Premiere Pro Effects Library To Copy From

1. Introduction: Hello everybody and welcome to this course. From the get-go on to tell you that this Premier Pro course is not going to be a typical one where I'm going into detail on how different panels work, what typical shortcuts are, etc. Instead, I want to make this like an archive where you can watch and look up really cool edits that you maybe learn someday or sometime ago, but just forget how to do it. This happens to me all the time where I've did something really cool, like a cool transition or a text edit that look really good. But then I just forgot how to do it and then have to go to YouTube or to Google and search it up again. Nevertheless, in the first lecture, I'm still going to give you introduction, at least the basic knowledge. So you can just do all the effects that come afterwards. After that, I'm going to show you a real cool text, video and audio edits like transitions, where the idea is that you just open up the lecture. You see in the first ten seconds or 20 seconds what the edit will look like. And then you see how I did the edit. Since this course is meant to be a place of return. Meaning that if you forget something, you just can come back and watch the edit that you would want to use. I have a request. If you see something very cool in the cinema on a trailer and you want to know how the Edit work, you can just comment down below. And I will simply put up a video that shows the specific edit with Premier Pro. Otherwise than that, there's nothing to say. Just go down the list. What's the lectures that you're interested in? And hopefully you will learn something. Enjoy. 2. 1. Premiere Pro Overview: Hello everybody, welcome to the first lecture of the series. In this lecture we're going to talk about Premier Pro itself. So the interface and how you can handle all the different windows, how to import videos, audio files, and how to put them on the Thailand Font edit. In my opinion, this first lecture is not enough to learn. Premier Pro is just enough to go through the edits that I show later. So if you are really interested in learning Premier Pro itself, so all the features, all the panels, everything it has. I'm going to recommend a different series on Skillshare. They are very good ones. So just click on the next test one and watch it to learn Premier Pro itself. But for this lecture, I'm just going to give you the essentials that you need for the next videos. So let's start with Premier Pro. As I said, as this is only the essentials, I'm directly going to start with how to import videos and audio files or pictures. And this is done in the project view on the bottom left here. Before I import anything, I tried to structure my video series. So in this case, I only have videos, so I'll give one folder name video. And I have maybe audio, which I don't have, but it could be n, etc, etc. So it's a little bit more structured. Now, if you want to import your video files, you can just open the windows Explorer or the Mac Explorer. Click all of you do search, you want to be imported, drag and drop it into the bin that you want it to be. And as these three or video files, I'm just going to import them into video. The next step I'm going to show you is optional, but I like to use it for cinematic videos. The idea here is that we want to match the frame rates of all all these videos. This is optional as I said, and it will mess up with the timings. So the length of your videos, which makes sense because let's say you have a video that has 60 frames and you play it back and 30 frames per second, then you have two seconds before the video is done. But now if you want to upscale or downscale the frames, frames per second from, let's say from 30 to 20. Now, the video's duration got to three seconds. So what you did, you actually did a slow motion effect on the video. So you have to be careful if things have to be aligned and perfectly on time, then you can not do that. But if it's a cinematic videos short and you want to have the same frame rate. I would like to do that. So in my case, I would like to have a 25 frames per second cinematic view. And what I'm going to do with this is I'm going to select all the video files that are not 25 frames per second. In this case, it's just on the spread perspective video. I'm going to right-click on that, go to modify and go to interpret footage. After this, I can select and specify the frames per second that it should assume this video to be, and I would like this to be 25. And as I said, the duration got longer instead of 16 seconds, something it got up to 19 seconds, three seconds long video. The next thing I want to do is I want to create a new sequence. And I do this by clicking on this little, little New Item icon there and clicking onto sequence. I want this to be 25 frames per second. So I'm selecting this on the Settings menu. Make sure that this is a square pixel 1 and this is 16 by nine, so 1920 by 1080. And then give it a name. Let's give it a tutorial. Click on Okay, and this new sequence is created. The sequence is a, as I said, the sequence is a place holder for all your video files. So what you do is you can just drag and drop the video file onto the sequences. A sequence has many vigilance. So if you have meant, if you have different vigilance texts, whatever and you want them to stack on top of the other, you can just put it on top. And the thing you need to know is that the uppermost layer has the highest priority. So it's always, it's always covers up the lower ones. Okay, So this should be enough for the timeline. Let's go to the next thing which is the menu bar down there. This is probably one of the most needed and used ones. And so the first one is the selection tool, which you can also get by clicking the V button. This one is you can just drag and drop things. You can stretch and make them smaller. Let me show you this. This is just for selection and clicking and dragging stuff. The next most important thing I think is the Razor Tool, which is C. So C and V, which are mixed together with his razor tool, you can cut down videos into two different parts of sections. So if I click it on the spot where I want it to be, so let me see where it cut it. I cut it here and I click again on V to get the selection tool. Now I can maybe even switch positions. So goes from a zoomed out. It goes from zoom out and zoom in. The next thing I want to show you is how you can put effects or how you can manage the effects on the video. To see that you just click on the video itself. And then on the top left, you will see that every video in the beginning already has these two effects, which is called motion and opacity. And with motion you can, as it says, control the motion, so rare, the position of the video is what the scaling is. If you want to zoom in or you want to zoom out. You can do this by dragging and dropping the number. You can also just put in 5050 per cent. So we've just got 50% smaller. If you want to go back to the beginning, you can just click on this Reset button. You can do a lot of things here. We will use this later for other effects. So let me show you how to put different effect