion graphics program from Adobe. Another way to create the text without hitting the keyboard command is go to graphics new layer and text, and they will do the exact same thing. So as you can see, it created it down here on another layer. And it just makes it very easy to create any type of text you want. All right. So I just wanted to give you guys that update on the newest version of Premier, and so I hope that helps we'll see you in the next lesson. 28. Color Mattes: Another thing we can do is add colored backgrounds to add behind our title instead of the footage. To do this, we go to file new and then color Matt in color. Matt. We wanted the same as our comp size and the same time base in the same aspect ratio. Let's go. OK, then we have this option for choosing our color. So right now our text is white, so let's choose something that will look good as a background for white. And since our theme is fall, let's keep it towards yellows and oranges and and off greens. So what we can do is maybe something like that. Choose name for a new Matt. We'll call it orange, and then that will be placed inside. Our titles folder, which is good for organization, will bring this down to here just below. Let's zoom in a little bit. It will trim it to our new spot here, and we will trim it so it matches the length of our title. Now let's go to the beginning of our timeline and hit play. Great. Okay, so that looks a little cheesy and it's not much to it, but you get the idea. You can have different colors behind text. Another thing you could do is go to crop, and you can apply a crop onto the color Matt by clicking and dragging it down and letting go. Now, with this selected, you can see that the crop has been added inside the effect controls panel. And now if we go to the top part, click and drag the percentage to roughly, let's say there and then feather the edge, which will be this edge to there and then further adjust the top. And if we do the same thing to the bottom, we can start to get a really cool effect going. That just shows this now. If we wanted, we could go to the right side again and the left side and almost made just a little bit of ah, background for the text. If we don't like the left and right happening, we can reset those. So it's more of just a banner. If we want to have a less feather, we could do that as well, and you can get some really cool effects by simply just adding a crop to a color Matt and by feathering it just a little bit. You can also animate all of these with the key frame. So, for example, if we wanted the beginning to be a full frame shot, meaning the entire frame is filled with orange, what we can do is go to the top in the bottom and make those back to zero. And because we've clicked the stopwatch and we're at the beginning at the beginning, we now have two key frames, one for the top one for the bottom, where you can see it here on the sides. And then, if we go over to, let's say, 1.5 seconds, which is one second 12 frames, we can create two more key frames. Or if we undo both of those, we can click and drag an automatically critic you frame when we start to drag. Now let's do it the first way. So it's undo that we'll click to key frames and then on those key frames, you can see that we are on the key frames because that is blue. If we were off of it, they wouldn't be blue. Okay, so the color may be different in your version, but when the key frames air highlighted or when you're on it, they will show up like this and if you're not, will be blink, so to make sure we're on that and then we can adjust this back to where we liked it. The only difference is now we have a key frame at one second in 12 frames for the top and another one for the bottom. And then at the very beginning we have another two key frames that are set to zero. So over time this will animate from zero to these percentages, which are to make sure we're on a key frame, which are 72 12. 29. Audio Keyframes: Okay, so let's get started right now. In our sequence. 10. 80 p edit. We have a song created. We've added a transition at the beginning, and it sounds like this. Okay, to further exaggerate that if we clicked and dragged the audio and moved it to the start time here. So, in other words, we've trimmed the audio to hear the fade still exists. And now it sounds like this. Okay, so let's reset that, and we're just gonna extend the fade a little more, so it happens more gradually. Great. Okay. So to show the way form of the audio track, the way you do that is you go over here with your most cursor and you simply just scroll and it opens up and reveals the audio wave form. Or you can close it by scrolling the other way that works with any layer. And it's the same thing with video. If you want to see a video thumbnail, then you can go here and open it up a little bit. Let's close that, Kate. So let's reveal the way form of both tracks. You can see here in the way form that this is the loudest part of the song, and that's where we made our fast cuts. If we did not want the audio to get louder at that point, even if our song does do that, using this line and adding a couple key frames, we can actually change the volume there and make it more consistent. Now. Visually, you won't see the difference in the way form unless we were toe export it and bring it back in. But because of the key frames that we will be adding you will hear a difference. So what we do is you hold command and then you can see the plus symbol. I'll let go command, and you can see the plus. That happens one more time. There's no plus than the command. So with that right there, right in this line, you find where you want to make your first key frame. So this is the point where just before it starts getting louder. So we're gonna make one right there. I want to do the exact same thing on the bottom one, which is the other channel of the stereo track. And then on this one right when it peaks, it's gonna be right there and then we're gonna do the same thing on this one. And before this and after it. We haven't done anything so far. We've just added Keefe rooms, but they aren't doing anything. So what we need to do in order to make the second half is allowed is the first half is we need to take this and simply click and drag it down until the decibels go low enough that we think it will make a difference and sound like the first half. So I think five decibels. Let's try 4.8 should be fine, and we'll do the exact same thing for this one. And the result of that is the audio drops just under five decibels on each track. Okay, in that compared to what it used to be, I thought it was just a little louder originally. So if we hold shift, Command said, we can redo what we did. We wanted to exaggerate that, then go to its A minus 12 and you'll get a better example of what it's doing. 30. Dipping Audio For Dialogue: in order for audio to be heard Such a dialogue in interview for Did You Have or ah, voiceover, for example, When you have music and is rated zero, it's gonna be very difficult to hear the dialogue audio, So in that case, you'd want to use that technique. So let's say you wanted the voiceover audio to start right here. You make a key frame there and there and roughly there and there, and then you would do the exact same thing. Bring it down probably around minus 12 to 16 somewhere there, depending on your music and how loud the dialogue is. And then when you play it, the music will drop. And at that point, that's where your dialogue starts. And with dipping the audio, you'll be able to have the dialogue come through. And that's really the only way to work with dialogue and music. So you'll notice that he was playing around minus 12 now, so that gives about 12 decibels of audio for your dialogue to be able to be heard. If you have sound effects, it's the same idea. You would create a folder for organization. You'd call it sound effects. You may even put that folder in a master folder called Audio and have music and sound effects in it. You would then grab your sound effect. In this case, Will this use a song? For example, You bring that down and place it where you want in your edit, you will use the razor tool and then delete the rest. You could even highlight press command shift D, so it fades in and fades out and then move this around where you wanted it. So, for example, if it was a buildup sound effect, you could place it right here when the sound gets louder. And then it would emphasize the starting point to the faster edits, and overall it would. It would make the edit much more impactful. 31. Audio Track Mixer: another cool window in Premiere Pro is the audio track mixer because we have a sequence set up. If we go to the audio track mixer. Now we have a whole bunch of tracks that represent all of the tracks down here. We have a one a two a three all the way to our master. If we see that here a one a two all the way to master exactly like a mixing board, we can adjust all of the fader volume levels to whatever we'd like, and it will only affect that one channel. So if we wanted Onley Channel one to be quieter, we can lower it to whatever we want. If we want both to be lower beans have both to the same or to reset those 20 we can press and hold option click, and it'll defaulted back to zero. If we wanted to lower the entire audio of our sequence, we could go to the master and then lower that by what we want normally to give myself a little bit of headroom and to avoid some Peking, I can lower the master volume level, and I normally said it to about minus 1.5 or minus two 32. Audio Plugins In Premiere Pro: and another cool area inside Premiere Pro. That a lot of people don't know exist is if you click on this little tiny arrow here, you can actually have inserts incense, where you can apply different plug ins that affect the entire track. So if you have a whole bunch of audio on one track, you can actually apply for example, ah, high and low pass, which gets rid of any low end frequencies or high and frequencies that you may not want. And it will affect the entire track. So this is great. If you want toe, apply something on the Master Channel, for example. So again, how I found that was in the audio track mixer. There's a little tiny arrow at the top left, you click it and then this opens up, I go to the Master Channel. The very top are all inserts, and these were all sense. I have yet to use any of the sends for our purposes. We only need to insert plug ins or essentially add plug ins to add effects to any of our tracks. So on our master track, we go to the top here, click on the arrow, go to filter any que add an e que Then we will right click, go to edit and then this track effects editor will come up. Now, this is pretty standard. This will look the same in pretty much any recording software. You have a whole bunch of different areas. You could have your high your mids in your low, and then you can adjust these to taste to remove or add certain frequencies. Okay, so we're gonna reset it. So now what I normally do is once I have all my dialogue in my edit is near completion. You can start playing around with these to cut or boost certain frequencies that make your audio sound better now because 99% of the time, any music you add will be already mastered. You don't need to go crazy with ease. You can actually probably get away with leaving it as is and Onley doing the effects like the high and low pass CQ on just your dialogue. So let's say if we had dialogue on channel three and four, we'd find three and four and right here we go filter any Q e que pass at it and we just remove a little bit of low ends and then a little bit of the high ends. This will get rid of any camera hiss sound that was created when recording, and this will remove any subsonic sort of frequencies where you can't really hear it. But if you had a Basie system than a lot of annoying sounds would probably show up. So this prevents that if you want some reverb on your music track or let's say you had some dialogue, you want to add some reverb. Two. We can go to our the track we want add reverb to you, which is Channel one and Channel two. So on Channel one and two, we will add some reverb. We can either go to one of these, which is a preset, or we can edit and basically just mess around with all of these settings until you get a sound that you like and then from there, play around with the mixed level in order for it to be Maurin the mix or less in the mix. So I normally would set that to around 20% or so, and then I would do the same thing on the second channel so that it happens in both the left and right. If you find 20% is too much put in 10 or 15. There are also some noise reduction plug ins such as de clicker crack lor de noise. Er these are okay. It really depends on the audio you have. So if you have some audio that has a couple crackle sounds in it, you could try to use this to remove a little bit of it. They're not perfect Depends on what you have, but you can try those out, and the last thing here would be on your master channel. Once you're done, you read it and you're you have dialogue and you have all of your sound effects and your music added, and you're ready to export. I would recommend going year in adding special, then a mastering plug in. And this kind of innocence glues everything together and makes all of the channels work nicely together. It adds a little bit of reverb if we go to right click and go to edit. And then the subtle clarity is a preset that works great. You can see it boosts a little bit at 2000. You could also had a low and high pass like we did with the EQ. You, if you'd like and then you just would simply lower the volume here and it does the exact same thing as we did in the queue. Now the only thing I would change is the river. About 20% is a little high for the Master Channel. You'll definitely notice some reverb. The idea with adding reverb is you really don't want to be able to hear it. You just want it to be enough that it is doing something, but not enough to be actually heard. Now I know that doesn't really make sense, but in the mastering world, it's just a way to kind of glue everything together just a little bit. And again. It's not enough to really be heard, but essentially, it's not done to add reverb. It's just done to kind of blend things together a little bit better, so I normally set that to about 5%. The exciter is great. This boost, a little bit of the high end. The Widener, at about 30% is also great. This creates a wider stereo field which means when you have audio and you've pandit left and right a little bit, this creates a bigger sound. Your loudness maximize er, this increases the overall sound of your master channel by 15% and Europol gayness at zero . You can boost it a little bit if you want, but zero is fine. 33. Color Labels: in this lesson, we will talk about color labeling. This is a great way to visually organize all of your files inside your sequence, such as all of your footage or all of your audio and separate them from other things, such as affects you created titles and so on to get started. Let's go into Premier Perot preferences and let's go down to label colors. Now I like to create very vibrant colors. If we go into here, let's create one that's pure red. Was that that, too? Okay, we'll call this best take. We'll call this one good take. We'll call this one. Usable will change the good. Take one, too. A nice blue color will change usable to something like that, which means it's not great. But it's usable than I normally create, one that's pure black that's called not usable. Then we can create one for, Let's Say, pure white, which will be titles we can create one that's pure green that are effects and then you have a tomb or if you want to create some other ones. But that's typically what I do. You don't have to do exactly what I did, but it just really helps with organization and I'll show you why. So it's click OK, you can see that it's changed all their clips toe white. Now, if we go into our all footage, remember these air global settings? The labels are global settings, so any sequence will be the exact same. So what you can actually do is when you're picking, selects if you've set up your labels when you go through, let's say this is the clip you like. You can right click here, go to label and click Best take or good taker, which everyone you want to do, and then it is very noticeable. How different is in the other clips? Visually, just very quickly. You can tell that that is a clip that you want to grab. Let's say you're going through and this is your second select you right click the best take and you're going through and this clip is good. It's not the best, but it's definitely something you want to use so you can say good and you're going through . And this clip you don't want to throw it out, but it's not something you think that is your best egg or even a good take, but it might come in handy. Said it to usable. So once you've gone through all of your selects, you can actually click one hold shift and then just go through all of, um and just check all of them. Copy. Go over here. Other timeline, which is your main edit and paste them and then all your selects already labeled with what you consider the best to worst, is that's another great way to edit in a reddit. We've already selected these as our best take So weaken. Label them red. They're all red. Now we know this is a title, so we will go label title So now it's white. This is a color, Matt, so that that's in effect. And after a while, when you start having dozens and dozens of different things, it's very easy to find out what something is. So you could create another one that's called interviews and make it, you know, purple color, for example. And then when you look at this on later, to you'd have all of your purple clips and then underneath would be all your best be row clips, which are red, and then you'd have your effects clips above which are your green clips, and then you're you're white. Intro clips are above that. And then your title clips, which are white, are above that. 34. Nesting: in this lesson, we will discuss nesting and what it is. Okay, so nesting is basically a sequence inside a sequence or a timeline. Inside the timeline, they all the same thing, depending on the program use, for example, after effects calls it pre composing. And that basically means that a composition that you create or timeline exists within another composition or timeline. So in Premiere Pro, they're called timelines and sequences. You have a sequence inside your timeline window, so when you have a sequence inside another sequence, it's known as nesting. So, for example, if we wanted all three of these clips to appear within a sequence, in other words, nest them so that they show up in one layer, we select them. All right, click, go to nest. Call it what we want. We can say intro sequence, click OK, and then you'll see here that says we've created a new secrets called intro sequence. Well, put it inside or sequences folder, and then you can see what happened. It created a nest in our timeline, and it looks the same visually. However, if you open this up, it opens our new sequence that has are three inside it. Now. The benefit to this is you can still adjust these however you like. But now you can also play around with the scale and everything by only using one layer because they're all inside it. So, for example, we can go up here and type in fast, which is fast blur. We can drag it down, and then we can blur the whole image and everything gets affected. So that's very powerful. Okay, so at the beginning, it's at the 43. We can click on the stopwatch, make a key frame there, go a little further. Two. Great. Okay, it stops there. We can create another key frame, or we can simply just start dragging and it'll auto create back to zero. So from the beginning, it's blurred and it becomes in focus case we'll watch that. Okay, so that's just one example of nesting. You could do this with several different layers. You could do this with an unlimited amount of layers and turn them all into one. If you wanted inside here, you could still nest again. And you can do that as many times as you like. In order to make editing more efficient. In other words, if you were to try to do this blur effect, you'd have to do it three times, whereas doing it this way, you just nest it and then you just do it once. 35. Lower Third Titles: In an earlier lesson, we built this intro title. Now lower third titles are created pretty much the exact same. However, you may have a few extra layers of text. So let's create a lower third title, for example. Okay, so let's get started. Another way to create a title quickly instead of going to title new title and default still is by simply pressing command t. From here, you can name your first layer in your lower thirds. This one could be called will And then we will go to our type tool. We will call it will. We will make sure that it selected We will change it to the foot we want to use. We will roughly put it in the spot. Okay, then it was created right here. Then we will create another one command t. We will call this OVC masters and we will do the same thing. And because my timeline cursor is over this one, we can see the preview of that. It's called this OVC masters. Okay, so let's make sure that selected once again changes to the phone we want to use. We will bring in underneath lower the size a little bit. Okay, Then we will drink that one down here. We will go back into the will one by double clicking. And then if we wanted, we could have a last name to make it fit a little better. Okay, then we'll go back into the OVC won by double clicking. No, because will is above it. It's not gonna show it. So in this case, we have to do that. And then it would show up. So OVC masters. Okay, now, I don't think that looks too great. So instead, what we'll do is we'll play around with it a bit, will lower it. We'll play around with the current ing, maybe change the color, make it like a like a blue, and OK, that's good. Go into the will one. We'll change his color too. Okay. And then from there we will create a new color, Matt. Well created like an off white. Call it off. Wait. Men will place that inside. Our titles will put this one inside titles, this one inside titles and then we will take our off. Wait one. We'll drop it below. So now it's covering the entire screen on this layer we will crop it so that it makes us a nice little border. In order to do that, we go into our effects panel taping crop. We'll drag that down and then we will bring that down to roughly. That's tried there we go to the right side, they will try the bottom and maybe we just need a little bit on the outsides. Okay, than what we can do is on this layer. We go into a pastie. We'll get rid of the key frame so we don't have any key frames than on opacity. We will drop it down just a bit, too. You can see a little bit of what's going on behind and try. Maybe 74 75%. So now that is a basic lower thirds title. If we wanted to add a little bit of production value to this, we can select all of them, right click, Go to nest, call it lower thirds title click. OK, then we have this on one layer, and because it's a title, we'll label both of these white. Right now, it's not doing anything. It's just sitting there. So to add some production value, we can animate it in an animated back up. So this is on V four, so we will turn that later on. Then we will press the up arrow to make sure we're at the very beginning. We will go into motion of this layer. We will create a key frame under position, and 9 60 is the default. So we need to remember that number, so we will move it all the way off screen. You can see this starting to go off screen. We'll keep going until it is all the way off. Then we will go with the keyboard on the right arrow roughly, let's say 16 to 18 or 20 frames. So 12345678 16 17 18 will try. Well, tight back in here. 9 60 Okay, and then we'll go to the very end. So in order to do that, we press the down arrow and we'll have to go back one frame in order to show the last frame . Because if we actually press the end, it isn't the final frame. It's actually the start of the next frame, so let's go to the end and then back one so always at the end. If you want to see the last frame of this video, if you go to the end, it shows nothing because it's the next frame. So you need to press the left arrow to show the last frame. If we go to the beginning, you see the beginning of this because it's the very start of the frame of resume all the way in. It's the very beginning. In order to show the last frame of this, we need to go back one. Okay, So in order to see the last name of this me to press down and then back one frame There it is now because we've already created key friends. We have to at the start, we don't need to worry about this anymore. Always to do is continue animating so again will remember 9 60 we will take this and drag it off screen again. Then we will go back once again. But 18 frames by using the left arrow this time, and now we will type in 9 60 again to bring it back. That automatically creates a key frame. So we have one key frame where the animation is offscreen doesn't exist, even though it's the first frame because we've pushed it all the way off. Then we have this frame. If it wasn't highlighted, that means we wouldn't be on this frame. Okay, so at this second key frame, we're back at the original position, so it animates in. And then through all this time, it stays there. A man from this key frame, which is the same key frame, exist. They're just both set the 9 60 Then this one goes back to where it was before, all the way up. So let's watch what that looks like. Okay, So, essentially, to establish somebody speaking, you'd show the clip, have the person here speaking, and then you'd have this title to establish who they are. And this is known as a name, title or name key or a lower thirds title. 36. Frame Hold: in this lesson, I will teach you how to create a freeze frame, which in Premiere Pro is called a frame hold. In this example, we will use our intro sequence. We will double click it to open up our nested sequence and on our bottom layer, we can see that if we scrub through it, we have moving footage now. Sometimes that's what we want. But if we don't want that, if instead we just wanted slightly blurry freeze frame to use as a background image than to do that, we find the frame that we'd like to make a freeze frame of which I think that's nice. Then we right click and go to add frame hold. Then, from here it will be playing and then all the central to stop. So in this case, we don't want the beginning part, and then we can move this to the very beginning and because it's a frame hold, no matter how long we create this, it acts just like a still image. Basically, exactly like this. We could create that as long as we want, and both will show up for a long as we make them. It's undo will stretch this to that. So now, for the entire beginning, we have a still frame of the image we can then go in and add what's called the fast blur and slightly blur the image to make this a little more prominent. 