on a video. On the bottom left, there is this project view and there you have this effects control. And if you go into effect, there are a lot of effects. And we go through the videos and show you the effects that you will need for the different video types. But in this case I'm just going to put a blur. It goes from blur on this. So I select Video Effects Blur and Sharpen gaussian blur and drag and drop it onto the video. Now we have this new effect, which is called Gaussian blur in the effects control. And we can adjust the blurriness of this video by just, let's say 30. And hypothetic per cent more blurry view. For Gaussian blur itself, I would always recommend to repeat edge pixels because then you don't have this black sharp endings and you just repeat them. The next thing I want to show you is what keyframes are, how to insert them in, but you can do with them. And for this, I've put one video on top of the other. So if I toggle the view and the first one you can see the secondary one under it. And what I want to do with the upper one is I wanted to make it smaller and go into the bottom right corner. And this feature is done by using keyframes. So what I do is I select this upper video, go to the beginning of this video, and click on these two icons, which toggle the animation. Now you have this two keyframes at that position that your cursor was in. I want to go now ten frames into the video. And they can do this by holding Shift and clicking to the right two times. And now I am ten frames into the video. This is just so I can use the transition from the whole picture into the smaller right bottom corner. You will see it in a second. Here I insert another two keyframes. And the idea is now that on the end of this keyframe, I want it to have a three scale, 30% scale and put it in the position of, of bottom-right. So let me do this like this. And you can see how the picture moved from the center to the bottom right. And if I now go back on the timeline, we can see actually transition. You can see how it goes from full-scale centered to three per cent scale, bottom right, this is the movement. So if I just click Enter, you can see how this moves to the bottom right. There's this idea of keyframes. So you insert keyframes, you change some stuff in the next keyframe and what it does, it does the transition from the last keyframe to the most recent keyframe. And this is the idea of difference. So what I can do now is I can go to the, maybe the last frame to other keyframes. Your back ten frames, insert another two keyframes. And as I didn't change anything, it will just stay the same from this to these two keyframes to the second last keyframes. And now I want to change the last key-frame to be normal again. So what we have is we have this transition at the beginning of that goes to the button right. Then we have the transition that goes from the button right to the centered. Again. In this case, this clip is longer than the other one. And if I don't want to have this, I can just click on the end of the video and V1 make it the same length as the V2. And now the transition should look better, so we can just see it now and the end. So this was the first lecture. I know it was quite fast, but as I said introduction, this is only the essentials, so you can know how to use all these features in the next videos. If you want a proper and good course, you can just check other Skillshare courses and they are really, really good and amazing. So just check them out and kill you. And Premier Pro that. I hope you liked it. And see you on the next one. 3. 2. Simple Text Overlay: Hello everybody and welcome to the second lecture. Today I'm going to show you how you can turn a video with texts from this to something like this. Okay, so let's start with this simple but effective text effect. First of all, we have to import our video. I've used this old bridges as I showed in the beginning. Then we have to create the sequence, but you can just do that by clicking and dragging and dropping it into the timeline. And now we have this bridge. To add text. You just click on this little t down there. Click T on your keyboard. Click where you want the text to be. Read. For example, bridge. After that, you can drag and make the text as long as the video itself, so the text is there for the duration of the video. Next, you click on the V together, the selection tool click on the bridge. And the next thing I want to do is I want to go to the Essential Graphics, which as I said, if you don't have it, just opened it from Window and click on the central graphics, click on edit. And now you have this text here. You can do some changes. For example, change the scale ecetera, and let me just make it really big. Let me center it. They put a little bit on top. And this would be the simplest, easiest way to put the text on a video. And let me just play it so we can see it and see what I don't like about it. So first of all, there's really no focus. The texts and the foreground and background are just the same. The eye does not, does not know where to focus on and what to focus on. So let's change that. The first really easy thing you can do to change this is going to the video, go into the effects control, click onto opacity and change it, let's say to 70%. And as there is no layer under the old bridge, so it's just darkness under there, which I can see if I just move it out the way. It creates this through newness of this darkness effect, which also already makes this bridge in white shine out and looks great. So this is the first thing I would recommend for an easy text. Focuses. To even improve this, you can go on to the Effects menu, search for Gaussian blur. Click on Gaussian Blur and put it onto the video itself. Now the Gaussian blur is put onto the old bridge video. And now if we go back to the Effects Control, we can change the blurriness to, let's say, a small value of ten. And you can already see that the blurriness and the breakdown and increase it so you can see what I mean. Causes the bridge to stand out. And this is what the clip would look afterwards. Very easy and very simple, but very effective. 4. 