37. Keyboard Shortcuts and Tools: all right. In this lesson, we will talk about some other keyboard shortcuts that are useful to save you some time. The first keyboard shortcut that I find super useful is the nudge by one frame. So in order to do that, you click on whatever you want a nudge and then press command and then left arrow, and it moves it one frame at a time or command right arrow. This works on anything. The next one is the select. All this is pretty similar to anything, such as highlighting things on your desktop. So that's just command a and that selects everything that you could move everything at once . The next thing is the cut and paste, which works just like using what's a Microsoft word. Essentially, you select something. Command X cuts it but also copies it and then command V pace it to create in and outs. It's the same as working in the source monitor. You place your time on cursor in your sequence where you'd let want thean point to be. So if this is where you want Thean point to be, you press I. Then at the end you press. Oh, this is the area that will be exported when you go to file export media. Another super useful command is pressing a in your keyboard, which brings up this tool called Track Select Forward Tool. This tool is super useful because let's say you just wanted to move everything after this clip. So in this case, I would lock the audio so that the audio is unaffected. And then I would simply click here and drag or click here and drag anywhere you click. It highlights everything after, and if you press shift plus A, it'll do the opposite anything before that. So it's press V to go back to a regular tool. Command us to save it will adjust this to show the rest of the tools. Another really great keyboard shortcut and tool is the slip tool, which you confined by pressing why or going over here. This is a very useful tool because in your edit, when you have a clip before and after you can simply press. Why click and hold on a clip and then drag left and right by a certain amount of frames. This is plus one second in four frames, or we can go back 21 frames. So if I were to go, let's say three seconds ahead without affecting anything before and after I've slipped the clip. And now this part is what was originally three seconds way over here. So in other words, if I were to undo that and drag all this open by slipping, I'm actually bringing the portion here all the way to here when I slip well for go the other way. So that's very, very powerful. Let's undo that. Another cool option is if you click and hold this clip, then hold command an option and then drag to the other clip. You can actually reverse the clip. So this clip is now here in this clips. Now there to show you that again, command option, Click and hold the clip and drag it to where you want to go. The Rolling Edit tool is also fun to use and makes things a little easier to do that you click on this or press end, and what this does is basically move your edit point. So assuming you have more to play with, you have more. What's called handles on the clip, which means before this point on your edit or after this point in your edit, you have more to play with. You can use your rolling at it to click and hold at an edit point and move the cut to a later time or on a different clip, Let's say moving earlier. 38. Color Correction: Okay, so in this timeline, we have a whole bunch of clips and the 1st 1 being this close up of a leaf with a blue background. Our next one is a close up of leaves, but there are a lot more orangey red and there's green in the background, so so we might want to color correct both of them in order for them to work a little better together. So to do that, let's clear our search bar. Here we go into video effects into color correction, and then there's two that I normally use. I normally use three way color corrector, and I also normally use RGB curves. Both are pretty powerful. Sometimes I'll use fast color corrector. However, the three way color corrector does everything this does and more so let's apply a three way color corrector to this clip by default. It does nothing. And on this clip with do the same thing. What's okay on this clip? Our goal is to make this a little more orange. So how we do that is in her mid colors, weaken. Take this and push that a little more orange just a bit. So if we cycle the effects here, on and off to show you what it does. It just adds a little bit of orange to to the mids in this clip. Okay, if we compare that to this, it's a little closer. Now when this one will do the opposite will take the mids and will go towards the blue a little bit. And because this is a darker clip, we can actually do it a bit on this side, too. In the dark's okay. And then what we can do is brighten up the overall clip by taking the meds in the input levels and just going up just a bit. Okay, so now if we go between the two clips, this clip looks like it fits a little more in with this clip, we could even go toe maybe 1.3. Now they're getting a little more yellow. Okay, so the difference is that so in this clip, we could even lower the blacks a little bit here, and we could even remove a little bit of the highlights just a bit. So if we go too much and see what that does, okay. And then just makes those cliffs blend a little bit, and that's normally what I do. I just kind of keep cycle between these two, or when you can do is use your keyboard. You can press the down arrow and then just press left and right, left and right to view them left right, which cycles between the very last clip in the first clip. So that is the basics of color correcting. You are basically changing the mids, the highs and the lows. You're messing with the input levels, the output levels. You could play around with the saturation a bit and really make the color saturated. You go to this clip and do the same thing. If you wanted, you go to, let's say 1 50 to push the colors a bit. Now 1 50 is actually quite a bit so maybe one thirties, but the most I do. So color correcting is essentially just correcting the clips so that they sit better together in an edit. When they're, you know, back to back 39. Color Grading: color. Grading, however, is not necessarily correcting any footage, but it's actually adjusting the overall color to give it a look. So, for example, in C. C 2015 and above, you can actually go into the window panel and open up the Loom ITRI color, which is an effect panel window that looks like this. So let's click that and place it right beside our effect controls. Let's give ourselves a little more room here, so we'll move these all the way over, okay? And for the purposes of this, I will show you what color grading conduce you on a raw clip without color correction. So let's remove the color correction. And inside our Lou mature controls, there's a whole bunch of settings. We have basic creative curves, color wheels of in yet, and this is very, very powerful. So under basic correction, we can mess with color, temperature, weaken, making more blue or more orange. We can play with a tent, and we get some really cool looks very quickly. Just by doing that, we can play around with the exposure of the clip. Now it's important to understand that when it says exposure, it doesn't mean that we are changing the actual exposure of the recorded clip as if it was a raw clip. This just means were changing essentially the eyes. So but we're doing it post. So this isn't actually changing it as if it was on the fly recording. So actually think that the exposure control here actually does a pretty good job. I think it does better than adjusting. Let's see the brightness or working in the three way color corrector and adjusting the input or output levels. Okay, so if we wanted to be a little brighter, we can make it brighter or darker. So for this will keep it about 0.1. We can add contrast or remove contrast. I know my like to punch the contrast just a bit around 10 highlights again around 10 shadows. I think it looks a little nicer at minus 10. Whites, I think maybe around there, the black levels, we'll try that and the overall saturation. I wouldn't worry about this too much. Maybe you know 104 at most. And then when you start changing the first setting in your Dimitri color panel, it automatically adds luminary color as in effect in your effects controls panel. You can make changes here. I just find it easier here. So that's in the basic tab. You can go to the creative and further add some more stuff, such as sharpen. You can add a ton of vibrance ton of saturation. You do £10 depending on working with these, and you can also add the look of faded film really powerful stuff. Okay, so that's basically using Lumet tree color as a way to color. Correct. Now, if you want to add different looks and apply different Lumet Tree what's known as Lutz, we can use some different ones here or use our own. So, for example, we go to the Amira, go to you. It's a Canon one d or the Phantom s Log three, or we'll send it to none, and we go to the creative and then check out some of these creative ones, such as gold heat or neutral start just like really, really cool ones here. I kind of like that once in a space and then, if you wanted, you can, you know, do that intensity to come out, knock it off just a bit or a ton more so this could be great for show intros. You know, intro sequences, just any effects throat. He read it that you want to add a little bit of production value to make it seem a little more not so raw. Okay, And if you don't want it on, you can simply delete it. Or if you want to, just kind of what's known as a being, which means just turning it off and comparing it to it off what's known as a being. And that just means turning it off and on and comparing to Okay, so let's remove that. Once you feel you have all the clips matching meaning, this one seems like it fits nicely with this one. Based on the colors, you go through all of them and just each one. At that point, you basically online your edit from a color correction standpoint, 40. Final Touches To Your Edit: in an earlier lesson, we talked a little bit about mastering audio in the audio track mixer by using the drop down arrow here. We've applied a mastering plug in instead it to settle clarity and dropped the reverb 25 We talked a little bit about adding an e que on certain clips to use high and low pass to clean up the audio a little bit. So you're moving some frequencies that are not wanted. If you have dialogue that you'd like to kind of come through the mix a little bit better, you could push up. You know the dialogue a little bit. Human voices tend to sit around, you know, two K so you could push that up just a bit. Now. Another thing you do with the audio mastering stage is just like we did With adjusting this level, we would go through and find any parts that seem to be a little loud. Let's say you had some audio of someone speaking and someone decided to yell a little bit or talk quieter. Well, in that case, you could make three points and either drop down that one spike of loud audio so that it's all consistent or increase apart, where it's a little quiet and basically just wanted to the opposite. So if it spikes here with your key frames, go the opposite. If it gets quiet here than with your key frames, do the opposite. And you basically want to create key frames and do this entire process on every single track. And it does take a long time, but it makes a big difference in the overall production value of your audio. 41. In and Out Points and Exporting Media: you now have a finished edit. You have your intro title. You have music that fades in. It changes different volumes from time to time, depending on if you have dialogue that comes in, you have your B roll. You have it all color corrected. You maybe even have applied a color Lut and you have it all timed out to the beats of the song. And then let's say at the very end you want to have some fades and on this one as well you want to fade it out. So at the end goes Okay, so now we press. Oh. Then at the very beginning, we press I that creates our in and out point for entire project. Basically, that means if we did have, for example, some other footage here, you know, 10 80 p edit that would not be exported because are in a no point is set just to hear. Okay, so now that are in no point is selected. Our next thing to do is exported. We could go up to file export media or we can press command in, so it's press command them that brings up our export settings panel. We can move the window around. We can make it larger if we want. Okay, we have our source and we have our output. So if we move this, this is our timeline length. And the blue is what we have are in and out point set to. So if we want to set it to a spot where we can see our source looks like this and our output looks identical right now because it's just said to a pretty high quality export. If, however, we were to set it to a really low quality export when we're in the output setting, this would look much worse than this. It's basically a reference in compares your output to your source. All right. And then in the next lesson, we will start creating some export presets. 42. Creating Export Presets: Okay, guys, welcome back. And in this lesson, we will discuss creating some export presets. We have our export media tab open. Okay, up here we have our format options. If we were going to DVD, we'd click this. If we were going to Blue Ray, we would click this. So, for example, with click DVD that we can set it to NTSC wide, wide, progressive, and so on. And then, in this case, we'd have a little bit of black bars. So what we do is we go to stretch to fill or scale to fill, whichever you prefer. Blue Ray Weaken work with the same idea. We have a whole bunch of different presets. If we're going to the Internet, then we would select age 264 and then we will create a whole bunch of different presets that show up here. So right now we're working with in HD Timeline with HD footage at 23 976 frames per second and so we need to create 10 80 p preset. Okay, so let's get started. So we have right now with 1920 by 10. 80. So that's perfectly fine. 23 976 progressive aspect ratio is 1.0, which is fine. TV centered NTSC. That's great. Level 4.1. Okay, rendering maximum depth. We want to check that. You'll notice that now it's changed to custom because we've changed something. We want arbitrating coding to be to pass. This will take longer, but it creates a much higher quality export. Okay, the next thing we want to do is select use maximum render quality if we're working with HD footage 1920 10 80. I would normally keep this at around 26 and this one could be 26 27 or 28. I normally just keep it to above. So the target bit rate is 26 megabits per second and the maximum is 28. Okay, let's go to audio. Audio format is a sea that is fine. At 48 we want export as stereo audio, quality high and kilobytes per second is 3 20 That's great. Okay, so that's all the settings we want to change. Let's go up to the preset. We'll click. This button right here will create a new preset. We'll call it a 10 80 p. 23.976 and at 26 make a bits per second look like that it has now created a preset. You can already see that I've created one very similar to that. If we were exporting to 7 20 p, for example, we can use this as a starting point. Then we can uncheck. This year we can change this to 12 80 by 7 20 And because it's a smaller resolution, arbitrate doesn't need to be as high. So we can set this to something like, you know, 16 or 18 and then we'll just do this a little bit higher. So 18 and 20 everything else stays the same. We go to save preset. We'll just change the very beginning to 7 20 and it will change this number to 18 press. OK, now we have a 7 20 preset and a 10 80 p preset that we created. Using the 10. 