3. Video Inside Text: Hello everybody, welcome to the third lecture. I'm going to show you how you can place a video inside a text as it has done in 1917, where you have this field and the soldiers are fighting bombs exploding. And it looks really cinematic. And then inside of this video, a text appears from behind with a video then transitions into the text. And then texts took turns into a gradient, which looks really cool. This is the end result after this tutorial. So let's start with tutorial, how to put a video inside a text. First, let's import the video that you want to use. Then drag and drop the video tight the time layer. Now this creates a sequence and the sequence contains the video, which is in this case just the drone flying to the right. And taking a video of these clouds moving to the left, it looks pretty good. Then we want to add the text for this. We can either press T on the keyboard or select this Type tool. Click somewhere in the video and let's say title. Summarize, press V for the Selection Tool and go into the essential graphics which you can again visit by window and then Essential Graphics panel. Here. You can increase the title. First of all, so let's increase it. It's like a big Second of all, I don't like the text formats, so let me use something more cinematic, like impact, like this. Now, let's change the duration of the title to be as long as the video itself. So now we have a title that's just on top of a video, patriotic for. The key thing is now that you want to go to the Effects panel and check for the Track Matte key, the effect on the video effects and key, and drag and drop this onto the video, not the title. We then make sure that the title is on lane video. To click on the video, go into Track Matte key under the Effects Controls. Click onto met and click onto video two. We already have that the video is inside the title, which looks great already. To now get the zooming effect where the title comes from behind and goes into the screen. We first click on the title, go into video, go into the beginning of the video and introduce a keyframe for the scale. Let's say I want this to last. Let's say 20 frames. So we hold shift, click to the right four times. This is 20 frames, maybe even longer, let's say 25. Put another keyframe. So we have these two keyframes. We want to make the transition from going from really big to the title as it is now. So what do we do now? We go to the first keyframe and raise up the scale really high, Something like yeah, like this. And now what we already have is transition from a really big title that goes into the screen. As you can see that the trend, the transition is really sharp. So what you can do is you can ease that a little bit by right-clicking on the last key frame and clicking on ease in. Now the transition is smoother. You can also make this a little bit longer so it looks smoother. Yeah. This is the first part, the second part of the introduction, as I showed from 1917, had this calibrating effect and they want to show you how to do this as well. What do you do? Let's say we want to end this transition at this point, we go into the cutting tool or the razor tool here and delete this video from here. Let's say we want to make the transition from this video to a blue tone. And what you can do is we can go into the projects folder, clicking on New Item, click on column ID, select Settings, and give it just a blue tone. I'll just call it. We then drag and drop it onto the video one line and make sure that this is as long as the title. And then now we have to transition from This video inside of texts. So this blue outside one here, we have to also put the Met Track Matte key effect onto the blue one, select the video to as before. And now we have this transition from this video into the blue text. As we want the title to have a gradient, we can just go into the effects panel, type and gradient and have this four-color gradient, put it inside this title because it just picks for random colors and Adrienne come to do is just select bluish ones for now. You can do the fine tuning by yourself later, like this. And we have now this transition from a video inside of texts to this gradient. Even though this tradition is really sharp, we can smooth it a little bit out by using a white gradient. So we can use the VR gradient y for the gradient where it's your choice. Put it in-between the two videos. And, but you then have is this transition just looks really cool. If you want to make the duration of the longer, you can just drag it, drag the animation. And it looks something like this. 5. 4. Great Looking Text Animation: Welcome back to the fourth lecture. And today I'm going to show you how you can have a really good-looking texts transition. This will take your texts position from something like this to something like this. So let's start with the text transition. First, we're going to import a new sequence, which we'll call text transition. Click on this little T, click on the sequence and type the thing that you want to be transitioned. I chose it to be Calibri bold with a font size of 73 and character spacing of 120. The next step is to lengthen the clip to, let's say eight seconds. So the idea would be, as seen in the introduction for disclosure to meet outside coming a little bit first to the insights they can then going outside. So for that, we need to work with keyframes. Select the text, go into the text, go on under the transform panel to the position. And we wanted to have the first transition to be 1 second long. So we're going to the 1 second mark, which you can see here. Click on the keyframe and leave it at this position. Now we want to go to the beginning, create another keyframe, and make sculpture go outside the box. So right around, right around here. Now we have this two keyframes. First one is outside, the second one is inside. And if we just play back this Skillshare Text transition, it just looks basic and normal. Even though this is a very basic, we just need this in the beginning will then transformed into good-looking one. The next step is, let's say it should stay there to three seconds. So at the 4 second mark, I took again, start moving. We do another keyframe here. And then it should take, let's say 1.11, let's say two seconds to go outside the picture. Now which will be outside. So on that keyframe, we drag it to the right side. In this configuration, we have the scripture coming in, standing there for three seconds and then two seconds for Skillshare to get out. So the first step would be to turn the middle two keyframes into continuous bezier by going into Temporal Interpolation and clicking on continuous bizarre. The second step would be to click onto this position arrow. So we have this little, this little graph showing below which shows the velocity of the texts coming in and thought you want to do is we want to have it very fast velocity at the beginning and then slow down. And then again as a ramp go up and velocity and have a very high velocity and the end. So for that, we can just click on the keyframe, click on the left side of this arrow and drag it to the left pattern. We have this really huge ramp, which would look something like that. It goes very fast in and stays there. It goes fast in and stays in the position. Now, on the other side, we wanted to have it grabbing the other direction. So we click on the second keyframe, click on this and drag it to the bottom right. The first one was the bottom left. The red one was to the bottom right. So in the end it looks something like this. Which looks really cool in my opinion already. We can even make it more sharp and make me the position where it happens a bit earlier. So transition goes faster, which is cool. So one thing that's not very good, and this one is that even though it goes faster, let me just stop it here. This is really fast right now, but we can still read skillshare perfectly fine. It's still clear, which would be not be the case in real life. Because if something goes fast to see a little bit blurry, next step would be to introduce blur, motion blur or direction. Order. For that, we go again into the effects type and blur and go under Video