80 p as a guide again will create a four K preset. In order to create a four K preset, we will change the height to 2160. We will change the with 2 38 40 That automatically changed the level to 5.1, which is great. That's what we need. We can't have this high of a resolution with a lower level bit rating coding still always to pass target bit rate. Now this we need to make a little higher. So I normally do around 35 which means 37 and will say that as either 2160 p for four k HD and then make a bits per second is 35. Okay, now we have a four K 7 2010 80 So now we want to create a standard definition one. To do that, we will keep our 10. 80 p as a starting point. We will uncheck this. We will create the height. As for 80 we will make the width 852 and then we will stretch to fill, and that just cleans up the one layer of pixels at the bottom. Okay, so it's important to understand that the reason why it's 852 by 4 80 is because we're working with widescreen footage that has a 16 by nine ratio. If we're working with 43 footage, then we can actually work with this being 7 20 Instead But if we use 7 20 then the image gets stretched a little bit. Let's go back to 852 And if we go to source, if we compare the source to the up, but you'll see that it's a lightly different. But that's okay because we are converting high definition footage to standard definition widescreen. So it's okay to have a little bit of a loss. We do not need such a high bit rate weaken set a max of Let's say like eight or 10. Okay, and then we will save a preset has for 80 and we'll set that to eight and then we'll just make a note. This is widescreen. Okay, so now that we've created all the presets that we need, let's go back to the original preset of 10. 80 p. Because we're working with a 10 80 p timeline. We have all the setting set up audios good videos. Good. We're exporting both video and audio. Okay, then we need to Neymar clip so we can click here. Let's create a new folder called Finals. You can call this whatever you want. Okay, we'll call it fall 2015 click save and Then we can hit export, rendering their Ricard audio files, and then it begins encoding our entire edit because it's HD, it will take a few minutes to export. But once it's done and then you'll have a desktop version that you can upload directly to YouTube video and the quality will look great. 43. Batch Exporting: if you're working on multiple edits at once, and you'd rather export them all at the same time overnight, you can do that, and it's called batch Exporting or batch rendering at the bottom. Here, you can cue up a whole bunch of edits and send them all to Adobe Media Encoder to be rendered all at once one after another. So we have an open name. We've set our preset for this export. We'll go to Q. Okay, so media coders open once it loads it. You'll see here. So we have Here is a reddit. It's H 264 There's the preset we've created. This is where it's going, and we could continuously load as many as we want and then hit the play button to start encoding. And it will one by one render all of them so we don't need to continuously keep pressing export and export every single time. It'll just continuously go one after another. That's called a batch export. To give you an example of that, let's go back into Premiere Pro. It was said a different Oh, put will press command em to open up the export media panel we'll call this one fall 2015 short because it's a shorter at it. We'll save will queue it and then you'll see it loads a 2nd 1 with a different name. If we click save, it will start exporting our video. Once this finishes, it will automatically start doing the next one. This is super handy because while this is exporting right now, we can actually go back into premiere and start working on a different project. In fact, we could even close premier right now and meeting colder would still be working. 44. Create A Client Reference Preset: sometimes in editing, you want to send a lower version just as a reference file for your client to see. In this case, you don't need to send such a high quality video that has a very large file size to it. Instead, we can create a much smaller preset and also include time code in the edit here, which makes it very easy to communicate with your client over the phone, for example, because they can tell you what time code they want to change to happen at so to create a lower resolution preset, we can start from the tape AEA's as default. We can uncheck this to start editing, but we will also select this so that it holds the constraint of both of these. So let's click on the height. We'll call this 3 60 and then it defaults the wind because we have this selected to 6 40 so it keeps the aspect ratio because we've selected this. So what we can do is said this to about the same, a standard definition which for a smaller frame size, will have a pretty good resolution. And then this video will only be 33 bagel bites. The next thing we'll do is go to effects under effects. We can have a whole bunch of different things. We could actually add a color luck right here in the export preset setting so we can do cinematic, for example, day for night de saturation. So we turn that off for now, we can overlay an image if you wanted to put your company logo. You can do that here. If you wanted to just add a name, you could do that here as well. So here we can overlay time code. So time code. Now that's checked shows up here. We can move it where we want. So let's just bring it down just a little bit. We can increase the size or lower it. We can mess around with the capacity. I normally just keep it around like that. Move it down just a little bit. And this makes it really easy for the client to say, Hey, at 16 seconds, I'm not crazy about that clip. Can you please remove him and replace it with something else? And based on that, you can know exactly where and what they're talking about. Okay, now that we have that all set up. Let's go up two presets settings. We'll call this 3 60 p that eight megabits per second and we'll call this client reference time code and save effects settings. Let's press. OK, then. Here we have 3 60 p with time code for a client reference. We have four K for 80 p 7 20 inner 10 80 so we can export that or send it to the meeting coder and queue it up. And again, this is a much, much smaller file size. So let's just compare this. So this is the estimated file size that Premier things this will create. So 33 megabytes, If we were to go back to the 10. 80 p, it's gonna be 100 and six megabytes, so very, very, very small compared to the full HD. So for reference purposes, this will be perfect for your claim. 45. How To Fix Laggy Footage With Proxies In Premiere Pro CC: Welcome back to another video in this one. I'm gonna show you how to create and use proxies inside Premiere Pro to make leggy footage playback Perfectly smooth. These files air simply exported low resolution videos otherwise identical to the original. They are only a fraction of the file size. So basically, this means your computer will have a much easier time processing and playing back all of the proxy files during the editing and in return, this means no leg. So if you're working on a computer that can't play back the original footage, a great option is to create proxy files now. Sometimes you don't need to create proxy files, and all you need to do is just change the playback resolution to half, for example, or 1/4. But if that doesn't do the trick, then I would suggest creating proxies. So in order to create proxy files, look to your Project panel window and then select all your footage, right click and then go to proxy, create proxies. Then the Crate proxies window will open up and you'll see that the format has issues X four or quick time. Now I prefer creating H 264 proxy files because the file sizes will be much smaller. And, yes, the H 264 file is harder on your system for processing than the Progress. Kodak. However, it's a relevant because we're working with such small resolutions. So with the format h 264 selected under preset, you'll see that there's three options here. If you're footage is a 16 by nine aspect ratio, meaning it's other 10 80 p or four K uhd than 10 24 by 5 40 will not work for you, as this is a different aspect ratio. And you also won't be able to use the 15 36 by 7 90 because that's also a different aspect ratio. Now you can use the 12 80 by 7 20 This is a correct aspect ratio and will work. However, I like to make my proxy files even smaller. I like to make them at 9 60 by 5 40 that means it's guaranteed to have no leg, even on very slow systems. So instead of using one of these presets will make our own so that we can import it. In order to do that, let's go to media encoder and then with media encoder open, let's go to preset. Within this menu, you can either create a new in just preset, using an encoding preset that already exists or even create your own. In this case, we're going to create her own and then from that encoding, preset will generate an in just preset. So let's click on create encoding preset, and we'll give this one a name. 9 60 by 5 40 in coding. Preset as a format will choose H 264 and then we'll uncheck audio as we don't need it for the proxies and under basic video settings, will uncheck the width and height and we'll change it to 9 60 which will default the height to 5 40 So this is a 16 by nine aspect ratio, and you figure those numbers out by dividing your four K Uhd Footage by four for the frame rate will leave it based on source for the field Order will set this to Progressive for the aspect ratio will set this two square pixels one, and because we're creating low rise proxies, we do not want to set it to maximum bit depth and then we'll scroll down here. Under bit rate settings will leave it to one pass and target bit rate will set that to 4.5 and a maximum bit rate of five. And this is significantly smaller and bit rate than the original four K Uhd footage, and your image in the proxies will look a little bit low quality. But it will allow you to edit much faster without any leg. So depending on the computer you're working on, you can create your proxies like this, or you can increase it from there. We'll hit OK, and then now that we've created this will go to preset create in just preset and then, for the preset name will set it to 9 60 by 5 40 Proxy for 16 by nine footage, and then we'll go down to The Transcoder files to destination area. We can ignore the destination path as we can select it later on in Premiere Pro. But for the format, let's go to issue 64 and then under preset. Let's choose our encoding preset that we made earlier from their will hit okay, and then you can see we have our encoding preset and we have our new proxy preset, and now that we've created are in just preset, we need to export it. So let's right. Click on it and go to export presets and then navigate to the area. You want to save your pre Sedin, and I'd recommend you email this file to yourself as well, because it's a very small file. And it does come in handy if your computer with a crash or if you reinstall premier and you want to create proxies in the future. So let's save it here, and then we're done in. Media Encoder will close that and then back in Premiere Pro instead of using one of these three. Like we said before, will click on, add in just preset and then navigate to the area with urine, just preset. Click on it, click open, and then you'll now have the preset ready to go. And then for the destination of your proxies, I always recommend setting it to next to original in a proxy folder, because then it's always with your original footage, and it keeps things organized. From there. I click on OK, this is going to open up media encoder and it will automatically start creating the proxy files, and then each one will have the name underscore proxy added to the end of them. If you're working on a very large project with footage that's four K, for example, or larger, it's gonna take a very long time to create the proxy files. So I'd suggest creating a proxies at the end of the day and letting your computer run overnight. Okay, so now that we're done creating the proxy files, let's close meeting Coder, an inside Premiere Pro. The proxy files might not be turned on by default, So in order to do that inside your program monitor, we'll go to the little button here and they will find the symbol here for taco proxies. And we'll drag that down into the button area down here, and when you toggle it on, it will turn blue, and that means you're using the proxies and to show you what it's doing here, let's go to 200 then I'll hit the tilde key on the keyboard to maximize the window, and we'll talk about on and off and have a look at the resolution change. So this is the original four K file with the proxy off, and with it on you can see that it's much more blurry. And that's because we're using the low Reds proxy file and you'll see with the proxies. I conscripted the footage very quickly, and there's no issue because there's such small files. 