Effects, blur and sharpen directional blur. Put it inside the text. After applying the directional blur, we go into the effects control, go into their length. And what we wanna do is we want again to introduce keyframes. And for this, we go to the position, you go to the second keyframe and create, create a blank keyframe. We go to the next keyframe and the position and create another keyframe. Then turn those 22 continuous is R1. So as before, and we want to decide how much blurriness you want to have a disposition. Let's say. For here we just scale the blow length up and you can see how the blur direction is to the top right now. And to change this, you have to change direction. Let's open the direction and we can see that the arrow is pointing to the top. To be correct, we would need to go to the right. So we would have a 90 degrees angle. And if we do is this looks way better, right? So we can see how it has a directional blurriness to the correct direction. Let's say I wanted to have this much blurriness. Take this key frame and put it to the beginning. So we have this first transition that looks like this. To even make things look better, we can again go onto the graph and make it the same as it is in the positioning graph. So it has the same looks as it is again, fast in the beginning, so much blurriness and then slower in the afterwards. So less blurriness, which already it looks really good to have the same effect on the outside. We can again go to the position where the sketches close it to be outside. Make blur, blur length if we want it to be. So let's, let's decide it to be. This blurry at this position. Put the keyframe to the other keyframe of the positional transformation. Make the shape of the topper blur length the same as the position graph by dragging this one to the right and see the results. This would basically be our text transition. Looks really good in my opinion. So I hope you like the transition. The next video will be about a text that's behind a moving object. 6. 5. Text Behind Moving Objects: Welcome back to the fifth lecture of this tutorial. In this lecture, I'm going to show you how you can place a text behind a walking object. In this case, this is a woman that is walking across the street and the text tower is still behind her even though she moves in front of it. This effect is a bit more complex and needs more time, but it is great and the results look amazing. So let me show you how I've done this effect. First, need to import the videos you'd like. Then you drag and drop it into the timeline and cut out the part that you wouldn't need me. Let's say I start from here, delete everything else, and look up your video. So this effect does not work on every video. It has to be a bit specific. So for example, if you have a static camera and the moving person or moving object, the object should not change very much from frame to frame in case of its positioning. If you have a moving camera and aesthetic object, this is still the same. So the moving part where the text is behind should not change very much from frame to frame. If you zoom in on this on this woman that is walking, you can see that from frame to frame, her upper body is approximately the same, which is good. So it'd be do now is, we can see that this is a fifth. So this fits for this type of effect. And we can insert the text by pushing t are going to the Type Tool. And let's write tower. I click V to F, the selection tool and move it. So have upper body moves along this tower. The next step is to create the mask. To create a mask, we go into the effects control of the text. We see that under opacity there is the small fried rovers year, which is like a pen and click on this and then we need to zoom in onto her body. For this to work, the mask needs to be around the place where the text is. So if you are above or under texts, then you don't need to be very specific, but around where the texts will cross over. This has to be specific. And what you need to do there is, let me get this woman and to full screen now. And what I do now is I can go back into the mask and create this mask by clicking along her body. If you do this with precision, it will get better results. As I said, you don't need to be precise. Anything above or below the text. Click along this buddy, you finish the mask, and now you click on inverted here. This is very important. But you also need to change the mask feather, which says how a prompt, the mask should work function. And if you set it too low value, there's a very sharp corner. So let's set it to one. Now if we let, let's just move the text for now and we can see that there it goes, under the mask filters that out. So in order for the woman to walk to the left and the mask following her, we need to do some changes because if you just start to play it and then we click on this mask, you can see it. And let's start play. The mask is still on the right side. It has to move with the movement. For that, I go back to 200% zoom and go back to the beginning or to the place where the mask started. Let's say it was around here. I click on the Toggle animation for mask path to create a keyframe for mask path. And what I do now is I go 123 frames ahead, check what the, the mask path was and move it to the left. So to align that again with the body, go again. You can also make some specific changes if you don't like them as calories, just make it a bit more precise in that case, like that maybe. And then go again. Go again 123 frames, further. Move the mask with it and make some changes. And you do this on repetition. So you go 1123 frames ahead and Move mask with it. And you need, the more precise you are with the mask, the better the results. For my case, this should be enough. Let me just do a little bit faster so you can see the end result faster. And I'm moving three frames ahead by clicking the right arrow on the invoice. Well, let me correct the last keyframe because I think there was like Okay, yeah, and this is then the end result. So let's see it. Go to fit. Let's make this a bit bigger. Let's see how this moves. As you can see, the woman just works or the text is behind them. 7. 6. Typewriter Effect: Welcome to the sixth lecture of the series. In this lecture, I want to show you how you can do the typewriter effect. So the typewriter effect is where the text is coming as you type it as it is usually done when you're typing on your keyboard. This is an example and I think it lists looks really cool on an introduction. So let me show you how I did this typewriter effect. First. Just to have a background, I'm importing a black video, video, which I will turn white and the next drug into the timeline and make it a little bit longer than I go into the effects and search for tipped. Now with this new effect and the effects panel, I can map back to any color I want and I want it to be met to white. So that's the first step. This is all background. Next, I want to have a text, so press T, click on the video and let's write type effect. I put this in the middle. Then for the typewriter effect, we need this bar, the bar that represents where our next character will be. For that, I will just introduce a new color met, which would just be black as the text as well. I will call this, let me call this line, put it inside our view and let me stretch both for duration of this video. For this to be aligned needs to make it smaller. And to do that, we go into the effects control of the line. We uncheck this unifies uniform scale. And we put the scale with 20 dot three, let's say. And the scale height to the text size, which would be something like this. Let me move the text so it fits the line. When you make the line a bit bigger. Let's say a five. Yeah, Looks good. Perfect. After we have the line, we need to go into the effects control, search for the linear wipe and put it to the typewriter text. Here we have some features that you can change, some settings that we can do, and we need, first of all, to change to wipe angles. So let me show you what 90 degrees means. So I'll just go into this. So as you can see is if you go with higher percentage, the wipe goes from left to right, but usually the texts goes from left to right, so it has to be the other way around. And to do this, we need to change the y by angle from 92270. After we have done this, we can just make sure that everything is working by checking what the top tradition looks like. Yeah, this is good. So you want to start somewhere with no text and then at the end come to the place where this all the text. And to do this, we need to introduce again keyframes. So what we do is we go to the starting place, which is around 76%. We do keyframe. And then let's say we want this text to be there in three seconds, which is a long time, but so and to another keyframe where this wipe effect is completely gone. Now, if I just blend outline, the text looks something like this. As I said, this is very slow. So what I can do is I can this keyframe a bit further to the left. So the texts comes out faster. The next step would be to get the line in the correct position. For that, I will go to the line again showed, and I would move it to the first position where you can see where the text is for that, let me just go with the text, the end line, put it in the beginning by changing the exposition. Like somewhere around here right? Now we know that this is the starting point. For me on we need to do a keyframe for the position of the line. Make sure when this one ends, it ends around. Let's see, it ends around here. And do another keyframe for the line where the line is moved to the right most position. So it was done with the effect. Here. Let's see how this will look like. This already. It looks really, really good. Sometimes the line does not move with the texts. And what you can do then is just create another keyframe in the middle where you don't like it. Let's say I don't like this position of the line. I do another keyframe and they change position slowly, let's say to the right. So the line is a bit ahead of the ER. So like this. Then it looks like this. And you can do this as many times as you want. So this one already looks great. The only effect that is missing is that the line should be blinking. And for that, I go onto the opacity of the line, click onto the keyframe, go five frames to the right. Or you can also do ten **** Hawaii however you like it. And then bring the opacity back to 0, then again five frames back to 100, again five frames back to 0. And you can speed up this process by just copying after, let's say four, go into the next five frames and paste it. And then go to the last keyframe. Go again five frames and paste it. And you do this until every character is shown. And after you've done this, you can just see how it looks like. This looks great. You can also, let's say I wanted to have this blinking effect a little bit longer. So it would look something like this. 8. 7. Voice Audio Enhancement Effects: Hello everybody and welcome to this lecture. And this lecture, I'm going to show you. Hello everybody, and welcome to this lecture. And this lecture, I'm going to show you how you can enhance your audio quality, especially if you're using a bad mic like I'm using right now. The idea is that I'm going to apply the effects now and you should be able to hear the changes immediately. So let's jump into Premier Pro and let me show you how I've done this effect. So in order to make an assessment how good or bad your audio quality is, you first need a good pair of headphones so you can listen to the audio file and make sure that everything you're doing and you're correcting as actually improving the audio. So in this case, I'm growing my pair of headphones. So let's first hear how the audio quality sounds without any effects. And using right now. The idea is that I'm going to apply the effects now and you should be able to hear the changes immediately. So the ideal case is that you already have a really good microphone. And my case, I don't have one, so I have to use this one and I have to sharpen it up with the software. For this. We need, in this case for specific effects. So let me import them. So there are two different ways to apply audio effects onto the audio files. The first one is the normal, usual one that you already learned. When you go into the effects panel, you search for the effect that you want, for example, the parametric equalizer, and you simply drag and drop it onto the audio file. Then after going into the effects control, you can see that the parametric equalizer is applied. In my opinion, this is not the recommended way to do it because let's imagine you have a real edit where you have a lot of cuts. And now you have to apply all of these effects, all of these different cuts, even though you can do this by copying and pasting, this still requires time and also prone to errors. So instead what you can do is we can apply these effects to a whole lane in the audio ln 12 or three, or if you have more than more. So first let me delete this parametric equalizer. Let me then go to Window audio track mixer audio. And now we can see that the three lanes you have, your timeline is represented by these three bars. And now you can just import the audio effect after the other, the whole audio lane by clicking on these arrows. So before I start editing the audio lane A1, and we want to hear the difference of the changes after the applied effects. Let me just transform the first audio file onto the second lane. Okay? So the first effect that I want to import is called the parametric equalizer found under Filter and EQ and parametric equalizer. Now we want to right-click this and go into Edit to open up the window. What we can see in the permanent equalizer is how our recording or voice is shown in the frequency range. So let me play this video and we can see where the frequencies are hard, what the, what the dB gain for the different frequencies are in this recording. You should be able to hear the changes immediately. Let's jump into Premier Pro. The first thing I want to tell you is that usually if you are just talking over the microphone, everything below 90 hertz, natural voice, it's something else that your microphone picks up. Noise, could be whatever. So you don't want to have this. The second thing is that on the higher