46. How To Create A Seemless Mask Wipe Transition in Premiere Pro: in this tutorial, I'm gonna show you how to create a seamless mask wipe transition that looks like this. Okay, let's get started with this tutorial with Premiere Pro Sisi Open. I have the two pieces of footage inside the project, and then I have them down in the timeline. This is the finished version of the effect, So let's walk through what's going on here before we actually start to do the effect. Let's turn off the bottom video layer so we can see exactly what's happening on the top here. And it's one video clip that tilts up, and as it tilts up, it moves past a poll. So as you can see, there's nothing after the poll, and that's because we have masked out this side. The bottom layer ends up being revealed behind the clip. So that's the technique we're gonna be working on today. So let's zoom out here. I have the exact same clips over here. I've just duplicated it, and the only difference is on this one. We're starting from scratch, so I have the video layer on top with the video layer below it. But as you can see, it does not reveal what's behind because we haven't done any masking it. All right, so let's get started. So for now, we'll turn off the bottom layer because really nothing happens to the bottom. It's just underneath whatever we choose to reveal from the top. What we're looking for is the very first frame when the poll ends, so I would be somewhere around there. That's gonna be the start of our mask. In the end of our mask, as you've probably guessed, will be when the poll is completely gone, right there, that's cooking. The top layer will go into effect controls, and then we will click on the pen tool that will create mask information. But we haven't created a mask yet. Then on our program monitor, we will make a line just on the edge, and we can refine it afterwards, so it's not all that important right now. Once we have that created, let's go to the corners and justice out of frame there and out of frame there and in the same for their and for the bottom. In order to see those, we can change the view to 75% so that'll be okay for now over here inside the effect controls and set the mask to a mask feather of 25 in a line that right up to the edge, and they will do the same to the bottom. So in order to do this in every frame, we need to create some key frames, so it's create a mask path that would create a key frame right there. Then what we'll do is go all the way to here, which is the start of the footage and with the top layer selected will click mask and then we'll drag this all the way. Teoh. Here we'll go to the very top. We'll drink the top all the way to the far left. Then we'll go to the very end, the last frame, and we'll go to the far right now. Give ourselves a little more room and fully remove the mask outside of our frame. So now we have three key frames. We have one in the centre, one at the beginning and then one at the end. This will allow us to keep frame in between those three a lot easier, and if we scrape through, you can see that it does followed across, but it's not perfect, so we need to make this perfect. Let's go frame by frame and adjust the mask on each frame. And masking is quite new in Premiere Pro. Actually, it's only been around for a few years, so they haven't really figured out everything. Aftereffects does a really good job, but premieres a little behind. So if you get to a spot where you can't really get to the point here by a scrolling down, then you need to go to 25%. That will reveal the bottom. I'm just jumping a few frames at a time and adjusting the mask on the top of the bottom. And now we've completed a rough job, going through every few frames and making our masks set to where we want it to be. Now, if we go up to the effect controls, click there and then zoom in. Just expand that a little bit. You'll see that there are some gaps in our key frames, so if we go to those areas and then adjust those, it will help with our animation to be smoother. Now that we've done that, we can turn on our bottom layer and have a look to see if we have completed the effect. So as you can see, there's a few spots where the mask isn't perfect, so we can either go through and adjust all the key frames. Or we can simply go to the massive expansion, which I find to be Ah faster approach here and just reduce this by, let's say, minus 15 now reducing the mass expansion will crop a bit of the post, so keep that in mind. It might not be the best thing to do, depending on the type of white transition you're trying to create, such as a person's face or something. But since this is just a poll, we have no clue how wide it really is. So we can take advantage of the mass expansion, reduce it, and no one will ever tell the difference. Okay, let's have a look at the finished effect. All right, that's looking great. Now, in the final video, I had it sped up a little bit so we can simply cut it right when the poll comes in and then use the rate stretch tool to speed it up. We'll bring our footage to the beginning of the poll transition. Okay, And then there is the finished effect. Okay, I hope that was helpful. It's a pretty easy effect to do. You just have to plan ahead when you're filming and have something either cross your frame or have your camera across something in the frame to get the white transition effect. 47. How To Get Smooth Slow Motion In Premiere Pro CC: in this quick video editing tutorial, I'm gonna show you how to use a simple feature in Premiere Pro. That makes a big difference when trying to make regular footage. Slow motion. Okay, I'm in Premiere Pro with a 10 80 p sequence that set to 23.976 is the frame rate, and I have a clip here that is also 23.976 and it looks like this. It's a clip of me hiking in British Columbia, and as you'll notice, there is no soul motion at all. So let's say I wanted to slow down this clip by five times. We'd set it to 20% in the clip speed duration. The result would look like this would be very choppy. This is not very professional to do, and it's often a mistake that new video editors make. This is something you want to try to avoid doing now in the past, to make it look good, you'd have to use 1/3 party plug in like Twister. However, in recent premiere pro updates, they've included a feature called Optical Flow. So if you right click the clip and they go to time interpellation. It's currently set to frame sampling, but below that and says Optical float, Let's set that. And then, if we watch her play back and you'll see by setting its optical flow, it does a very good job of turning our footage into slow motion. There is some subtle ghosting, but remember, it's creating new frames out of the frames that currently exist, so it's pretty impressive that it does this now. This footage doesn't have a lot of motion to start off with. So if you are working with footage that has a lot of action or a lot of movement, it might not do as well of a job. So it's pretty amazing that you can now turn regular footage into slow motion footage right inside Premiere Pro without any third party plug ins. 48. How To Smooth Skin in Premiere Pro CC: in this video, we're gonna talk about how to get smoother skin inside Premiere Pro Sisi by using the H S l secondary color correction tab Inside loom ITRI color. Here is what will end up with and here is the before. As you'll notice, the blemishes are a lot more noticeable, and her skin overall is not as even. You can see a lot more of the poor. There's a lot more detail. When we turn it on. You can see that overall, the skin becomes nice and smooth, a little bit blurred, but the blur only affects her skin and not her eyes. Let's go into 150%. So if you watch her people, you'll see that her eyes do not become soft. It's just her skin, and the way I'm doing this is inside the H ourselves secondary. We haven't tutorial that Ali has done that talks about this, and it's a really powerful effect. So in this one, we're gonna be smoothing her skin using the H s L secondary. So delete luminary color and we'll start over here So inside h of cell secondary. Let's click on the plus eyedropper and select your skin that will make a rough selection and then to see what we've selected. Those Click the color gray selection box and let's make some adjustments here, so it's send the Blur to about seven or 8%. That blends the edges a little better. And then let's use the plus and minus two dialling this a little better. We'll just move these around until we're happy with their selection. The point here is to try to get it so that we just have selected her skin and not any of the background or her eyebrows or her eyes. Okay, so something like that is fine. Then we'll scroll down, will turn off the color gray and then under the correction beside the color wheel, we can adjust this up and down first. So surely if we go down, it will make it look like she's sunburn, which is not what we're going for here. So under that, and it will raise it just a bit so that the overall brightness of the selection becomes a little more even overall in our skin. So let's go up with this, okay? And you can see the difference already. All right, and then in the color that will go up just a bit with this to give a little more orangey look that will help blend in the blemishes. Better with the rest of her skin in the last step is to blur it so within the sharp. In effect, if you sharpen it this way, it'll show her pours more. But if you go the other way, it will blur her skin and that's it for smoothing someone skin. All you have to do is going to H s L secondary. Make your selection increase the brightness a bit. Correct the skin tones a little bit and then blur the selection that you made and then you're done. OK, that should give you a head start on how to get smoother skin inside Premiere Pro By blurring and changing some of the settings inside the H s l secondary color correction tab inside luminary color 49. Auto ReFrame New Feature In Premiere Pro Saves A Lot Of Time: in this video, I'm gonna show you how to use Premiere Pro CC's new auto reframe feature too quickly and automatically convert your regular horizontal footage to vertical footage to repurpose or content for social media. So let's jump in the premiere pro and get started. All this footage is 10 80 p so 1920 by 10 80. If we wanted to reframe this footage so we can repurpose it for instagram vertical stories , for example, then the reframe feature can do this pretty easily compared to doing it all manually so manually we'd have to create a new vertical sequence and then on every single clip, we have to change the position of it so that it lines up in the vertical space. And of course, that will take a lot of time if you're working with a lot of footage. So the new way to do it with the refrain feature is up in the project panel window where your secrets has been created, You right, click it and you simply go to auto reframe sequence. Then you choose the aspect ratio you want. So in this case, the preset said to square for us will do vertical 9 16 which is, Ah, height of 1920 a width of Tenny, then for the motion preset will keep it to default, but you can set it to slower motion or faster motion if you like. And if you've already done some motion work on the footage, you can click the nest clips. This will keep motion adjustments but removed transitions for us. We'll just keep it to don't nest clips and then we had create. It'll analyze all of the footage and then center the subject. So in this case is the puppy. You can see this by going to the Effect Controls panel and hear all the key frames that were created automatically using the auto reframe effect. And you'll notice has done a really great job. It's centering the dog in the center of the frame for all of the clips here. And the great thing about this effect is, let's say you already have a vertical sequence created. You can simply drag in all of your footage. In this case, these air four K clips Soto have them show properly. You normally have to scale this back down to 50% or so but I'll undo that. Keeping out 100 and then in the effects will type in reframe and then under video effects transform. You'll see auto reframe. Let's go ahead and highlight all of the four K clips. We just right into this sequence and then dragged down the auto reframe, and then it will add it to every single clip and start analyzing and automatically. This will not only adjust the footage and center the subject, but also it will scale down the higher rest footage to match the sequence. I've done a few tests with this, and I find it pretty accurate. If you did need to adjust it further than this, I wouldn't suggest trying to change any of the position key frames that were created. Instead, I go to the effects panel window and type in transform, and then I would add the transform effect to the clip. Doing it this way you can set new key frames so that your composition is exactly how you want it to be. Okay, so that's how to reframe footage in Premiere Pro automatically to convert your footage to a vertical aspect ratio 50. How To Stabilize Footage In Premiere Pro CC: literally a few years ago. This a true story. I completed a video for a client, and last minute before the event where they were going to show the video, they requested a revision. So I scrambled to get the changes done, then burned a DVD. Yeah, that was a thing that editors had to do a few years back burn DVDs. Anyway, it was a small revision. So I didn't bother watching the video back First mistake. And during the premiere of the video, about one minute in this huge red banner pops up in like the middle of the screen, and my heart literally just sank because it looked so unprofessional. But fortunately, it only happened the one time in the video, and the clients didn't really care too much. It was like a kind of a small event. So take it for me. Always, always, Always watch your footage before you upload it, or before you pass it on to your client. All right, so in this video, I'm gonna teach you how to stabilize footage in Premiere Pro with some custom settings to make the workflow easier and to avoid situations like the one I just mentioned All right with this clip loaded inside Premiere Pro, Let's give it a play and you'll notice that right off the beginning was very shaky, so we can really clean this up by using the warp stabilizer. Now I do want to give a disclaimer. This effect works, I would say 75 or 80% of the time. But in certain scenarios where the footage is shaking quite a bit or it's changing the background by panning quite a lot, warp stabilizer is most likely not gonna work. And in fact it will make things worse in the name it says warp. So how it stabilizes is it actually warps the footage, and depending on the footage you're working with, some of the edges might start warping quite a lot, and it's not gonna look very good. So in Premiere Pro as it stands, there isn't a perfect way of stabilising all footage. But most of the time, using the warp stabilizer effect will work. So let's go ahead and give it a try on this clip. So you taping warp inside the effects panel window under distort, you'll see warp stabilizer. Let's drag that down onto our footage it'll analyze in the background. Now it'll stabilize, and then it zoomed in just a little bit. Now that it's done, typically when you stabilize footage, it's going to zoom in just a bit. And that's because it needs a little bit more space to work with in order to remove the shakiness of the camera. Now the default settings are smooth motion at 50% with subspace warp. So let's go ahead and preview this to see how that looks. Now you can see ready waited a really good job, it removing the beginning shakiness. And now it's almost just a smooth pan with the camera movements. Let's go ahead and copy this, and then on this one, we will remove the stabilizer and preview the original one again so you can see that's quite a big difference compared to the beginning of that footage. Now I'd see on this footage that's probably all you'd want to do in terms of stabilising it . You're not gonna get much more smooth than that unless you are to set it to know motion. And then it'll zoom in quite a lot and then just stabilize the footage to that certain region, but for us will set it back to smooth motion and then go down and open up the advanced. We'll click on detailed analysis that's a run through and analyse it once more and then also with the bottom here. While that's going, you'll notice here it says Hide warning. So that's the hide warning banner that I was talking about the inter of the video. When you click this, you're not gonna have this banner. So let's go ahead and then you can see it removes that you can still see the progress in effect controls, but you no longer will have the Blue banner all right. Now that the detailed analysis and done, we'll check it out. And to me, that looks about the same. So again, on this clip, you probably don't need to do the extra step, But keep this in mind sometimes on trick your clips, this will work and give you a better result. Now another thing you could do is under smoothness. You can go down to, let's say, five or three or even 1% at lower numbers. Even at 1% it will do quite a big difference in terms of stabilizing versus not stabilizing , so I'd recommend experimenting with different percentages. Now another thing. Let's say you're watching a clip and there's a lot of shake and you can't really get it to work using the subspace warp. Another thing you can try is just the position scale in rotation, and sometimes that will produce a better job. So there isn't one specific setting that works for all footage. It's about trying different ones and coming up with the one that works best for the footage you're working with. So now that you know how to stabilize the footage using warp stabilizer, the next thing I want to show you how to prevent the banner from showing up on new footage that you stabilize in case you forget to click on the high banner option once it's added to the effect controls panel window under warp stabilizer. If you right click, go to save presets. Once you've put in your settings, you can then save it. So it's a warp stabilizer, preset at the 5% here, so 5% and no banner. So if we hit okay, then we go up into our presets. Here you can see that with warp typed into the search bar, I have my original one. So warp stabilizer, 5% no banner and then the one we just saved, which is warp stabilizer preset. 5%. No banner. So if we drag that down to our second clip here and then inside affect controls. Hit. Analyze. However, the benefit to this again is you'll have your 5% with the other setting saved the way you want it. And you can make different presets so you could have one for, like, 25% or 10% or 1%. And depending on the footage you're working with, you'll get a better I over time at which preset will work for the footage you're using. And then the second benefit is you always have the hide warning banner checked off so that it never appears in any of your exports. 51. How To Slow Motion Speed Ramp In Premiere Pro CC: in this video, I'm gonna talk about slow motion ramping. It adds an extra level of professionalism instead of just straight cutting. Too slow motion. All right, with Premier per open, I have a clip here of me skateboarding from the summer. This clip was filmed at 120 frames a second, so that means it's five times slower than real time knowing the frames per second, your footage was filmed. That is important because it allows you to calculate how much lower your footage is playing from real time. Another. We know the frame rate the footage was shot at and the playback speed. Let's then talk about ramping your footage in our sequence. If you look at the top left hand corner of our footage, you'll see that there's a little symbol that says effects on it. So if you right click that and then right now it's currently set to opacity by default. Let's go ahead and change that to time, remapping and then click on speed. And then now we have our line here that represents the time remapping for this clip. Right now, we haven't done anything, so the clip will play back in the same speed. Let's zoom in a bit. And if you hover your mouse over the time remapping line, you'll see that it says time remapping speed. And it's currently set to 100%. If we increase this to 500% like we're talking about before, which would be five times speed, then that would make our footage played back in real time. So it's undo. So now we're back 100%. And in the same way, let's say we slowed down to 50%. Our footage will play back even slower. And if we weren't doing any speed rapping on this clip, then doing it this way is the same as if you were to right, click and go to speed, duration and then change the speed up here. But since we are gonna talk about speed ramping, let's go to cancel and undo. So we're back 100%. So if you hold control in the PC or command on the Mac and then hover the mouse over the line, you'll see that the simple changes to this little plus symbol that means when you click it allowed an adjustment point and on the right side, you'll be able to adjust the time remapping differently than on the left side. On the left side. Let's go to regular speed, which is 500% of your most once again over the adjustment point and then click and drag. And then now we have footage of the beginning. That's 500% speed, and then there's a straight line that goes all the way down to 100% speed. You need to see this little tiny blue symbol in the middle, and if you're not seeing it, is because you haven't selected one of the left or right side of your adjustment point. So if you grab the top or bottom and then click and drag to the left or right, you'll see that it starts to ramp the footage. So now we have a smooth, smooth ramp that goes all the way from 500% to 100%. So let's play that back, and now that's adjusted so that it starts right when I start to pop the trick. So it's speed up the transition just a little bit and the timing a little better so that the slow mo happens as a pop instead of just before. Okay, that's looking great. Now let's say we just wanted to have it slow motion just for a sec during the flip, and then right when it lands, that's when it goes back up to 100% speed. You hold a command on the Mac or control the PC, click and then split the clip and then on the right side, increase it to 500%. Think like one of the points to smooth it off a little bit. All right, let's view that. Okay, so that is how you use the time remapping features inside Premiere Pro to get slow motion ramped footage. 52. How To Get Perfect Skin Tones In Premiere Pro CC: In this Premiere Pro tutorial, I'm going to teach you how to color correct skin tones. I have footage here that's a little bit too green. So I'm going to show you how to use the vector scope graph to get accurate natural looking skin tones every time. And let's jump in. Alright, I have footage here and I have purposely changed the overall color to be more green. But let's first talk about what a vector scope is and how it can be beneficial to get accurate skin tones every time. So let's go to Window luminary scopes. And you'll see here a whole bunch of different graphs. These represent the colors and exposure in your footage. And in this tutorial, we're going to be talking about the vector scope y, u, v, which is this one here. So we'll turn off the other ones. So now we're left with the vector scope YUV, which is right here. This can look pretty intimidating when you first look at it because there's a lot going on, but it's actually pretty straightforward. You have the colours of your image represented by this sort of cloud part in the middle, this inner selection that connects all the little boxes, that's your broadcast safe. So if you push your Saturation too far, the colors will go outside of that selection. And then you were to submit your film to a broadcast network, for example. They'd probably not accepted because it would be past the broadcast safe standard. In most cases, if you're working with stuff on the internet, you don't really need to worry about this. I would definitely make sure you don't go past the outside box though that's your 100 max limit. And each of the quadrants here have their own color area. So yellow, green, cyan, blues, magentas, reds. And depending on the footage you're working with, your colors will appear differently on the graph. The reason we're using this vector scope graph is it's very handy for dialing in skin tones. And no matter what footage you're working with, whether the skin tones or lighter or darker, all skin tones will fall under this line between the yellow and red. So the goal is then to look at the graph, see where your footage sits, and then try to adjust it to get as close to this line as you can. Now if you've colored, graded your footage and given it more of a look, then of course it's going to be a little off, so keep that in mind. Okay, so let's make some room for this. Then I'm going to copy and paste the literature color and then reset the bottom one and keep in mind, the top one is just for the purposes of this tutorial to make it more green. So we'll work off the bottom one and we'll go into the color wheels and match. And then using the shadows, mid tones and highlights, we're going to adjust the footage away from the green because just by looking at it, you can see that this footage is a little more green. And also by looking on our vector scope, you can see that the footage does fall more towards the yellow, green, and cyan colors. So we'll start by adjusting the shadows. And while I'm doing that habit, look at where our color sit and how they start their shift away from the green as I move this away from the green. And then we'll do the mid tones and then the highlights. And then I'll turn on and off limits recolor for what we just did. And you'll see how much more centered our colors are with the skin tone line. And then I'm going to find adjusted just a little bit more, pulled back the shadows a bait because there was a little too much Magenta is happening in the dark areas. And now that I've done that, let's go to the basic correction and then we can use the tint because we know there's green in the footage and we will shift it to the opposite, which is magenta, depending on the footage you're working with, it might not be the best thing to use the tin to correct this, but we know there was a lot of green. And when I adjusted using the tint in our case, you'll see that it will thin out the color and make it a little more inline with our skin tone line. And then next TO adjust the temperature to be a little more orange so that our skin tones move a little bit more away from the greens and blues. And then again, have a look at this when I turn on and off the luminaire color. That's where we started and that's where we ended up. Now I think I could go a little further into the magenta. So I think that looks good for the purposes of this tutorial. Of course, you could spend hours color correcting and then many more hours color grading your footage. The idea is to understand that the vector scopes can be a fantastic tool. 53. Edit Fast with Keyboard Shortcuts In Premiere Pro CC: In this video, we're going to be talking about keyboard shortcuts inside Premiere Pro CC. And trust me, it drastically speeds up your editing workflow. So I would highly suggest incorporating keyboard shortcuts if you haven't already. Every editor is going to have their own custom keyboard setup based on how they like to edit. There isn't really a right and wrong way. It's more about what you're used to as an editor. For example, you might be coming over from Final Cut. And that means when you're editing in Premier Pro, that'll be easier and more comfortable to you to use the keyboard settings that Final Cut had instead of the new controls that Premier has. So in order to get to the keyboard shortcuts, you can go up to edit keyboard shortcuts. Now it looks a little bit intimidating, but you can save presets here and once you use it a few times, it's pretty straightforward. The idea is down here. It'll give you all of the options that you can customize. And you want to go ahead and find the one that you want to customize, such as, let's say the selection tool. And if you click beside it, it'll highlight in blue. And then from there you can press the New button, such as number pad nine for example. I don't know why you'd want to do that, but just for the example. And then