frequencies, the clearance effect that if you mix up or put up the gain in the higher frequencies, your voice gets a little bit more sharp. The good thing is that Premier Pro itself has really good presets. So what you can do is we can click onto, we can click onto presets and go into vocal enhancer. And as you can see, this graph is now shown what I just told you applied a high-pass filter. So it allows high frequencies to pass and low frequencies to be blocked under 80 Hertz. Then it's raised up the gain at the high frequency end. As usually really cheap microphones don't have really good frequency coverage. We don't want to overdo this effect. So what I would like to do is first, I want to go on to the high, high-pass filter and make it to 48 dB per octave. This made a really sharp transition on how to cut off or the lower frequencies. The next thing is that the higher frequencies have a lot of gain. And this is not really a very sharp transition. And if I can listen to it, so let me, let's, let's listen to the audio without while I'm moving this higher frequency part so you can see what it is doing immediately. Let's jump into Premier Pro and then show you how I've done this effect. So what just happened is that the audio file go to an nth order to not always go to the beginning playback. So let's jump into Premier Pro and then show you how I've done this effect. And again, are done with the audio or video file. We can use a simple trick. So let me just close this for now. Let me go to the first starting point. Click on the I button to create the in point. Go to the end. Click on the O button to click to get the 0. And now I can click on this plus sign. Search for the loop playback button and drag it onto the line and then click on Okay, and now you have this one. Now you can click this. Go back to the beginning, play. They're able to hear the changes immediately. So let's jump into Premier Pro and let me show you how I've done this effect. You should be able to hear the changes in. So now the audio file loops around so you don't have to always go back after while you own voice sounds kind of annoying, but trust me, it's more annoying to always go to the beginning click Enter just to listen to the effects are. So let's go back onto the parametric equalizer effects and let's continue. So the first thing I want to do is, as I said, I don't have a really bad microphone. I wanted to apply this effect gently. So I'm going to reduce this and going only with really high frequencies. So let me listen to it now. Immediately. Let's jump into Premier Pro and let me show you how I've done this effect. And you should be able to hear, okay, so just a little bit, but this is good enough, right? Let's finish with the parametric equalizer and go on to the next effect. The next effect can be found under amplitude and compression and is called a single band compressor. Right-click on this and talent to edit as well, to open up the single band compressor window. The compressor, there is a multi-band or a single band compressor. Does the following. You have when recording and it difference in audio levels. So you have peaks in the audio level where it maybe you're just pronouncing the S, that is like a really high frequency and it's maybe recorded a little bit hotter while you are speaking louder into the microphone at some point and sometimes you're just speaking not loud enough. And what the compressor does is it tries to level and level of doubt. So the higher tones, such as getting a bit down at the lower ones, are just applied a bit higher. And Premier Pro itself has some presets that are good as well. I like to use voice over, over with a little bit, a little tweak on the tag where I just wanted to raise this to ten milliseconds. Let's hear the difference again. Let me first bypass this effect. So you have done this effect and you should be able to hear the change. And now let me again use this effect to see what the differences are there here with the differences. And just immediately, Let's jump into premium pro. Yeah, that sounds like way more cinematic. I like this, like this. Next thing is to listen to the noise in the background as this is a cheap microphone. And now you have two effects that you just apply that raise up, in some cases are raised up. The background noise or the sound in the back on what you can listen and you should be here. You should be able to view it in the background. And let me show you how I've done this effect. You should be able to hear the changes. So to get rid of this, we use a de-noise, which you can be fat, which can be found under noise reduction and t nodes. Right-click on this. Go to Edit and open the window. Here. It's already set to 40%, which is really high. So we start at 0, we listened to the audio and then slightly increase the amount of denoising. So let's do that. Let's jump into Premier Pro and let me show you how I've done this effect. And you should be able to hear the changes immediately. Let's jump into Premier Pro and let me show you how I've done this effect. Yeah, So I think 15% is really good. Let's again listen to the background without the de-noise effect. And you should be able to hear the end now with the nice effect changes immediately, the background noise just got a bit lower, which is great. We're close to finished up. The next thing is just to make sure that the audio gain itself is high enough. And we do this by going to the last effect which is called the amplifier. Right-click on this and go into Edit to open the amplifier as well. Here what I want you to do is I want you to look onto the right bar and check what the highest gain is that you can see. So let's jump into Premier Pro and let me show you how I've done this effect. And you should be able to hear the changes immediately. The other way to do is, is you can right-click on the audio file, go down to Audio Gain. It says that the peak amplitude of this specific audio file was minus seven dB. And I want you to, what I want you to do is I want you to go get to amplify, go to Edit and just increase it that it is still below minus three. So my case I would turn up to, let's say four dB. Then it just got a bit louder. Nothing special happened, just, I made the audio louder. Let's hear it. So let's jump into Premier Pro and let me show you how I've done this effect. And you should be able to hear the changes immediately. So let's jump into Premier Pro and let me show you how I've done this effect. In order to make sure that there is nothing that passes minus three db. There's also this optional step, which in my case I'm going to apply just to make sure that the audio just not occasionally bursts out and maybe her to hurt your ears. So once you can then apply is another effect. You search for it under amplitude and search for hard limiter. You right-click the hard limit to really go into edit. Your preset to limit to minus three dB. And now it makes sure that every sound that is below, above minus Vb will just be canceled out and make it a little bit less loud. So let's just listen to it again and make sure that everything sounds good and you should be able to hear the changes immediately. So let's