moving forward to change the selection tool, you could use v or nine. Now keep in mind, since I've now made nine on the number pad, the selection tool, I'm not going to be able to use it on something else unless I overwrite it. And sometimes it's hard to find certain things because they're buried deep in menus. So if you have an idea of what you're looking for, you can simply type it in. Now if you're coming from a different editing programs such as avid or Final Cut, or if you were using an older version of Premier, you can change it very quickly with the custom presets they have by default here, such as the frontal Cut Pro seven. And another tip to help you navigate through this while you're creating your keyboard customization is you can press down on ultimately keyboard, and then it'll change to what you can add if you're holding Alt and then pressing one of the other buttons, for example, these are the three IF setup. You can also press control or Command on the Mac, and these will show up. So in other words, when you're holding down control, these are all the highlighted buttons that you can press to get a different option than if you weren't holding Control. And you may have guessed to right that you can also press, let's say control plus shift, a whole bunch of other options. Because the goal of keyboard shortcuts is to speed things up to make editing more efficient. Being able to set up your keyboard so that your hand is in one general spot for the majority of the keys that you wanna press while you're editing will of course, make it a lot easier because you won't have to move your hand all the way across to press a different button. I've made quite a few changes such as moving the rate stretch tool which was on our down to X where it used to be in Premier Pro few years back. I like it down here because you have your main tools that you use quite often all beside each other. So your selection tool, the razor tool, or what used to be called the Cut tool and your rate stretch. There's also an option called add edit, and that'll make an edit in the footage where your cursor is, I have alt V as the add edit. I have alt see as rippled trim previous and be as rippled trim next. So if I want to add an edit, I can simply go option v. And then that'll make an edit at the exact time you press the button while you're playing. So as you're going, you can do this multiple times. And that works great if you want to play it and make multiple cuts as you go. And then for the ripple delete previous, this is helpful when you're watching through clip and you want to get rid of the beginning part very quickly. So it not only deletes the clip, but it also takes all of the footage after it. And ripple deletes it to the left, right up to the last edit point. And of course, ripple delete next, we'll do the same thing but in the other direction. So a deleted the end of the clip and then ripple deleted everything over. Because I'm on a full-size keyboard, I do have the number pad, and as you can see, I've made these five buttons customized to the color labels. And in my Premiere Pro organization video, I showed you how to set up car labels. And then now you can see that you can actually set the labels to specific buttons on your keyboard. So let's go ahead and show you examples of that. But say I like this clip the best. So I'm gonna press one on the number pad because I've customized the one on the number pad to the color label red that I set up in the preferences. Don't say I wanted this clip to blue. I would press three on my number pad because that's what I've set up to be blue on my number pad. So as you're editing, it makes it a little easier for organization instead of having to right-click and then go to label, choose the mole, you can simply assign them to a keyboard button that you want. The next keyboard shortcuts I want to show you are the J, K, and L. Now, if you've been editing for a little bit, you've probably heard of these. Pretty much. Every single editor will use the JKL because you can watch things faster than real time. And of course, that means you save time and you can get a project done faster, get to the next project, make more money and be more efficient as a video editor. So an example of this is while you're going through the footage here, you can press L to play. That will be just like pressing the space bar. But then if you keep pressing out, you can continue to keep increasing the playback speed. If you want to go backwards, it'll work the exact same as L. So J, K, and L is super handy and I highly suggest you start incorporating it into your editing if you aren't already, especially if you're editing, let's say long interview takes that are like 30 minutes long. And you're trying to figure out a way to scan through it all and listened to it. Well, if you play it back on a little faster than real time by double pressing l, the voice will sound sped up. However, you can still listen and make out what they're saying. And that means you can understand and continue to edit efficiently. Here's a few other shortcuts that will speed up your editing. If you press a, it'll change it to the track select Ford tool. And then that allows you to quickly select everything in your timeline to the right. If you hold Shift, then a it'll press it to the other side. Select everything to the left of where you select. And now let's say we're ready to export so we can highlight the area that we want to export. And then you can press the forward slash in your keyboard. And that will set an in and out at exactly the frames set within the selection that you've made. From there, you can press Control M or Command S on the Mac to export your video. Alright, so there you go. Those are a few ways that I speed up my editing by using keyboard shortcuts inside Premiere Pro CC. 54. Best Export Settings in Premiere Pro CC Export FAST With Hardware Encoding: Welcome back to another video. In this one we're gonna talk about the best export settings inside Premiere Pro CC. And I'm also going to talk about the new hardware encoding feature for exporting videos much faster. It takes advantage of your GPU. So let's get started. Let's say you finished here at it. You said you're in and 0 and you started to go to the export settings and you're not really sure what exports settings you want. You could be exploiting for YouTube, or you may have limited hard drive space and you want to save your files in a format that allows for really small file sizes while also maintaining a higher-quality. There are of course, many other reasons why you may want certain settings when you're exporting. In this video, we'll focus on three formats that I typically use for the videos that I create. So let's first start off with the format H.264. You've probably heard about this before. It's, I would say the most commonly used codec. This one will compress your files pretty well. It will give you a somewhat small file size, but the quality will be affected to some degree. So select that one. Now there are a bunch of presets that come with Premier Pro, such as the YouTube ones or the high-quality versions. Now, they will work fine. However, I like to save my own Presets and that way I know exactly the settings that I'm using so that I get the results that I want every single time. So let's go to Match Source high bit rate, and then we'll change some settings down here. So if you're exporting at ten ADP, which is 1920 by 1080, you can leave that as is, and then make sure the frame rate matches the source footage you're working with or your sequence settings. Then for the field order, we can keep it at progressive aspect ratio square. And then we want to make sure that render at maximum depth is selected and then also use maximum render quality. And then in recent versions of Premier Pro, they introduced the hardware encoding performance setting. And when hardware encoding is selected, this will allow you to export your files much quicker. In order to get hardware encoding, you have to make sure that the settings below here are set to either one pass or CBER. Let's change it to CBER, which is constant bit rate, which is essentially the quality per second. And ultimately, if you set this number high, you'll have a larger file size. And if you set it low, you will have a lower file size. Alright, so since we're exporting ten ADP footage, I will typically set this to around 26. Some other editors may prefer a lower number or a higher number I find if I set it higher than this, I don't really notice a difference. However, if I set it lower than, I will start to notice a difference in the shadows or during fades or transitions. So for ten ADP, that will be good. Now if you're exploiting it 4K, then you can change it to 3840 by 2160. And in that case, because of the higher resolution, you would then need to increase your bit rate. So I would just go all the way to 50. And then for the Audio tab, I normally just set it to a C 48 thousand hertz and stereo with the audio quality set to high with 320 kilobits per second. And then from there I'd save a preset by clicking on this Preset button right here, and then I would give it a specific name. So 4K, 23.976, and then I make another preset with the 1080 settings. Now as I mentioned, the H.264 codec is really, really common. It does a pretty good job, but compression, but the quality isn't as good as you can get it. So if you are working on projects where you need to keep the best quality possibly Can, you should probably consider a different codec. And in that case, I would choose a format that can work with progress. So in that case I would go down to QuickTime. And then once again, we're not going to select a preset. We will make our own. So we'll go down to the video tab section. And under video codec, we will choose progress 4.2.2 HQ. And then once again, we'll do a 3840 by 2160. 4k resolution. Will make sure that render at maximum depth is selected, will keep our export color space at rec seven or nine. And then in the video tab, this is all you need to set up because the apple Perez Kodak is a really high-quality Kodak, but it will make very large file sizes. So only uses if you need the highest quality you can get and you have a lot of hard drive space. So at the bottom here we'll select use maximum render quality. And then in the Audio tab will keep everything as default and we can export that preset as well. And now I'll show you the third way of exporting that I use, which is typically for Instagram stories or tick tock videos. And that will be the codec H.265. Now you can consider this the modern day version of the H.264 codec. It's a much better codec than the H.264 in terms of the compression it does to keep small file sizes while keeping the quality of the video really high. When it was first announced a few years ago, people were saying that it has a better compression than H.264, but it'll keep your quality like progress. Now after I've tested it quite a bit, it does depend on the bitrate you set. So if you set a really low bit rate, of course you're not going to have footage that has that quality you'd expect from progress. Now before we make an H.265 preset, I want to say that this Kodak is really process heavy. It will make your computer work really hard. Here the fans go on most likely. So if you're exporting videos using H.265 and then editing them later, it's going to be a tougher codec to work with. So it might play back a little more choppy. And if you're not using a really high-end computer, it'll probably take a little longer to export as well. Alright, so it's selected. H.265 will keep it at ten. Adp, will check render at maximum depth. And once again, we do have hardware encoding. So this specific codec, just like H.264, can take advantage of your graphics card to export things much quicker. And then underbid rating coding will change it to constant bit rate, will set the quality to hire. And then for the Bid rate, as you'll remember, for the H.264 codec preset we made, we set it to 26, However, for H.265 because it's so good at compressing into smaller file sizes while also maintaining a high-quality. For this one, I only set it to around 12, which isn't even half the bit rate of what we said H.264 at. And then as mentioned, because the codec is so good at compression, the footage quality will stay high. So then I'd go ahead and make a preset for that one. And once again, if we're doing 4K, I would say that the 3840 by 2160, we'd keep render maximum depth enable hardware encoding. If your graphics card allows it, keep it at constant bit rate. I find 20 to be enough, but you can set it to the max 25 and then you can save your 4K preset. And then since I use H.265 for exploiting videos for Instagram or tick tock, I would keep things at just ten ADP. But as you'll notice, I flipped them so the width is 1080 and the height is 1920, which gives me the vertical display, which is what tick tock and Instagram prefer. Now of course, this clip was shot horizontally. So if I wanted it to feel the full vertical farm and have to scale in. And then for YouTube, I typically use the settings we created in H.264 or the poorest settings we created in QuickTime. If you have a lot of hard drive space, you can use the progress version. That will be the highest quality. However, for 99% of people, H.264 will be more than enough for YouTube. Alright, so those are the best settings to use in Premier Pro for exporting videos. So if you haven't updated to the recent versions of Premiere Pro, I would highly suggest you do that so you can take advantage of the hardware and coding and tap into your graphics cards potential. 