jump into Premiere Pro. Okay, So in my opinion, this is still a bit too loud, so I just might amplified this a bit too much, and this is probably because of the single band compressor. So let me right-click on this, go into edit. So there's this output gain of four dB that they didn't see beforehand. Let me just turn it down to 0 because I already did this in the amplifier effect. You can also get rid of the amplifier effect and just do it here. But as I learned it this way, I'm just going to use it this way. So let's decrease this down to 0 and now listen to it again. Oh, and let me show you how I've done this effect. And you should be able to hear the changes immediately. Yes. So the sounds really good. Let me let me just delete the in and out points and listen to it. Completely bad, mike, like I'm using right now. The ideas that I'm going to apply the effects now. And you should be able to hear the changes immediately. Yeah, like the sound quality just rose up and it's really sounds more cinematic this way. I hope you liked this video. And let's go onto the next one, which will be a video transition effect. 9. 8. Cinematic LUTs: Hello everybody and welcome back to this course. In this lecture, we're going to talk about lattes are, in, this is just a short form for look up a table. So you have a table where some properties have already been tweaked for you than my case I did it. You can just import them into Premier Pro and use them on your videos. And the idea of a lattice that you can use them on your footage to create a very cinematic looking effect. And as there are a lot of shots that you can use and a lot of different parameters that you could have for each view of video. I created 15 different labs, so you can just use them and try them out and check which one fits the best for you. So the idea of this lab is that you can turn something like this into something like this, which aggravates it looks a lot better. And it really didn't take a lot of time. It was just applying lottery already created and then just using it and going with it. So after you have seen what bloods are, let me show you. You can import them and how you can use them in Premier Pro. The first thing we need to do is we need to close Premier Pro. Then we need to go to the folder where your lats I don't want it. Then you copy all of them and go to the folder Adobe Premier Pro Tools installed. In my case, it is this PC, then my hard drive, and then under Adobe, There you go into Premier Pro. You search for Lumetri. Lumetri. Go into, let's go into creative and paste them into here. So again, copy all the labs that you don't notice from the Skillshare website that I uploaded for you, go into the Adobe installation folder, which most of the time is in this PC, your hard drive, and then Adobe Premiere Pro go into Lumetri, going to latch onto creative and then paste them into here. Then open Premier Pro again. And then you can just work as you would usually work with the Adobe Premier Pro. So let me first import my video that you want to be. I want to have a cinematic look that may create a sequence out of that. It is. And for cinematics, it usually is the shot itself that makes it look cinematic. So you can twist and tweak it a little bit afterwards. But the shot itself has to be systematic in order to have a cinematic video. Let me show you how you can then edit this video. First of all, we need to adjustment layers. And I didn't come across the adjustment layers until this point of the course. So let me just explain what it does and how you can import 1. First, you click on New Item and then you see adjustment layer. You click on Okay. And then that created one adjustment layer. Let me just rename it to labs and imported onto the timeline and make it the same length as the clip. And now we have the first adjustment layer importance. And the adjustment layer works is like a, it's like a layer on top of everything that is under it. So if you have it put on V2, everything under it, so just V1 will be affected by this adjustment layer and so on. So if you put this onto V3 and you have video files and V2 and V1, then both of them would be affected by adjustment layer. So the idea is that if you have a lot of clips, so let me just pose the same clip again. You want to make a change to all of them. You can just due to the Adjustment Layer and drag the adjustment layer across multiple clips and everything and every effect, every, every little color grading you do on the adjustment layer will then apply to both of them videos or all of the videos below it. And that's the idea of an adjustment layer. After you've inserted the adjustment layer, we can then go on to window and open the Lumetri color. In there. You can have many color correction or color grading features. In this case, we just want to open the last way we can go into creative and see on look, we now all the labs are installed that I just gave you. The my case I think loved one looks really good. So I just press a lot one, it already did the effect. And you can see that it turned from, from this to this look, which looks really cool in my opinion. The next step would be to crop this down because often these black bars at the top, at the bottom make things look way more cinematic. So let me import another adjustment layer so I don't have to do it for every clip. Let me call this black bars and import this into the V3. And as I said, now this will apply to this adjustment layer and also to this one. Now we go into the effects, search for crop and put it onto the adjustment. There. You go into Effects Control and see that this crop feature, this crop effect has been enabled and can be adjusted. So let's put the black bar at the top, let's say 11%, and also at the bottom of 11%, which now looks like this. The reason why we use two different adjustment layers is the following. First of all, the black bars we want to have on every clip. So what you do is you can just drag it along the video line. And every clip we have to have the black bars at the top and the bottom. The reason why we're not putting it onto the lot is that maybe you don't like the lot so hard, right? And what you can do then is you go onto the adjustment layer with the creative LUT that you selected. Let me just make another one so you can see what I mean. And different ones that depend on your footage. And you can go onto the opacity and just make it a little bit less. So you can see how it turns from the original footage to the 100% opacity lot. And you can maybe choose to something in-between if you don't like it that hard or that much. And if you do that with the with the crop effect also, then you would see that the video from behind will come. So this has to be 100% all the time. And that's basically how you can create this cool looking synthetic effect by just a really easy lot, import and selection. 10. 