55. How To export alpha channels: In this video, we're talking about how to export alpha channels inside Premiere Pro. Alpha channels are where you have that transparent background around the subject that you want to show. They're really good for motion graphics work and they can come in handy when you're doing any sort of compositing stuff inside Premiere Pro. Alright, I'm in Premier Pro right now and I have a background clip as well as this alien we'll Lower Thirds Title. Now, this one already is with a transparent background, but for the purposes of this tutorial, let's assume that I just created this graphic and I haven't exported it yet with an alpha channel. There are only a few codecs that can export alpha channels. So I'll walk you through a few of my favorite. We'd go to File Export or press Command M or Control M on the keyboard. Now we'll open our export settings window. And then under format, let's choose QuickTime, go down into the video codec, and we'll choose Apple ProRes 4444. And then if we go lower, you'll see there's an area that says the depth. Right now it's set to eight. If we set it to eight plus alpha or 16 plus alpha, that will give us an alpha channel with eight BPC plus alpha selected. You can go to Export and then you would have an alpha channel with the file that gets exploited. Or at the bottom, you can make a stencil around it by exporting only the alpha channel. And keep in mind, exporting with an alpha channel will create pretty large files converted to export it with a regular codec. I wouldn't recommend exporting anything with alpha channels unless you actually are working with something that requires a transparent background. Another codec that you can use within the QuickTime format is the video codec animation. And this one has a BBC plus alpha, so you make sure that one is selected. So those two will give you the dot MOV file format. If you prefer to work in something else such as MSF, you could do the Apple ProRes m x f format. And then you'll see under the Video Codec, you can choose various options here. So we can stick with the x cubed 4444. And then at the bottom, you'll see that you can also choose the same as the resin, the QuickTime format. Basically the same thing except you get a different format wrapper called a.mxf. So those are three ways you can export an alpha channel. And I should note that there are other options here such as tiff, that will allow you to export an alpha channel. However, be very careful because the dot TIF format will export individual frames. So when you export your video, you'll export it into a folder and then you'll go to that folder. And it's gonna be like hundreds of frames because it actually export at each individual frame. Sometimes that's what you want. Let's say you're working on like a raw photo time-lapse. But in most cases, you wouldn't really want to export individual frames. You'd rather compile everything into one finished video. 56. How To Consolidate Duplicates FAST: You may have come across an organization issue when you're editing where you have multiple duplicates of the same clip, it definitely can make things messy and ultimately slow you're editing down. So from a professional standpoint, it makes sense to keep things nice and organized. So in this video, I'm gonna give you a quick tip on how to consolidate duplicates inside Premiere Pro CC. Let's say you've started your edit and you have multiple clips in your sequence. And it just so happens that some of those clips you've already imported into the project from your perspective, you have about six clubs here and you know that they all come from the same spot on your computer. But up here in the project window for Premiere, each one is its own import. So you have your own individual clip, clip in your sequence. And this is something that you couldn't fix an older version of Premiere Pro. So it used to bug me every time I get duplicates, there was just nothing I could do. But luckily, they fix this problem in the last few versions. So quite simply, the way you get around this is if you notice you have duplicates, you can go up to Edit and then down here to consolidate duplicates. And when you click this, it's going to analyze your project and very quickly get rid of any duplicates that it finds. And just like that, you have your six files still in your sequence, but up in the project panel window, now you just have the one file. So this is so much better for organization, especially when you're working on bigger projects or you're working with multiple editors and you start the edit than somebody else finishes it. Organization is very, very important. 57. How To Level Audio Using A Compressor In Premiere Pro CC: If you've ever worked with audio that has different audio levels and you're not really sure about the best approach to fix those audio levels so that they all sound consistent. That's what we're gonna be talking about in this video. How to control audio levels using a compressor inside Premiere Pro CC or at a half Premiere Pro open here with a file I've pre-recorded. The first part is me talking fairly close to the mic and the second part is when I talk further away from the mic. So I'll give you guys a listen so you know what we're working with before we start the tutorial. And I want you to pay attention to where the levels hit on the audio meter because this will help you figure out what level is to input into your compressor. This is an audio test where I'm speaking very close to the mic. This is an audio test room speaking pretty far from the mic. So as you can tell, the first part is around minus six, and the next part is below -18. So there's a pretty big gap between those two audio levels. And of course, you could split the clip and then simply increase the gain on the second clip of, let's say 13 higher to get it similar in volume. And while this works very efficiently for just two clips, if you had a whole bunch of audio or just one continuous take, it would take you quite a long time to do that. And it's always good to know various techniques when you're editing because then you can choose the best workflow for the editing project you're working on. Let's go ahead and undo. Let's go up to the Effects panel window and then type in dynamics. And then under the amplitude and compression folder, Let's drag down dynamics onto our file. Alternatively, if you want to use a compressor on your entire track, you can go to the audio track mixer, click the little arrow up here, and then in the top section here for inserts, you can then add the dynamics effect for the entire track. Since I'm just working with one audio file, we'll just apply the dynamics effect to this single file. In effect controls we'll go to Edit and then we'll change some settings in the compressor tab. So let's go ahead and enable that. And then we saw before that our first audio was sitting around minus six and then our next audio was setting around -18 or so. The goal of what we're trying to do today in this tutorial with this compressor is in order to raise the lower parts of the volume, we need to bring down the higher parts. So we're going to use a compressor to lower the loud parts. And then we can use the makeup setting in the compressor to bring up the quieter part. First, we have our threshold. This is essentially a number that we input into the compressor to tell it to engage or not engage, anything above -20 will start to be compressed or lowered in gain. For this example, that we have a ratio which is how much the compressor will actually compress. Right now we have a one ratio, which is a one-to-one. And that essentially means you're not going to compress really at all. It will just raise the volume, but not really compress the audio and control it. If you set it to, let's say two, that will be a two-to-one, and that will start to introduce some compression into your audio. You can go up to three or four, but I wouldn't go too much more than that for dialogue for people's voices as n, It could start sounding unnatural. If you're working with a drum track, e.g. then you could go a lot higher than that to get a nice punchy snare kick drum sound. But again, if you're just working with audio, you want to make sure that your ratios are kept quite low. Then we have our attack and release, which is how quick the effect comes into play, and then over how long it is released. Typically, I'll keep those two default. But if you did want to get an average or starting point, you can go up to the presets and you can go to a medium or soft compression. So let's go to soft and you'll see that it has a one-point nine to one ratio, -121.50. And then with the makeup of 3.3, the makeup is essentially adding gain or volume to your audio track to make up for the lower volume that was caused in starting to use the compressor. So let's go back to default, turn our compressor on, set this to around two. We'll start off with keeping a threshold around -20, then add a make-up of about 7 db. Now let's give it a listen to see if that did anything to her audio. And again, pay attention to the audio meters of where each level sits. This is an audio test where I'm speaking very close to the mic. And this is an audio test, rubs speaking pretty far from the mic. The first audio sounds a little more compressed, but ultimately it's staying around minus six. But then did you notice that the second audio was no longer below -18? It was actually sitting closer to -12. And that's because of our makeup gain of around 7 db. To exaggerate that, Let's go to 15. This is an audio test where I'm speaking very close to the mic. This is an audio test rubs speaking pretty far from the mic with a make-up of 15 db. You saw that the first part of the audio was peaking. This is an audio test where I'm speaking, but our second part was pretty much exactly where we want it. So now that you're starting to understand how the different inputs can affect your audio. Let's go ahead and start fine-tuning these settings. And I should note that it's pretty common to have different compressor settings every time you work with a compressor, just because of the nature of how audio works in different environments. Let's change our ratio up to three. Let's change our threshold to -30. And then we'll give that a listen. This is an audio test where I'm speaking very close to the mic. And this is an audio test where I'm speaking pretty far from the mic. Okay. Now that our levels are getting pretty close, we can adjust the overall makeup. And I'd be careful with raising this too much because the higher you raise the overall volume, the more you're also raising the noise floor and your audio. And that means you might hear a lot more background noise or hes in your recordings. Okay, So with it's set to 20, let's listen to this. This is an audio test where I'm speaking very close to the mic. And this is an audio tests where I'm speaking pretty far from the mic. I think that's sounding pretty good. Let's turn it off for a second. I'll show you the difference of where we started. This is an audio test where I'm speaking very close to the mic. And this is an audio test rubs speaking pretty far from the mic. This is an audio test where I'm speaking very close to the mic. This is an audio test where I'm speaking pretty far from the mic. So as you heard, it makes a pretty big difference working with a compressor to level audio. But you also may have heard how compress the voice ended up being. So if you find your voice being too compressed, working with this way and you're not a fan of how it sounds than you might have to go with the other way, which would be to manually use the pen tool or like I said before, it split up the track and then adjust the gain individually. But overall, the compressor can be a great tool to note to level your audio fairly quickly and automatically after entering in just a few settings. Now, beyond that, if you want to raise the makeup gain of your audio even more so that it's more compressed. You can absolutely do that, but again, it's going to affect the audio. And beyond that, you might introduce some peeking into your audio. You can get around the Peking by adding a limiter and setting it to minus one or minus two, e.g. okay, I hope this video was helpful on how to level audio using a compressor inside Premiere Pro. 58. Final Thoughts: premier pro, just like any other editing program is just a tool filled with many smaller tools to assist you in completing your video project. It is very important to always organize all of your files every time you start a new project. As not organizing can result in having many different problems, such as files in your project showing Oppa's offline or worse, the possibility of not being able to re link the files causing you to have to start the edit over titles such as Lower Thirds are a great way to add production value to your edits . It establishes who the person speaking is and provides credibility for what they're saying . Intro titles or text on screen throughout the video also provides another level of value that helps keep your audience engaged. Keep in mind if you plan on selling the videos you're making or you are being hired to create a video, you should have the rights to the content you are including in the video, such as the music involved or stock photos. Even if you are creating a video for fun but decided to use copyrighted materials such as a song you heard on the radio or a classic rock song. It's possible that YouTube or wherever you're uploading the video, will remove it because of copyright issues. There are plenty of royalty, free music and stock footage or photo websites where you can get a lot of very high quality content for very cheap. There are even some websites that give great content for free. A quick Google search is a great place to start. Good editing is a very powerful way of providing an engaging story to an audience, editing Kenbrell ache or make a video creating an amazing storytelling masterpiece or a slow paced disaster that bores everyone who sees it in regards to editing and telling a story as a general rule. If a clip in an edit doesn't help tell the story, it's not needed. So think like someone who has never seen the footage before. If it helps tell the story, keep it otherwise, it's not needed. Thank you again for enrolling in this course and feel free to watch any lesson over again as many times as you need. There's a lot of value in the course. I hope you learned quite a bit from it, and we will see you next time