9. Speed Ramp Video Transition: Hello everybody and welcome back for this course. In this lecture, I'm going to show you how you can do is transition from one medium to another, where both videos are shot in slow motion. And then you can do a real good looking time speed up transition from one value to the another one. This is how the video will look like if you don't do any transition. And this is how it will look like if you do it the transition. So we started off with a lot of text, animation and text edits. We went to audio at least some point. And now I want to go into video transitions. So this is the first one, and I hope you will enjoy it. So let's jump right into Premier Pro and then Michelle height at this time, bending transition on the video files. First, let's import the videos that we need. My case, it's the lake video and the video. Then drag them onto the timeline. You don't need the audio file. I want to have this transition from the lake to the walking woman. And especially this transition works very well on slow-motion shots. So the idea would be now to speed up both videos. And for that we need to zoom in a little bit by dragging these icons. And now we see this fx appearing on both videos. And all you can do now is you can right-click and go to time remapping and speed. Now this line appears, do the same thing for the other video. And also the slanted piece here. This line really means the speed of the video. So this is currently at 100 per cent, so at one. So the normal speed, when we click and drag it to the top, we will increase the speed of the video and therefore decrease the length of it. So if I double the speed, the duration gets, gets shortened to the half of the region, which you can see here, right? But we only want to have this effect on the end of the first video and the beginning of the last video. So what we do is we create a keyframe close to the end of the first video. And this is done on the effects control and time remapping key-frame. And now we have this keyframe where we can now drag on the right side of this keyframe, the timeline to the top, where only the right side is affected. And let me increase this to 400%. Which now would look something like this, right? It's a very sharp transition from normal speed to high-speed. Which array? It looks cool. We do the same thing for the walking lady just from the beginning. So we go summary into the clip, let's say until this point we do a keyframe on the left side of the skin firm, we increase the speed. Let's also say to 500%, maybe even less, let's say three hundred, four hundred per cent. Now have this sharp transition from very fast, too slow, which looks really cool. Close the gap. And what you can do now is we can make this sharp, harsh transition more smooth by clicking on the keyframe and dragging it to the right. You can also do is then click on this blue line and drag it to the left to have the smooth blue curve. The same thing on the right side. Click on the keyframe, drag it to the left. Then we click on this keyframe, click on the blue line and drag it to the right. And so we have this smooth transition over speed, can claim back down. And now the shot looks something like that. Which is a really cool transition in my opinion. 11. 10. Video Masking Transition: Hello everybody and welcome to this new lecture. In this lecture I want to show you how you can do cool masking transition. Where the ideas that you have a moving object that is covering up the lens of the camera. And as it then later reveals, the background. Background has changed to the new video. This is how the two videos that I want to show you an example look like without any transition. And this is how they will look like with the transition. So let me show you, I've done this cool-looking transition. First, import the files that you need for the transition. My case, it's the subway. And then I take this landscape important both onto the timeline to create a sequence and go into the clip that will then reveal the other one. In my case, it's this train that in the end, we'll reveal the underlying landscapes. So what I need to do now is first find out, I'll make sure that the object that is moving is covering up the whole video. For that, I need to scale a little bit so I only see the train. Like, let me do it like this and then move it a little bit down. Yeah, something like this. Maybe a little bit more Zoom so you only see the trend. Yeah, like that. Then let me cut this a little bit so long. Then we need to make sure we find where the last moment of transition is, which is exactly here, right? So we cut the video after that. You don't need it. Then we need to start with a masking. We need to find the first frame where the video reveals or the object that is moving reveals something that's behind it. In this case it would be. Let's go through it. This is the let's say this is the first frame where something is scene behind it. And what we do now is we go, we click on this video. We go until as always, when those effects control, to have the effects control panel open, go onto opacity, the opacity section, and click on this pen to create a mask. Now I have a mask and we need to have a different path for the mask. The mask should be moving. So what we need to do is we need to create a keyframe. Now that you have the mask, we can then select the mask by first adjusting the scale to see what's actually happening. I do 25 per cent. Then we do the mask from outside to the inside, like that. This is our first mask. Now it only shows what's on the right, but we want to have, want to have the reverse path, right? So we inverted. So this turns into black and later turns into the video that we would like it to be. Now click on the mask or one frame to the right and then adjust the mask so it still covers up everything that we need to see afterwards. We go one frame to the right and adjust the mask. And we do this over and over. And make sure that the mass is covering up everything. Just make it big. The mask covers up the entire screen and then you're done. Now, very important, we need to also do this. Need to go back to the very first keyframe, which is this one. Go one frame more to the left, and then put this mask outside the box so we don't see it in the very first beginning. And that's it. We basically did it. If we now play this back, we would see that the mask is covering up in black, right? As the train is moving. And the only thing we need to change, and I was put there to put this on B2 and put the clip that you start afterwards exactly where the first keyframe from the mask is. So what you can do is I can select the video clip. We can go to the first keyframe which is here. We then move to the second video that should appear under it exactly at this position. And now the transition looks like that. Very cool looking. And you can also use a working woman that is working past the camera or walking pillar that is just covering up the camera in the sequence. So you can do a lot of things with that. 12. Outro: So we officially, at the end of the course, I hope you learned something new and got something out of it. As I said in the introduction, if you see a very cool cinematic effect or edit somewhere in the cinema or on a trailer on YouTube video and just wants to know how it worked. You can just comment down below and I will put up a video that shows that. Other than that, I hope you liked it and I wish you a very successful Premier Pro Korea.